Some context: Vijay Dhondopant Tendulkar was born on 6 January 1928 in Girgaon, Mumbai, Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six. He grew up watching western plays and felt inspired to write plays himself.
Tendulkar began his career writing for newspapers. He had already written a play, Amcyavar Kon Prem Karnar (aamcyaavrr konn prem krnnaar Who will Love us?), and he wrote the play, Grhastha (The Householder), in his early 20s. The latter did not receive much recognition from the audience, and he vowed never to write again.  Breaking the vow, in 1956 he wrote Srimant, which established him as a good writer. Srimant jolted the conservative audience of the times with its radical storyline, wherein an unmarried young woman decides to keep her unborn child while her rich father tries to "buy" her a husband in an attempt to save his social prestige.  Tendulkar's early struggle for survival and living for some time in tenements ("cal/chawls") in Mumbai provided him first-hand experience about the life of urban lower middle class. He thus brought new authenticity to their depiction in Marathi theatre. Tendulkar's writings rapidly changed the storyline of modern Marathi theatre in the 1950s and the 60s, with experimental presentations by theatre groups like Rangayan. Actors in these theatre groups like Shriram Lagoo, Mohan Agashe, and Sulabha Deshpande brought new authenticity and power to Tendulkar's stories while introducing new sensibilities in Marathi theatre.  Tendulkar wrote the play Gidhade (The Vultures) in 1961, but it was not produced until 1970. The play was set in a morally collapsed family structure and explored the theme of violence. In his following creations, Tendulkar explored violence in its various forms: domestic, sexual, communal, and political. Thus, Gidhade proved to be a turning point in Tendulkar's writings with regard to establishment of his own unique writing style.  Based on a 1956 short story, Die Panne ("Traps") by Friedrich Durrenmatt, Tendulkar wrote the play, Santata! Court Calu Ahe ("Silence! The Court Is in Session"). It was presented on the stage for the first time in 1967 and proved as one of his finest works. Satyadev Dubey presented it in movie form in 1971 with Tendulkar's collaboration as the screenplay writer.
who did he write for?
A: 

Some context: Yelberton Abraham Tittle Jr. (October 24, 1926 - October 8, 2017), better known as Y. A. Tittle, was a professional American football quarterback. He played in the National Football League (NFL) for the San Francisco 49ers, New York Giants, and Baltimore Colts, after spending two seasons with the Colts in the All-America Football Conference (AAFC). Known for his competitiveness, leadership, and striking profile, Tittle was the centerpiece of several prolific offenses throughout his seventeen-year professional career from 1948 to 1964. Tittle played college football for Louisiana State University, where he was a two-time All-Southeastern Conference (SEC) quarterback for the LSU Tigers football team.
Tittle threw the ball from a sidearm, almost underhand position, something novel at those times, though it was common practice in earlier decades. It was this seemingly underhand style that drew the curiosity and admiration of many fans. In tandem with his baldness--for which he was frequently referred to as the "Bald Eagle"--he made for a very striking personality. Despite his throwing motion, he had a very strong and accurate arm with a quick release. It was because of his quick release and ability to read defenses that he became one of the best screen passers in the NFL. He was a perfectionist and highly competitive, and he expected the same of his teammates. He possessed rare leadership and game-planning skills, and played with great enthusiasm even in his later years. "Tittle has the attitude of a high school kid, with the brain of a computer," said Giants teammate Frank Gifford. Baltimore Colts halfback Lenny Moore, when asked in 1963 to compare Tittle and Colts quarterback Johnny Unitas, said:  I played with Tittle in the Pro Bowl two years ago, and I discovered he's quite a guy ... He and John, however, are entirely different types ... Tittle is a sort of 'con man' with his players ... he comes into a huddle and 'suggests' that maybe this or that will work on account of something he saw happen on a previous play ... The way he puts it, you're convinced it's a good idea and maybe it will work. John, now, he's a take-charge guy ... He tells you what the other guy's going to do, what he's going to do, and what he wants you to do.  Tittle's most productive years came when he was well beyond his athletic prime. On his ability to improve with age, he credited a feel for the game that came from his years of experience in the league. "If you could learn it by studying movies, a good smart college quarterback could learn all you've got to learn in three weeks and then come in and be as good as the old heads," he told Sports Illustrated in 1963. "But they can't."
what was his biggest accomplishment?
A:
It was because of his quick release and ability to read defenses that he became one of the best screen passers in the NFL.