Idea Theft in Nollywood: A Screenwriter’s Reality Check By Kolapo Mustapha
Idea Theft in Nollywood: A Screenwriter’s Reality Check By Kolapo Mustapha
In the heart of Nollywood, where storytelling fuels the industry, a troubling reality lurks beneath the surface—idea theft. Many screenwriters, both aspiring and established, have found themselves victims of unscrupulous producers and directors who prey on their creativity. I have lived this experience, and so have many others. Yet, as I reflect on my journey, I have come to realize that the conversation is far more complex than just stolen ideas; it is also about perspective, execution, and the business of filmmaking.
The Harsh Reality: When Your Script Gets Stolen
Years ago, I submitted a spec script to my boss at a film studio. He loved it, but when I left the company to pursue a paid scholarship at one of the best film schools in West Africa, I expected to be compensated as a writer-for-hire. Instead, I was given an excuse—he wasn’t sure the actors could do justice to the script. Months later, I watched the studio release a film, and to my shock, the plot, twists, and major beats were eerily similar to my script. The only differences? Character names, title, and minor tweaks.
In another instance, I sent a spec script to a producer. The producer loved it, but we couldn’t agree on the price. I walked away. To my surprise, a film with a strikingly similar concept emerged—same plot structure, conflicts, and major twists, just with different names and dialogue. Coincidence? Not likely. The idea had been repackaged and given to another writer willing to work for less.
This is the dark side of Nollywood—where producers, in a bid to cut costs, would rather exploit young writers than fairly compensate them. But while the industry certainly has its share of unethical players, there’s another side to the story that screenwriters must understand.
The Delusion of Idea Ownership
A common misconception among screenwriters—one that I too once held—is the belief that our ideas are exclusive to us. The truth? Ideas are universal. Multiple writers can conceive the same concept independently because our inspirations often stem from shared experiences, culture, and exposure.
I have sat in pitch sessions where multiple writers unknowingly pitched nearly identical concepts. I have seen film students from different cities, meeting for the first time, present the same story premise. At festivals, filmmakers were shocked to discover that their supposedly unique films mirrored others. These experiences shattered my earlier notion that my ideas were completely original.
In reality, what makes a script stand out isn’t the idea alone but how well it is executed. Producers receive countless scripts on the same themes—trauma, romance, revenge, social injustice—yet, they pick the ones that offer the best entertainment value and storytelling finesse.
The Business of Filmmaking: Why “Your Idea” Might Not Sell
Many screenwriters fail to see the producer’s perspective. Producers aren’t just looking for great stories; they are making business decisions. A script that is technically sound but lacks market appeal may be passed over for a less-polished script with a stronger commercial hook.
Additionally, most Nollywood producers are self-made, operating without strong guild support. They take financial risks on films, often with little assurance of returns. For them, hiring a screenwriter for ₦200,000 when another writer can execute a similar concept for ₦70,000 is simply a business decision. Is it ethical? Perhaps not. But is it reality? Absolutely.
Why Contracts Are a Luxury for Aspiring Writers
In Hollywood, contracts protect intellectual property. In Nollywood? Not so much. New screenwriters rarely have the luxury of demanding contracts before submitting spec scripts. Most producers refuse to sign NDAs, arguing that they receive too many submissions to legally bind themselves to every pitch. They also read a lot of bad scripts, making them skeptical of formal agreements with unknown writers.
This doesn’t mean aspiring screenwriters should resign themselves to exploitation. It simply means that you must adapt to the industry’s realities while protecting yourself where possible.
The Path Forward: Rise, Evolve, and Keep Writing
Every established Nollywood screenwriter has faced exploitation at some point. The difference? They didn’t quit. They refined their craft, learned the business side of filmmaking, and positioned themselves strategically.
For me, every rejection, every stolen idea, became fuel for growth. I invested in my storytelling skills, studied successful scripts, watched films critically, and learned from seasoned professionals. Instead of wallowing in disappointment, I evolved—and today, I am reaping the benefits of that mindset.
If you are a screenwriter who has experienced idea theft, remember this: Your best scripts are yet to be written. Your stolen idea is just a drop from an endless well of creativity within you. Let setbacks be an incentive to improve, to write better, smarter, and stronger scripts.
And if you truly believe in your script? Don’t stop pitching. Because in Nollywood, for every unethical producer, there are also good ones—producers who value originality and are willing to invest in great storytellers. Find them. They are worth the wait.
Final Thoughts: Execution Over Idea
Idea theft in Nollywood is real, and it’s painful. But while some cases are blatant theft, others are simply the reality of a competitive industry where multiple writers generate similar concepts. The best way to protect yourself is to master execution. Because at the end of the day, the industry doesn’t reward who had the idea first—it rewards who wrote it best
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