India is stepping into a new frontier of digital storytelling with the arrival of vertical-format drama apps, a space previously dominated by China and the United States. While Indian audiences have long embraced short-video entertainment through platforms like Instagram Reels and YouTube Shorts, the concept of scripted micro-dramas, narrative series told in snappy one- to two-minute episodes, is only now beginning to take shape in the country.
Globally, Chinese apps such as ReelShort and GoodShort have pioneered the format, turning ultra-short episodic dramas into mainstream entertainment. These platforms have not only found millions of users but also attracted brand sponsors, making micro-dramas a thriving advertising medium.
India, previously absent from this niche, has seen over 50 million cumulative app downloads in the past year alone. As per an article from Redseer, the industry saw over 15 apps offering micro-drama, demonstrating the growing demand for the format as of May 2025.
These apps include Quick TV by ShareChat and Moj, ReelSaga, Story TV by the EloElo app, Kuku TV, Pocket TV, Amazon MiniTV, and, more recently, Zee and Bullet. Influencers such as RJ Karishma, Dolly Singh, Prajakta Koli, and RVCJ’s in-house talents, among others, have also shown interest in creating and starring in their own microdramas, which are featured on Instagram.
What sets these vertical drama apps apart is their innovative business models and advertising strategies. Now, Indian startups and media companies are eyeing this model, hoping to replicate and localise its success. From experimenting with vernacular-language narratives to testing advertiser-driven sponsorships, local players are betting that micro-dramas can capture the imagination of Indian viewers.
The larger question, however, is whether India can transform these micro-dramas into more than just a passing trend. Nitin Burman, Group Chief Revenue Officer, Balaji Telefilms, shares that compared to OTT series, microdramas operate on much lower budgets. While a web series typically spans at least six episodes of 30–40 minutes each, a micro drama generally runs only 25–50 minutes in total. This makes them low-cost and high-engagement, especially since audiences are already used to watching short-form content like Instagram Reels and YouTube Shorts. “However, it remains to be seen how long independent micro drama apps that currently charge consumers directly will be able to sustain,” he says.
Saurabh Pandey, Founder and CEO, Story TV by Eloelo Group, explains that microdramas are truly high engagement as users can consume them on the go typically when they are travelling or taking breaks or whenever their schedule permits within a short period of time vs the long time commitment needed to watch a movie or a web series. “Given that microdramas are shot in a shorter period with a focused crew, tighter logistics and a lot of use of Gen AI for dubbing or VFX wherever needed, the cost tends to be more optimised. The quality remains very good because there is time invested in storytelling and some established production houses are working on this,” he adds.
Balancing monetisation between ads, subscriptions and pay-per-episode
With audiences fragmented across free, paid, and ad-supported content, platforms are experimenting with multiple models to sustain growth while keeping users engaged. Shubh Bansal, Co-Founder and CEO, ReelSaga, says the platform has taken a deliberately flexible approach. “We keep it flexible. Ads drive reach, micropayments (Rs 5–15) give instant unlocks, and subscriptions serve power users who want unlimited access,” he states.
According to Bansal, the diversity of consumer behaviour is shaping the platform’s revenue strategy. “Different users choose differently, so the mix balances itself,” pointing out that the multi-layered model allows ReelSaga to cater to both casual viewers and loyal binge-watchers.
Manohar Singh Charan, Co-Founder and CFO, ShareChat, states the company has consciously avoided depending on a single revenue source. “Our monetisation approach balances two complementary revenue streams rather than relying on a single model. This helps cater to the diverse payment preferences across India’s regional markets,” he explains. He highlights the role of QuickTV, ShareChat’s subscription service, in driving predictable revenues. “Subscription through QuickTV targets users who prefer predictable, all-access pricing. With over 10 million downloads, QuickTV operates on quarterly subscription,” he says.
From digital agencies’ perspective
Digital advertising agencies are also beginning to see the format as a high-impact alternative to influencer-led content and long-form OTT shows. Shamsuddin Jasani, Co-founder and CEO, TheBlurr, notes that microdramas provide the best of both worlds: the stickiness of storytelling and the snackability of short-form. “Influencer videos usually lean on personality, while OTT shows demand time and attention. Microdramas sit in between as they deliver a full story arc in 1–2 minutes, keeping attention high and drop-off low,” notes Jasani.
For advertisers, this means higher certainty that the brand message is absorbed by viewers. They also believe that unlike traditional ads or static placements, the challenge lies in weaving products organically into the plot. Russhabh R Thakkar, Founder and CEO, Frodoh, mentions that the key is to make the brand part of the narrative. “Honestly, micro-dramas work best when the brand feels like part of the plot, not just a logo slapped on at the end,” he explains. “When the product shapes the character’s decision, sets the scene, or even becomes a joke, people are cool with it. It doesn’t pull them out of the story.”
Measuring impact, Thakkar says, goes beyond conventional vanity metrics. “ROI here isn’t just about clicks or likes. What counts is did people actually watch to the end? Did they come back for episode two?”
Microdramas fitting into creator economy
These vertical-format scripted series are also gaining traction as both an extension of influencer campaigns and a standalone storytelling medium. Marketers, creators, and platforms alike are betting big on the format’s ability to blend entertainment with brand narratives while also paving the way for scalable intellectual property.
Aditya Gurwara, Co-Founder and Head of Brand Alliance, Qoruz, says creators are already experimenting with this emerging space. “Microdramas are finding their place in the creator economy. In fact, we’re already seeing creators experiment with them on platforms like Instagram and YouTube Shorts. We’ve noticed creators trying to build IPs in this format, and some are even pitching these properties to brands. What started as an extension of influencer marketing is now becoming its own standalone format,” he states.
Gurwara also adds that some brands are even taking the lead themselves, producing microdramas to build deeper engagement on social platforms. From a brand strategy perspective, Ambarish Sengupta, VP - Hypothesis, OML (Only Much Louder), points out that microdramas fill a crucial gap. “Influencer marketing has matured, no longer relegated to merely a top-funnel awareness tool. Instead it delivers across the funnel. Yet, its Achilles’ heel is stickiness. Attention spans may have shrunk, but India’s appetite for stories has not diminished. This is where microdramas step in: the ‘missing middle’ between short-form influencer content and long-term brand narratives,” he says.
The endorsement for scripted microdramas is not limited to platforms. Abhishek Vyas, Founder and CEO, My Haul Store, emphasises their impact on recall. “We are actively recommending our clients to sponsor scripted microdramas. A reel can create a moment, but microdramas create a memory; it’s a narrative story that stays with the audience,” he says. According to Vyas, brands experimenting with 7–8 episode runs are already witnessing deeper connections and engagement.
Adding to this, Sudeep Subash, Co-Founder and CRO - Collective Artists Network, & CEO, Big Bang Social, notes that scripted formats offer brands a more sustained way to weave themselves into storytelling. “While one-off reels are still effective for tactical campaigns, scripted microdramas enable brands to embed themselves into stories that audiences actively return to, creating more organic association,” he adds.
Beyond brand integration, experts also see microdramas evolving into long-term IP plays. Anuj Gosalia, Founder and CEO, Terribly Tiny Tales, remarks that the potential lies in expanding short stories into universes. “The true value of microdramas is not just in momentary engagement, but in IP creation. When a 90-second story captures mass imagination, you have the foundation for a universe and characters that can migrate to books, long-form shows, live events, or even consumer products,” he says.
Drawing parallels to global successes, Gosalia adds that in India, where fandom culture is intense and storytelling is part of the social fabric, microdramas are uniquely positioned to build long-term IP. “The key is to treat them not as disposable content, but as incubators of ideas that can transcend platforms.”
As India’s entertainment ecosystem diversifies, microdramas are rapidly shifting from experimental content to a strategic pillar within the creator economy. By blending creator-led authenticity with scripted storytelling, they offer brands both immediacy and longevity.
.jpg)
