The trend is being driven by a mix of higher content volumes, faster payments, greater creative freedom, flexibility to write around commercial breaks, opportunities to explore diverse subjects, lower time commitments and the ability to work remotely, writers, producers and senior executives at micro-drama platforms told ET.
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According to estimates by senior executives at micro-drama apps, a micro-drama app in India produces 50-200 hours of content a month, depending on its scale.
At present, there are 40-45 micro-drama apps available for download in India.
This shows the volume of micro-drama content being produced in India.
Generally, key people at micro-drama apps collaborate with production houses to create content.“The micro-drama ecosystem has opened up genuine opportunities for creative professionals, including writers. Most of these professionals previously had a TV background,” said Saurabh Pandey, founder and chief executive of Story TV, a micro-drama streaming app.
The low entry barrier is a key reason why experienced TV writers, and even inexperienced writers, are entering the micro-drama space, writers said.
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“The micro-drama space is quite democratised. There is so much micro-drama content being created today. In my long experience as a writer, for the first time I am seeing such a high demand for writers,” observed veteran television writer Sanjay Bhatia, who wrote the crime television series Encounter and recently ventured into the micro-drama space.
On the lower side, micro-drama writer fees generally range between Rs25,000 and Rs1 lakh per series, senior executives at micro-drama apps said. On the higher side, fees may go up to Rs3–4 lakh per series depending upon a platform and its scale of operation.
Lower time commitment compared with TV and demand for diverse subjects are among key factors that triggered high interest among writers.
“Unlike TV, where TRPs define content preference, in micro-drama, a writer can work on diverse subjects. On average, a micro-drama series is made in 10-15 days, which gives high scope for writers to experiment,” said Shakeb Sayed, a veteran television writer associated with serials such as Saraswatichandra. “Today, a lot of first-time writers are coming into the micro-drama space. In fact, there is a shortage of writers and other creative professionals in the micro-drama space.”
Remote working and faster payments have added to the attractiveness of the segment, writers said.
“Micro-drama has decentralised the way writers work. Today, a writer can be in Indore and write a micro-drama series and earn money. Also, payment is faster in this segment. Unlike TV (45 days), micro-drama writers receive payment in a month or less,” said a writer requesting anonymity.
According to producers, TV experience has helped these writers do well in this space.
“Micro-dramas are creating a major opportunity for fast writers and young creators because the format rewards speed, relatability, storytelling agility, constant cliffhangers, and the ability to keep audiences engaged every 60 seconds,” said Suniel Wadhwa, cofounder and director of film production and distribution company Karmic Films, adding: “Experienced TV writers pull these things off well.”
