MAM
Guest Column: Start-up hacks: A cheat sheet for success
With the convergence of technology and media, we are witnessing tremendous activity in the start-up space. From content to distribution to broadcast to affiliate opportunities, there is no dearth of new ideas and their backers. Surprisingly not all of them are covering all their bases to crack the start-up success code.
Having been a part of four start-ups in leadership positions along with all the insights gained through studying hundreds of others, here are 9 ways that help us better understand them and reasons that make them succeed.
1. Start-ups are not smaller versions of large organisations. Bonsai have a different life and game plan as compared to large trees. The two should not be compared and start-ups should not be expected to emulate the large organisation.
2. Start-ups do not adhere to a ‘set’ business plan – in most of the cases the challenge is to find one. As Mike Tyson famously said on his opponent’s pre-fight strategies: everyone has a plan till they get punched in the face. Business Plans are a necessary evil but for a start-up they are nothing more than fictional plans and rarely do they survive their first contact with customers.
3. Customer Plan is much more important than the business plan. This may include customer engagement, customer stickiness, brand advocacy score, net promoter score, etc. “Your most unhappy customers are your greatest source of learning,” said Bill Gates.
4. Data is the new oil. Data undergirds everything. Period.
5. Start-ups need to fail fast, fail often, fail cheap and fail better. Constant experimentation and continuous learning is the name of the game rather than elaborate planning. Start-ups need to keep their persistence levels high. “You don’t learn to walk by following rules. You learn by doing and falling over,” as famously told by Richard Branson.
6. Iteration is the key word for every aspect of the business. Launch and iterate. And again. Everything is changeable except the intent to give one’s best to making it big.
7. Repeatability and scalability are two pivots to search in the early life cycle stage. Investing in growth in stage 0 is almost a sure-shot pre-requisite. Mostly start-ups are dealing with a new concept and/or a habit change. This may initially require selling only on the strength of price (not the brand or anything else) and may call for disproportionate investments and therefore profitability may be a long way off.
8. Turmoil and chaos are integral to the existence of a start-up. Those who cannot stand the heat, need to get out of the kitchen.
9. Lastly as Jeff Bezos said – Entrepreneurs must be willing to be misunderstood for a long time.
The M&E industry as much needs start-ups as the rest of the economy. As research shows, the success quotient can go up if the above factors are kept in mind.
 Piyush Sharma, a global tech, media and entrepreneurial leader, created the successful foray of Zee Entertainment in India and globally under the ‘Living’ brand. The views expressed here are of the writer’s and Indiantelevision.com may not subscribe to them. |
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.
