iWorld
IAMAI’s India Affiliate Summit gets underway on 25 Aug
Mumbai: The Internet and Mobile Association of India (IAMAI) is organising the seventh edition of India Affiliate Summit (IAS) on 25 August. The event will witness about 3,000 delegates from different spheres of the affiliate marketing industry including online publishers, bloggers, traffic sources, retailers, networks, and technology firms. Over 700 global companies and 50 exhibitors will converge at the conference.
Among the key speakers will be vCommission, CEO, Parul Bhargava; Craig Campbell SEO, SEO trainer and consultant, Craig Campbell; Bright Leads Media, founder, Hassan Aanbar; Acceleration Partners, founder and CEO, Robert Glazer; Cashkaro, co-founder, Rohan Bhargava; Ferns N Petals, head – digital marketing, Sai Tota; Max Life Insurance, CVP – e-commerce and digital marketing Aditya Satpute; HDFC Bank, VP and head- digital, content and social media marketing, Jahid Ahmed; Godrej Consumer Products, VP and head – digital, Pankaj Parihar; and Lendinkart, director – marketing, Nijish Nair.
Some of the key topics of discussion at the summit will include ‘How to build a multi-million-pound affiliate empire?’, ‘Is performance marketing a win-win deal or has a flip side?’, ‘Growing role of affiliate marketing in fintech domain’, ‘How are influencers changing the affiliate marketing fame?’, ‘Implementing affiliate marketing in mobile gaming’, and ‘GenZ, the social media generation – vital audience for affiliates’.
According to reports, affiliate marketing continues to grow at 10 per cent year-on-year, thanks to the boom in online. Today, most of the brands and online marketplaces are partnering with the affiliates as they increase their bandwidth in the business of gaining more customers.
One of the keynote speakers, Parul Bhargava said, “India Affiliate Summit is an event very close to my heart – being the only affiliate/performance-centric event in the country. The event historically has experienced great brainstorming and networking by and with stalwarts of affiliates from our country who contribute to the global industry. Since the pandemic restricted our travels, it’s amazing to see how IAMAI is working so hard to ensure the affiliate industry comes together virtually every year with great insights on how affiliate trends are emerging.”
“Indian e-commerce has seen massive growth and a shift in consumer behaviour over the last two years,” said Rohan Bhargava. “With D2C brands gaining popularity, CashKaro and EarnKaro have witnessed the same trends in sales and high ROI we drive for our partners like MamaEarth, MCaffeine and Ustraa. Cashback, rewards and affiliate programs are definitely the place to be right now for real results. I am really excited to explore this further with other players in the space at the India Affiliate Summit.”
“Having the second-largest e-commerce market in the world and with digital shoppers increasing, India has seen immense growth in affiliate marketing in the last one-and-a-half year,” Admitad Affiliate India’s country manager, Neha Kulwal remarked. “With inventories like content sites, influencers, loyalty partners being capitalised by brands via affiliate marketing, it is imperative for brands to launch their affiliate programs to maximise growth. In line with e-commerce, other sectors such as fintech, online education, and many more have added affiliate channels into their advertising mix.”
“Affiliate marketing has become an integral part of our growth strategy and the event is a great platform to discuss ideas and best practices. The affiliate ecosystem in India is still at a nascent stage. As the ecosystem matures, media tie-ups could transform into strategic win-win business partnerships in the future,” added Aditya Satpute.
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.
