MAM
GUEST COLUMN: The changing dynamics of influencer marketing in a digital era
Mumbai: Influencer Marketing has evolved significantly over the past few years. As opposed to 2017, influencer marketing involves much more than finding people with the highest social media followings to promote the products. Today it’s performance and purpose-driven – that needs both art and science.
Influencer marketing is projected to touch 2.85 billion by 2025 growing at a CAGR of eight per cent. Creator economy market size is estimated to reach $104 billion in 2022. The Indian market is becoming fairly regulated as well as digital marketing budgets are growing significantly. Having operated an influencer marketing company for the last four years, I have gathered the following insights and learnings in order to keep up with the rapidly changing dynamics of today’s influencer marketing:
Setting the wrong goal for influencer marketing
Most new marketers who get into influencer marketing sometimes consider it as a conversion play. It’s not. Influencer marketing is a brand awareness play. Obviously, this isn’t the ultimate goal, but if you compare the campaign to getting a return on every dollar spent, no purpose-driven impact will be achieved.
Pursue long-term influencer partnerships
A short-term, one-off social post is a thing of the past. Partnerships that are long-term and authentic are getting more traction right now. Treating influencers as brand ambassadors builds more trust between the brand, the influencer, and their followers. You get better audience engagement, more creative content, and your marketing budget works harder. As an influencer’s audience grows, your brand gets promoted continuously.
Shifting from influencers to content creators
Discovering the 20-30 top influencers is very easy, and brands with good budgets are all in to spend money on them. Basically, you’re treating these influencers like a newspaper or television show or a TV spot between IPL matches, but finding your niche is really important.
Create open-ended briefs with lot of ideas
The most unsuccessful influencer marketing campaigns are those in which brands force their thoughts onto influencers. Although influencers do that for money, the end result is a boring sponsored post on their feed. It’s not about telling the influencer what to do, but about giving them a detailed brief that helps and educates them about the brand. The ideas should be open-ended so that influencers can get something out of them that suits their audience, since not all influencers are great creatives.
Focus on videos. Not always short form videos. Do what suits you
Today, everything is snackable, but don’t we binge a long-form show with 10 episodes? Short forms are great, but it depends on the message you want to convey and what type of influencer you want to reach. It has to be entertaining, if not educational. When someone consumes the content, either of these works well.
Using Influencers in co-creation
Brands such as Zomato and Groww have had great success co-creating with influencers on their own channels. a no-brainer that we are living in 2022, where children these days want to become YouTubers rather than astronauts. Hiring influencers to create content that gets published on your own YouTube channel or Instagram feed gets your audience to consider you cool and progressive.
Purpose driven influencer marketing are on the rise
Today, our favourite influencers are those who stand for something, who just do not talk about how beautiful their life is but provide us with some value that is relevant to ourselves. Brands need to understand this well and keep this in mind while creating their influencer marketing strategy.
Engagement metrics and comments quality dictates success
While doing prospecting, it’s really important that we focus on engagement metrics more than followers. It is very important to inspect the comments on the last sponsored post so that we can ideally get a pattern of how sponsored posts perform on the feed of the influencer. Marketers often focus on the size of the influencer rather than the engagement they have.
Affiliate marketing is abused and misunderstood
Many brands are thinking that sharing revenue will lure influencers to work with them, but if your fundamental idea is that influencers’ audiences buy everything they promote, then that is a wrong assumption. It is the audience that can tell if an influencer is promoting something that generates no value and will instead push the brand down rather than up.
Influencers in the Podcast Industry are going to be popping up more
Audio is a great medium in today’s world because of the passive nature of it. We are all always busy, and influencer marketing in podcasts will be important for brands seeking a more meaningful long-term association with a large listening audience.
LinkedIn is going to be the new home for a lot of content creators
Writing is the next big thing, and LinkedIn as a platform has been really impressing a lot of professionals. It used to be a platform to seek new jobs, but now, along with the story features and great mobile experience, the infotainment content space is really serious on LinkedIn. Brands would ideally like to work with this set of influencers.
Influencer marketing is the greatest invention for the advertising and marketing industry and we are heading towards an interesting decade where videos, NFTs, creator economy tools, etc. are going to change the way we promote our products. Every company will become a media company that creates content of their own and partners more with the creator side of influencer marketing.
The author is Pulpkey founder Amit Mondal.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
