#BehindTheLens: “Adapting Loveyapa was a huge leap of faith for me, and I won’t deny that it was intimidating", says Sneha Desai

In this interview, Sneha Desai, Loveyapa writer, shares her experience of writing for the film, previous projects, the influence of her theatre background on her storytelling and more.

If given a chance, how would you describe a typical Bollywood love story? For most of us, it could probably be the movies from the ’90s. The kind of romance that felt dreamy, larger-than-life, and almost aspirational in the way it made us believe in grand gestures and perfect endings. And to be honest, who doesn’t have a soft spot for that? But times have changed, and so have the stories we tell, especially when it comes to love. Today, romance on screen feels a lot more real, reflecting the misunderstandings, the highs, and the inevitable lows in relationships. We have stories that focus on real relationships and the messy, complicated, and often hilarious parts of it. And that’s exactly what Loveyapa sets out to do.And the person who brings all of this to life on paper? Sneha Desai. 

Sneha has written across different formats, from stage plays to films, and her work has always had a strong emotional core. Whether it’s the depth of Maharaj or the warmth of Lapataa Ladies, she has a way of making stories feel lived-in and authentic. With Loveyapa, she steps into a completely new space—one that’s fast, funny, and full of little details that make modern relationships so chaotic and entertaining. We had the chance to sit down with Sneha to talk about what it was like working on a Gen Z rom-com, the challenges of bringing the essence of modern relationships on screen, and how she brought this quirky rom-com to life. She also shared about her writing process, how her past projects shaped her as a storyteller, and the impact theatre has had on the way she approaches storytelling.

Also Read: The Greatest Rivalry: India vs Pakistan Review: A thrilling and nostalgic docu-series that lacks untold stories

Scroll down to read the full conversation! 

Adapting a popular film like Love Today for a new audience must come with its own set of challenges. With the original already being so well-loved, what was the most challenging part of remaking it for the Hindi audience? And how did you ensure Loveyapa stands out as its own story?

I’ve always felt that adaptation isn’t just about recreating something—it’s actually transcreation, an art in itself. When we started working on the adaptation of Love Today, we knew we had a huge responsibility. The original was widely loved and deeply resonated with audiences. So, for me, the goal was clear—I wanted to keep the heart, charm, and relatability of the original but also give it my own unique touch.

Since we were adapting it for a North Indian audience, we had to rework the setting, cultural nuances, and socio-economic backdrop. The original film came out in 2022, which means the script was probably written even earlier. A lot has changed in the past few years, especially with how Gen Z communicates, so we made sure to bring in more of their language and sensibilities to make it feel fresh and relevant. Seeing how well it has connected with audiences today is truly gratifying. As for why we chose Delhi as the backdrop—well, we explored quite a few options. We thought about Karnataka, and at one point, Gujarat was in the mix too, since I’m Gujarati and could bring an authentic flavor to it. But we ultimately ruled that out because we wanted the kind of high-energy, boisterous vibe that Delhi and Punjabis bring to the table. Plus, Junaid’s first film, Maharaj, already had a Gujarati setting, so we didn’t want to repeat that. In the end, Delhi felt like the perfect choice, and I think it worked beautifully for the story.

Loveyapa feels like a bit of a shift from your previous work. What made you want to explore the rom-com genre, and what drew you to tell a Gen Z love story?

Adapting Loveyapa was a huge leap of faith for me, and I won’t deny that it was intimidating. In fact, I probably put more effort into this than I did for Maharaj or Laapataa Ladies, simply because that kind of writing comes more naturally to me. I’m in my early forties, and I have a teenage son who speaks the language of today’s youth. I really had to understand their mindset, the way they talk, and how they express themselves. There’s a certain bluntness and directness in how Gen Z communicates—they’re clear, forthright, and unfiltered in their conversations. I wanted to bring that realism into the dialogues. While Maharaj was heavily research-driven as a period film set in 1832 Mumbai, Loveyapa is set in 2025 Delhi. This was a transition that was both exciting and incredibly challenging.

Writing for Gen Z audience must’ve had its challenges. What was the trick to getting their lingo and humor just right?

I’ve been to Delhi quite a few times, so I already had a sense of the local flavor. However, my cousins definitely helped fine-tune the little details—whether it was capturing the ‘big chili’ factor, the chaos of Rajouri Garden’s traffic, or getting the essence of Karol Bagh just right. Beyond that, I’ll be honest—I turned to influencers for reference. Many of them are Punjabi or from North India, and they have an effortless swag in the way they speak. Their humor lands perfectly, and their content reflects the culture. I went through many Instagram reels and even scrolled through the comments on their posts to get a sense of how this generation talks. It was a fascinating process. When you're writing about something you're not inherently familiar with, you have to find that balance—between being clever and staying true to the natural humor of the culture.

When writing rom-coms, how do you know when you’ve crossed the line between clever humor and it feeling over the top? 

It’s a tricky business because you never really know if a joke is landing until you see the audience’s reaction. It became more challenging as we worked through it, but we kept the one-liners and jokes in place, testing them out as we went along. Every time a new joke came up, I would gauge the reactions in the room—whether from the artists, producers, or during brainstorming sessions. Their immediate responses gave me a hint about whether it was working or not.

My background in theatre, especially Gujarati theatre, really helped with this process. Gujarati theatre is known for its humor, so I’ve developed a good sense of timing and an instinct for whether a joke or one-liner will land well. Years of practice on the Gujarati stage gave me the knack to know what works. The most fun part of it all has been the conversations in the writing room, especially with our director, Advait Chandan. He was extremely receptive and cool. The moment he responded positively to a joke or line, I knew it was working. We also had a very young cast and crew, so during table reads or on-set, I could feel the energy from them. 

Since this was your first time working with Advait Chandan, how was the entire experience of collaborating with him?

Advait is an incredibly hands-on director. On a personal level, he's one of the coolest people you could work with, very accessible to his entire team and always the first to stand up for everyone. I share a very friendly bond with him, and I’ve known him for quite some time, even before we started working on Loveyapa. The energy and synergy between us have always been extremely positive, and if given the chance, I would absolutely love to work with him again.

Works like Maharaj and Laapataa Ladies were set in such different cultural backdrops, and now Loveyapa brings something new with a Punjabi urban setting. How do you catch the essence of each culture in your writing? And as a writer, how long does it typically take for you to really get a feel for a new cultural setting?

It does take some time to train your mind to think in a certain way. Maharaj was an extremely research-based project because we had to get the period, the dialect, and even the legalities of the case correct. Reading the novel over and over again helped me a lot. Since Maharaj was adapted from a novel, being a Gujarati made it easier for me to grasp the cultural context and ethos, so that part was relatively easier.

On the other hand, Laapataa Ladies was more challenging in that sense because I don’t come from that background. I’ve always been a city girl, born and brought up in Mumbai. Getting the innocence and naivety of the characters right was tough, but Kiran Rao was there to guide me, and we had many consultants to help with dialects. 

As for Loveyapa, having a headstrong teenager at home who speaks this language definitely helped me connect to the lingo and the mindset. These three projects, Maharaj, Lapatta Ladies, and Loveyapa, are all from completely different backgrounds, and they’ve really helped me evolve quickly as a writer. They’ve brought new challenges and allowed me to explore parts of my brain I hadn't tapped into before, expanding my spectrum of writing.

You’ve also written for theatre, which has such a different storytelling approach compared to films. How has your experience in theatre influenced your screenwriting? Are there any particular real-life experiences or observations that influenced the stories?

Yes, they most certainly do. I’ve primarily been an actress, and after taking a sabbatical from active stage acting, I started writing. My combined experience as an actor and writer, with almost 2,000 stage performances, has really helped me refine my scriptwriting. It has allowed me to craft the interactions between characters more effectively.

I’ve developed an intuitive sense for when a scene should end, what the right hook point is, how to structure the emotional graph, and what material is needed for an actor to deliver a strong performance. I’ve also learned how to time a joke to land perfectly or how to build up to a dramatic moment where the tears come through. The extensive exposure and experience from theater subconsciously shape your writing process, and that muscle memory carries over into film writing.

However, there is a drawback: theater is a very verbose medium. There are no close-ups, no special effects, and the entire performance happens on a single stage, so you end up writing a lot to explore every facet within those limitations. In contrast, film is a visual medium, and it demands an economy of words. When I first started writing films, I would write long scenes, and Aamir sir pointed out that my writing was very theatrical. That feedback was invaluable, and it made me realize the need to be more concise. A single piece of advice, like that, can really shape your approach, and that’s where great mentorship comes in—asking the right questions and giving the right comments makes a lot of difference.

I have my own personal favorites when it comes to the characters you've written, but I’d love to know—are there any characters that hold a special place in your heart? Maybe someone you had the most fun writing or connected with the most?

I’d say Viraaj from Maharaj is one of my favorites. Her cheekiness, rebelliousness, and the way she says her S's really stand out to me. Her humor is so natural and relatable, and I enjoyed working on her character a lot.

From Laapataa Ladies, Manju mai is another favorite. I digged deep in her character, peppering her with native wisdom, humor, and a little bit of cheekiness.  I also loved writing about Gaurav's mother in Loveyapa. She is a pious lady who constantly criticizes the way her kids live their lives online, and I find that very amusing because there's a part of me in her. I’m always telling my son to stop using my phone and go offline. I also really enjoyed writing the characters of Junaid and Khushi. They are both flawed, evolving characters. Their understanding of love, loyalty, and relationships changes throughout the film, and it was beautiful to see their growth. Ashutosh’s character, the father, was fun to write too. He plays a kind of "Narad Muni" role in the story, stirring things up, creating challenges for the younger generation to figure out their relationships. Writing these complex, evolving characters has been so rewarding.

After Loveyapa, what’s next for you? Anything exciting in the pipeline that we should look forward to? Is there anything specific you wish to work on? 

I would really like to write a crime thriller. The intensity, the suspense, and the intricate plotting really engage me as a writer. I also have a strong interest in writing courtroom dramas, as I enjoy creatingmg the tools of tension and conflict in those types of stories. It's a genre that I find both challenging and rewarding.

On the other hand, I’ve written a beautiful classic love story and it’s currently in post-production. It’s a project that I’m really proud of, and I hope it will be announced soon. This is actually going to be my OTT debut this year, which is incredibly exciting for me. In fact, the only platform I haven’t ventured into yet is OTT  I’ve written for plays, television, films, regional films, and even songs, but an OTT series is something I’m still looking forward to. So, I’m definitely looking forward to exploring that space soon.

Have you watched Loveyapa yet? Let us know in the comments below!

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