iWorld
Create, engage, repeat: The new era of audience connection
Mumbai: In a world inundated with content, standing out requires more than just creativity; it demands genuine engagement. India has emerged as a global hub for content creation and consumption, boasting over 80 million creators, including influencers, bloggers, YouTubers and podcasters. This dynamic ecosystem is fueled by more than 500 million active social media users, driving an explosion of user-generated content across platforms. However, in a landscape where YouTube alone sees 400 hours of content uploaded every minute, the real challenge is ensuring meaningful engagement.
With the shift in the digital ecosystem, today the social media platforms have a thriving creator ecosystem tuned to enhance storytelling for maximum reach. The rise of hyperlocal micro-influencers has ushered in a new era of highly targeted brand marketing, allowing brands to connect with niche audiences like never before. To truly stand out and build an engaging narrative, creators must prioritize authenticity, craft impactful storytelling and explore new platforms and strategies.
Radio offers immense potential as a platform for influencer marketing. With its deep-rooted connection to listeners and its unique ability to create intimacy through storytelling, radio can seamlessly integrate influencers into its programming. When influencers share personal anecdotes, recommendations, or brand experiences in an authentic, conversational style, the result is campaigns that feel more genuine and relatable. Additionally, with the growing popularity of podcasts and online radio streaming, influencers have even more opportunities to engage with targeted audiences in a dynamic and interactive way.
Another strategic approach that sees rapid growth is cohort marketing, that allows brands to connect with segmented audience groups based on shared interests, behaviors, or demographics. This approach helps brands focus on their value proposition for each group, offering targeted tools and enablement to enhance audience engagement. For instance, beauty brands can target the listeners by focusing on topics like skincare and makeup, using influencers to deliver tailored content for each theme. This approach creates campaigns that deeply resonate with listeners, driving higher engagement and fostering long-term brand loyalty.
Creators are more than just content producers; they are key partners and revenue drivers. Cohort marketing empowers influencers with essential support, recognition and tools to amplify their influence, positioning them as vital contributors to a brand’s success. This approach enhances their ability to effectively reach audiences and create a lasting impact. By investing in creators and recognizing their value, brands can strengthen relationships with both their audiences and the creators. Utilising cohort marketing allows brands to discover new ways to reach their target market, delivering personalized content that fosters deeper engagement, builds loyalty and drives success in today’s competitive media landscape.
At Big Fm, we’ve amplified the potential of radio by integrating micro, macro and nano influencers into our campaigns, effectively bridging traditional broadcasting with digital interaction. By leveraging social media and digital platforms, we connect with diverse audiences across all age groups, merging the authenticity of radio with the reach and relatability of influencer marketing. This synergy enables us to craft campaigns that resonate on a personal level while making a lasting impact, reaffirming radio’s relevance as a dynamic and influential medium.
eNews
How short, addictive story videos quietly colonised the Indian smartphone
A landmark Meta-Ormax study of 2,000 viewers reveals a format that is growing fast, paying slowly and consumed almost entirely in secret
CALIFORNIA, MUMBAI: India has a new entertainment habit, and it arrived without anyone really noticing. Micro dramas, those short, cliffhanger-driven episodic stories built for the smartphone screen, have quietly embedded themselves into the daily routines of millions of Indians, discovered not by design but by algorithmic accident, watched not in living rooms but in bedrooms, on commutes and in the five minutes before sleep.
That, in essence, is the finding of a sweeping new audience study released by Meta and media insights firm Ormax Media at Meta’s inaugural Marketing Summit: Micro-Drama Edition. Titled “Micro Dramas: The India Story” and based on 2,000 personal interviews and 50 depth interviews conducted between November 2025 and January 2026 across 14 states, it is the most comprehensive study of the category in India to date, and its findings are striking.
Sixty-five per cent of viewers discovered micro dramas within the last year. Of those, 89 per cent stumbled upon the format through social media feeds, primarily Instagram and Facebook, without ever searching for it. The algorithm did the heavy lifting. Discovery, as the report puts it bluntly, is algorithm-led, not intent-led.
The typical viewer journey begins with accidental exposure while scrolling, moves through a cliffhanger-driven incompletion hook that makes stopping feel unfinished, and is reinforced by algorithmic repetition until habitual consumption sets in. Only then, when a platform asks for an app download or a payment, does the viewer pause. Trust, not content quality, determines what happens next, and many simply return to the free feed rather than pay. It is a funnel with a wide mouth and a narrow neck.
The numbers on consumption tell their own story. Viewers spend a median of 3.5 hours per week watching micro dramas, spread across seven to eight sessions of roughly 30 minutes each, peaking sharply between 8pm and midnight. Daytime viewing is snackable and low-commitment, squeezed into morning commutes, work breaks and coffee pauses. Night-time is where the format truly lives: private, uninterrupted and, for many viewers, socially invisible. Ninety per cent watch alone, compared to just 43 per cent for long-form OTT content. Half the audience watches during their commute, well above the 37 per cent figure for streaming platforms, a direct reflection of the format’s low time investment advantage.
The audience itself breaks into three segments. Incidental viewers, comprising 39 per cent of the total, are passive consumers who stumble in and rarely seek content actively. Intent-building viewers, the largest group at 43 per cent, are beginning to form habits and seek out episodes but remain cautious. High-intent viewers, just 18 per cent, are the ones who download apps, tolerate ads and occasionally pay: skewing male, younger and urban.
What audiences want from the content is revealing. The top three genres are romance at 72 per cent, family drama at 64 per cent and comedy at 63 per cent, precisely the same top three as Hindi general entertainment television. The format rewards emotional familiarity over complexity. Romance in particular thrives because it demands low cognitive investment, needs no elaborate world-building and plays naturally into the private, pre-sleep viewing window where inhibitions lower and emotional intimacy feels safe.
The most-recalled shows, led by Kuku TV titles such as The Lady Boss Returns, The Billionaire Husband and Kiss My Luck, share a common narrative DNA: rich-poor conflict, hidden identities, power imbalances, melodrama and cliffhangers that make stopping feel physically uncomfortable. Predictability, the research warns, is fatal. Each episode must re-earn attention from scratch.
The terminology question is telling. Despite the industry’s embrace of the phrase “micro drama,” viewers have not adopted it. They call the content “short story videos,” “short dramas,” “reels with stories” or simply “serials.” One respondent from Chennai said bluntly that “micro sounds like a scientific word.” The category is at the stage that OTT occupied in 2019 and podcasts in the same year: widely consumed, poorly named and not yet crystallised in the public imagination.
Platform awareness remains alarmingly thin. Only three platforms, Kuku TV at 78 per cent, Story TV at 46 per cent and Quick TV at 28 per cent, have crossed the 20 per cent awareness threshold. The rest languish in single digits. This creates a trust deficit that directly throttles monetisation: viewers who cannot remember which app they used are hardly primed to enter their payment details.
Yet the appetite is clearly there. Sixty-five per cent of viewers watch only Indian content, drawn by the TV-serial familiarity of the storytelling, the comfort of Hindi as a shared language and the sight of actors they half-recognise from decades of television. South languages are rising fast: Tamil, Telugu and Kannada together account for 24 per cent of first-choice viewing. And AI-generated content, still a novelty, has landed better than expected: 47 per cent of viewers call it creative and unique, with only 6 per cent actively rejecting it.
Shweta Bajpai, director, media and entertainment (India) at Meta, called micro drama “a category that is rewriting the rules of Indian entertainment,” adding that the discovery engine being social distinguishes this wave from previous content formats. Shailesh Kapoor, founder and chief executive of Ormax Media, was characteristically measured: the format, he said, is showing “the early signs of becoming a distinct content category” and, given how closely it aligns with natural mobile behaviour, “has the potential to scale very quickly.”
The format’s fundamental mechanics are working. It enters lives quietly, through boredom and a scrolling thumb, and burrows in through incompletion and habit. The challenge now is monetisation: converting a category of highly engaged but deeply anonymous viewers into paying customers who trust the platform enough to hand over their UPI credentials. The story, as any micro-drama writer knows, is only as good as the next cliffhanger. India’s platforms had better have one ready.
