Published September 19, 2025
1
Attention Addiction
It was a Sunday morning, and I couldn’t stop watching. Not Netflix, not YouTube—but a microdrama about a wronged executive’s revenge arc against her corporate rivals. Each episode lasted barely 60 seconds, shot entirely in vertical format, yet I’d just binged 30 episodes straight. The plot was outrageous, the twists relentless, and the cliffhangers criminal. As episode 31 loaded, a thought struck me with the force of revelation: why is B2B marketing still boring when THIS exists?
What gripped me about microdramas wasn’t just their addictive nature—it was their surgical precision in hijacking attention. These aren’t prestige productions; they’re emotion-delivery mechanisms optimised for the scroll generation. Every second counts. Every frame serves the story. No establishment shots, no lengthy exposition, just pure narrative momentum. They’ve cracked the code of mobile-first storytelling: vertical format, bite-sized episodes, cliffhangers that make “just one more” inevitable, and stories that understand their audience’s guilty pleasures. In China, this format generates billions in revenue. People pay to unlock episodes. They PAY. For vertical videos. Let that sink in.
Meanwhile, B2B marketing remains trapped in 2010. We’re still pushing whitepapers that nobody reads, hosting webinars with 60% drop-off rates, and creating “thought leadership” content that neither leads nor provokes thought. Our idea of innovation is adding animated charts to our PowerPoints. We treat our buyers—who binge “Succession” and doom-scroll TikTok like everyone else—as if they transform into emotionless robots the moment they enter work mode. The result? A sea of forgettable campaigns, indistinguishable brands, and marketing messages that sound like they were written by the same ChatGPT prompt.
But imagine applying microdrama’s addictive format to B2B storytelling. Instead of case studies, we create character-driven narratives. Instead of feature lists, we show transformation arcs. Instead of “scheduling a demo,” viewers binge their way to understanding. The enterprise software purchase journey becomes must-watch content.
Picture this: Netcore marketing its AI Agents through a microdrama series called “The Chaos Department.” Episode 1 opens with Tina, a marketing manager, discovering her entire email campaign just went to spam. 60 seconds of pure panic, ending with a mysterious message: “Your AI could have prevented this.” Episode 2: flashback to how it happened. Episode 3: enter the AI Agent, but there’s a catch—the CEO thinks it’s too expensive. By episode 10, viewers aren’t just invested in the product; they’re invested in Tina’s redemption arc. They’re rooting for her to prove the ROI, defeat the skeptical CFO, and transform her department. The product education happens through drama, not documentation.
This isn’t about making B2B marketing “fun.” It’s about recognising that our buyers’ brains don’t suddenly switch off their engagement circuits at 9 am. The same psychological triggers that make them watch “just one more” episode at midnight can make them genuinely excited about enterprise software.
Could microdramas be the breakthrough format for B2B storytelling – and selling?
2
Commentary – 1
Indian Express: “These bite-sized, reel-style episodes fit neatly into the empty slots of the day — the lull of a commute, the pause for chai, the final moments before sleep. Platforms call this “micro-bingeing”: five, even 10 episodes, consumed in one sitting, with two or three such stints a day. Unlike a meme or a one-off viral clip, these serials are built for continuity with returning characters, slow-burn reveals, emotional payoffs. After wild successes in China and the US, these vertical dramas are now sweeping into India, with an estimated 50 million viewers spread across scores of platforms. China, with over 576 million microdrama viewers, according to the China Daily, is the market leader, producing more than 3,000 online micro-dramas in 2023.”
The Telegraph: “Exaggerated acting coupled with constant twists in plots packed with giggles and sizzles, “vertical dramas” are making the most of smartphone screen real estate in India after captivating viewers in the US and China. Having originated in China where they are called Duanju, these serialised 1-3 minute microdramas take up the smartphone’s portrait orientation and are intended to be watched in short spurts. They offer what Netflix or Amazon Prime can’t… “It begins with an opening image and ends with a hook — you’re predestined to go to the next episode”, says Alii Khan, founder of Prachand Entertainment.”
The Print: “[Micro dramas are] the espresso shots of entertainment—bite-sized, vertical video series, 1-2 minutes per episode, made for your phone and packed with high-speed plots, wild twists, and addictive cliffhangers. The micro drama industry, which started as a Chinese obsession, has a global appeal today. It has gained popularity in the US. The format follows a common recipe: romance, revenge, cliche characters and predictable storyline. It’s like a movie chopped up into 60-second videos — for a mobile-first audience which is already addicted to TikTok and Instagram.”
Business Standard: “Shock, terror, disappointment, redemption, joy, achievement… How many emotions can you pack into two minutes? Turns out, many. That’s the trick to making binge-worthy micro dramas — fictional shows of 2- to 3-minute episodes. Each one of the 30-50 episodes has to end on a cliffhanger — or “the consumer can leave you. His finger is just one centimetre away from the screen,” says Vinod Kumar Meena, cofounder, KuKu FM… Go through any of the hundreds of micro dramas, such as Rented Husband, Love Potion, or I Wish it Were You, and it is evident that they are not about subtlety, quality of talent, or writing. They are cheap, snacky programming to go. “There are moments in the day when consumers are looking for short, thumb-scrolling kind of content,” says Amogh Dusad, director and head of content, Amazon MX Player. “The same consumer who binge-watches series on weeknights may be watching micro dramas in the daytime.”…“You see them so fast that you don’t know how much you have consumed,” adds Sameer Mody, founder and managing director, Pocket Films.”
Mint: “Manisha, a 37-year-old domestic worker, boards a local train every morning from Sion to Dadar in Mumbai—her short 10-minute ride serving as a sanctuary removed from the humdrum and chaos of the day. Like many urban Indians, her wait time is also her watch time. On her smartphone screen, between jostling elbows and station stops, she watches short-form videos—sometimes a quick reel, sometimes a bite-sized soap opera on YouTube. While Reels and Shorts dominate screen time during commutes and idle moments, the human pull towards compelling stories remains strong. “These few minutes are mine, I don’t have time for full shows,” said Manisha. This behaviour—short bursts of downtime spent snacking content—is precisely what a new wave of Indian startups is trying to tap into. Micro-dramas, 2 to 3-minute serialized episodes packed with plot twists and emotional payoffs, are vying for eyeballs that would otherwise be doomscrolling through Instagram Reels or YouTube Shorts…Says Kushal Singhal, founder of Flick TV, “Storytelling was missing in snackable time. Everyone was consuming reels and shorts, but they weren’t remembering them.”… Even as platforms fight for seconds of screen time, the goal remains simple: deliver emotional payoff in the least amount of time possible.”
Inquirer.net: “Micro dramas [and] their cliffhanger storylines are often accompanied by comically evil antagonists that you simply want to see fail. And partner that with an easy-to-watch format, optional payment options, and no-pay unlockable content, it’s plain to see how micro dramas are carving out their own niche. They may not replace quality produced films and shows, but they’ve certainly found the key to making money.”
3
Commentary – 2
NYTimes: “Shot vertically for viewing on phones, micro dramas are soapy, scripted and serialized — video romance novels for the TikTok era. Shows available on ReelShort, a Chinese-backed app, have titles like “Selling My Virginity to the Mafia King” and “Pregnant by My Ex’s Professor Dad.” Production costs are minuscule by Hollywood standards, with Chinese companies spending as little as $15,000 for an entire season, analysts say. Episodes are a minute (or three) in length. Seasons stretch from 30 to 150 episodes.”
Washington Post: “Vertical streaming apps are beating Netflix, Hulu and Paramount+ in user growth by peddling series like “Secret Surrogate to the Mafia King”…to audiences in the hundreds of millions. They trade in the same kind of personal dramas as traditional soap operas but the production companies behind these series borrow from successful YouTubers and TikTokers, drawing on engagement metrics to home in on what keeps people watching: sensational plots, over-the-top acting and sexy power dynamics. As viewers flock to these apps while traditional streaming companies grapple with retaining subscribers, entertainment industry players are preparing for a sea change: The future is vertical, optimized for short attention spans…Many fans discover the shorts on TikTok or Facebook, where streaming companies post clips or trailers. The snippets rely on shock value, showing the most outrageous moments from various mini-episodes in hopes viewers’ curiosity will lure them off-platform to download and pay for a streaming app.”
NPR: “The libraries of micro drama apps like ReelShort, FlickReels and DramaBox contain hundreds of series chopped up into 60-second-long parts, set to play one after the next, continuously. Perfect for the short attention spans of social media users…While the first few episodes are typically free to watch, once you want to see more, you’ll have to pay up — purchasing coins or passes from the apps to access additional content. That costs viewers $10 to $20 a week or up to $80 a month. Instead of investing in A-list stars or blockbuster franchises, the companies behind these apps bank on little-known actors, tight budgets and accelerated production timelines to churn out content drawing in millions of viewers and dollars.”
ConsumeOurInternet: “Although it would be tempting to suggest that the dialogue and storylines are written by AI, I very much doubt it. Contrary to popular opinion, it is not easy for a AI to write retentive, low-brow content. In other words, ReelShort’s variety of slop is unmistakably human. Some have compared ReelShort to Quibi, as they are both vertical, shortform, storyline-based consumer apps. But in reality, they are polar opposites. Quibi was about high production value content, with proven stars, expensive sets, and low-volume. ReelShort is about cheap-to-film content, with amateur actors, cheap sets, and high volume, and a seemingly unending pool of similar stories to test against audiences. Basically, ReelShort is the final boss of the age of slop.”
ReelShort CEO Joey Jia: “We’re creating a very different type of format of stories. We see so many good stories, but there’s zero ability to attract traffic, nobody is interested. So we have to build a story with a very strong capability to attract traffic, people. More precisely once we put this clip on Facebook, people watch it. In no time they download, decide to make a paid purchase. So that is called “impulse purchases content.” We call them new media stories… I believe vertical video content will become a primary entertainment content absorption channel and it will have a major content distribution platform focused on vertical.”
The Hindu: “How did creators and producers discover the potential of micro-dramas? It all began with data. After the initial streaming boom between 2013 and 2016, platforms took a step back to analyse vast amounts of viewer data collected over the years. They asked: what are people watching during the day, at night, during commutes, or just before bedtime? At what exact moment were viewers tuning out? How long do typical binge-watching sessions last? What’s the maximum episode length before viewership starts to drop? This treasure trove of data allowed streamers to come to certain ‘organic’ conclusions about our collective viewing habits, paving the way for the current wave of micro-dramas…Like any disruption to an established ecosystem, micro-dramas come with both benefits and drawbacks. On the positive side, they offer a valuable crash course for emerging actors, directors, and crew members. They learn to shoot quickly and efficiently — often on shoestring budgets — since elaborate sets aren’t necessary when even the sofa the character sits on is barely visible. The rate at which smartphone cameras have advanced has helped the micro-drama thrive. Editing also becomes especially crucial in this format, providing young editors with a unique opportunity to hone their skills. However, the downsides are equally apparent. Aside from a few notable exceptions, many micro-dramas suffer from amateurish execution. The acting is over the top, the editing is frenetic to the point of being a seizure-risk, and the overall tone sometimes resembles adults trying to watch cartoons with a straight face.”
4
Why They Work
I asked the AIs to enumerate the reasons for the success of microdramas – and how to apply these for B2B marketing.
The explosion of microdramas isn’t accidental—it’s the inevitable result of mobile technology colliding with human psychology. Understanding why millions pay to unlock the next 60-second episode reveals exactly what B2B marketing has been missing.
- The Snackable Content Revolution: We don’t have shorter attention spans; we have higher standards for what deserves our attention. Microdramas respect the reality of modern content consumption—that we’re watching during commutes, coffee breaks, and those three minutes before the next Zoom call. Each episode is perfectly sized for what researchers call “interstitial moments”—the gaps between tasks where traditional content doesn’t fit. They’ve turned dead time into drama time. For B2B marketers, this means your buyer can consume your entire story arc during their daily routine, not despite their busy schedule but because of it.
- Emotional Compression Technology: Microdramas have cracked the code of emotional efficiency. In 60 seconds, they deliver the same emotional payload that traditional shows spread across 45 minutes—betrayal, triumph, romance, revenge—all concentrated into pure narrative intensity. Neuroscience confirms that emotions drive both memory formation and sharing behaviour. When every second must earn its keep, there’s no room for filler. This emotional density creates what psychologists call “affective resonance”—viewers don’t just watch, they feel. For B2B, this means stopping the rational feature-comparison game and starting the emotional transformation story.
- The Relatability Engine: Unlike prestige TV with its extraordinary characters in exceptional situations, microdramas thrive on “ordinary life with a twist.” The office drama, the family business crisis, the startup struggle—these aren’t fantasies but heightened versions of viewers’ daily reality. Characters mirror real struggles with just enough dramatisation to be entertaining. This relatability, especially when delivered in regional languages and cultural contexts, creates parasocial bonds in record time. Your B2B audience doesn’t need to see themselves in a Fortune 500 CEO—they need to see themselves in that middle manager fighting for budget approval.
- The Cliffhanger Loop Architecture: Microdramas weaponise the Zeigarnik effect—our brain’s inability to let go of unfinished tasks. Every episode ends mid-crisis, creating what researchers call “cognitive itch” that demands scratching. But unlike traditional TV where you wait a week for resolution, the next episode is one thumb-tap away. This creates a dopamine-driven consumption loop: tension → resolution → new tension, cycling every 60 seconds. The autoplay feature isn’t a convenience; it’s a carefully designed addiction mechanism. For B2B storytelling, this means every piece of content must earn the next click, not assume it.
- The Democratised Production Revolution: High-end production value has become optional. Shot on phones, edited with AI, distributed directly to platforms—microdramas prove that story beats studio. This low barrier to entry means creators can test, iterate, and scale rapidly. Regional creators produce culturally specific content without Hollywood budgets. New monetisation models—micropayments, freemium episodes, sponsored storylines—make the economics work at any scale. For B2B marketers, this means you can start creating your serial narrative tomorrow, not after six months of production planning.
**
Microdramas work because they compress emotion, relatability, and suspense into short bursts that match how people consume media today. They’re honest about the transaction. They promise quick emotional hits and deliver exactly that. No pretence of prestige, no padding for respectability—just pure, efficient storytelling optimised for how we actually consume content. While B2B marketing keeps pretending buyers want “educational content,” microdramas prove what they really want: to feel something, quickly, repeatedly, and without guilt.
5
The Playbook
Transforming B2B marketing into microdrama requires more than just shorter videos—it demands a fundamental rethink of how companies structure narratives, deliver value, and measure success. If microdramas can make millions pay to unlock stories about mafia kings and revenge plots, imagine what they could do for enterprise software. Here’s a tactical guide (written with AI inputs) to creating corporate content that viewers actually crave.
Start with Conflict, Not Capabilities
Every great drama begins with tension, and B2B has no shortage of it. Buyers face daily crises: missed KPIs, clashing with the CFO, broken tech stacks, spiralling customer churn, campaigns that suddenly flatline. These aren’t abstract pain points—they’re lived experiences that keep audiences awake at night.
Traditional B2B content leads with features. Microdramas lead with crisis. The first episode shouldn’t introduce a solution—it should introduce a problem so visceral that viewers feel it in their chest. Instead of a case study stating “AdWaste costs $500 billion annually,” open with a CMO sweating through a board meeting as the CEO questions why revenue is flat despite doubled ad spend. Marketers have 5 seconds to make viewers care, and “Our platform leverages AI” isn’t going to cut it. But “Tina just discovered that one of her biggest customers is likely to churn. She has 72 hours to fix what went wrong”—that’s a hook.
Cast Characters, Not Personas
Forget the polished executives in glass offices. Microdramas thrive on archetypes that mirror buyers’ reality: the ambitious marketer fighting for budget, the skeptical CFO who’s seen every vendor promise, the overburdened IT head juggling seventeen “urgent” requests, the visionary CEO who needs results yesterday.
These aren’t personas on a slide deck—they’re protagonists in a story. Cast for relatability, not aspiration. The audience consists of middle managers drowning in spreadsheets, team leads trying to prove their worth, analysts fighting to be heard. When viewers see themselves—harried, human, occasionally making mistakes—they’ll see the solution as theirs too. The power isn’t in showing perfection; it’s in showing struggle that resolves into success.
Engineer the Episodic Architecture
B2B marketing typically produces isolated assets—one webinar here, one infographic there. Microdramas demand commitment to serialisation. Companies should map their customer journey to classic story beats:
- Discovery becomes “The Inciting Incident”
- Evaluation becomes “Rising Action”
- Implementation becomes “The Dark Night of the Soul”
- Success becomes “The Triumph”
Each episode must advance the plot with cliffhangers that demand the next click. Episode 1: The campaign collapses. Episode 2: The root cause emerges. Episode 3: A solution appears, but internal politics block it. Episode 4: The competitor’s price is 40% lower. Episode 5: The integration breaks during the demo. By Episode 6, the product enters—not as a sales pitch, but as the natural turning point in the protagonist’s redemption arc.
Every episode must end with an open loop. Not just “what happens next?” but “how will they solve THIS?” The cliffhanger creates engagement; the resolution creates education. Viewers learn about products by watching characters use them under pressure.
Balance Entertainment with Education
Microdramas cannot become mini soap operas detached from products, but neither can they be product demos with plot. The trick is narrative osmosis—viewers learn through story, not lecture.
A marketer overwhelmed by churn gradually discovers that retention beats endless acquisition. A CFO rejecting new software eventually grasps the ROI of outcome-based pricing. The data migration that fails at 2 am gets rescued by a feature that’s never had proper showcase opportunity. Done right, products become the enabler of resolution, not the hero itself. The viewer isn’t just entertained; they’re unconsciously absorbing value propositions.
Distribute Where They Already Scroll
Don’t build a destination; infiltrate their routine. Buyers are already doom-scrolling—meet them there:
- LinkedIn’s video feed during morning coffee (professional anxiety plays well here)
- YouTube Shorts during lunch (quick wins resonate)
- Instagram Reels during the commute (transformation stories thrive)
- WhatsApp for account-based marketing (custom arcs for specific prospects)
Each platform has its own grammar. Companies should adapt episodes to platform psychology, not just specifications. For ABM, imagine creating custom storylines tailored to specific industries, delivered directly into curated prospect journeys. Instead of a cold email with an attachment, buyers receive Episode 1 of a series that mirrors their exact situation.
Measure Emotion, Not Just Engagement
Traditional B2B metrics miss the point. Companies aren’t just tracking views but emotional investment:
- Completion rates per episode (are they hooked?)
- Binge depth (how many episodes in one sitting?)
- Unlock rates (which episode triggers payment/registration?)
- Share moments (when does story interest become advocacy?)
- Narrative conversion (when viewers search for products unprompted)
Track the inflection point where story interest transforms into product interest. The magic happens when someone searches for a solution after Episode 8, not because it was pitched, but because they need to know if Tina saves her department. Over time, companies can correlate these emotional metrics with pipeline acceleration and deal influence.
Start Scrappy, Scale Smart
The beauty of microdramas is their democratic production model. Companies don’t need Hollywood budgets—they need authentic tension and genuine resolution. A season can be shot on smartphones, edited with AI tools, and launched within weeks.
Start with a 5-episode pilot around one high-stakes buyer pain point. Use actual offices. Cast from teams or local theatre groups. Test with existing audiences. Gather feedback on characters and conflicts. Iterate based on completion rates, not production values. Just as consumer creators thrive on rapid iteration, B2B marketers can test and scale quickly.
Remember: viewers forgave “The Blair Witch Project” because the story worked. They’ll forgive iPhone cinematography if the drama resonates.
The Philosophy Shift
This isn’t just about shorter content or vertical video. It’s about recognising that B2B buyers don’t transform into emotionless robots at 9 am. They’re binging “Succession” at night and corporate content in the morning—why should one be thrilling and the other tedious?
Stop asking “How do we explain our product?” Start asking “What story does our product enable?” Every feature isn’t a bullet point; it’s a plot device. An ROI calculator isn’t a tool; it’s the weapon a protagonist uses to convince the CFO in Episode 7.
The shift from B2B marketing to B2B drama is philosophical: companies aren’t just competing for attention against other B2B content. They’re competing against every piece of entertainment on buyers’ phones. And right now, somewhere, an ideal customer is doom-scrolling through lunch, desperately hoping for something—anything—more interesting than another whitepaper.
Time to give them a reason to stop scrolling and start binging.
6
Example – 1
I asked Claude and ChatGPT to create a 10-episode script to show how Ria’s life changes as A1 Books introduces her BrandTwin. Maya is the CMO of A1 Books.
Claude
THE TWIN REVOLUTION
A Microdrama Series by Netcore’s Twin Factory
EPISODE 1: “The Breaking Point”
60 seconds
FADE IN: RIA’S APARTMENT – NIGHT
Ria hunches over her laptop, 47 browser tabs open. Her coffee’s gone cold. Clock shows 11:47 PM.
RIA (frustrated): Come on… just one good book recommendation…
Her email pings. “EXCLUSIVE SALE! Summer dresses 50% off!” She groans. It’s December.
Another ping. WhatsApp from A1 Books: “You might like these bestsellers!” Shows books she bought three months ago.
RIA (to herself): In a bookstore, someone would actually help me. Online? I’m invisible.
She closes the laptop in defeat. Her phone buzzes with yet another generic “Dear Valued Customer” message.
RIA: I’m done with this.
She hits UNSUBSCRIBE on A1 Books’ emails.
CUT TO: A1 BOOKS HEADQUARTERS – SAME TIME
An alert flashes on a dashboard: “HIGH-VALUE CUSTOMER CHURN RISK: RIA SHARMA”
MAYA (CMO, worried): We’re losing her. And thousands like her.
FADE TO BLACK
TEXT ON SCREEN: “What if marketing actually understood you?”
EPISODE 2: “The Proposition”
60 seconds
MAYA’S OFFICE – DAY
Maya faces her CEO, charts showing declining retention rates behind her.
CEO: We’re spending ₹20 million on reacquisition. Customers leave after one purchase. This is unsustainable.
MAYA: What if we stopped marketing to them and started marketing for them?
CEO (sceptical): Meaning?
MAYA: Netcore’s Twin Factory. They create intelligent advocates for each customer. Not segments. Individuals.
CEO: Cost?
MAYA: ₹10 per customer per month. But here’s the thing—
She pulls up Ria’s profile.
MAYA: This customer spent ₹300 once and left. With a Twin, she’d spend ₹1500 annually. The maths is proven.
CEO: And if it fails?
MAYA: We’re already failing. We’re losing 62% of customers after first purchase.
Long pause.
CEO: Start with 10,000 customers. If it works…
MAYA: It’ll change everything.
FADE TO BLACK
TEXT ON SCREEN: “The revolution begins with one.”
EPISODE 3: “First Contact”
60 seconds
RIA’S APARTMENT – MORNING
Ria’s phone shows a different kind of message from A1 Books.
MESSAGE: “Hi Ria. We’re trying something new. Instead of guessing what you want, we’d like to actually learn. Would you like your own BrandTwin—an AI that advocates for YOU, not us?”
Ria hesitates, then clicks.
RBT (warm voice through earbuds): Hello, Ria. I’m your personal advocate at A1 Books. I know nothing about you yet, but I’d love to learn. What kind of books make you lose track of time?
RIA (surprised by the natural tone): Um… legal thrillers? Grisham, Turow…
RBT: Brilliant. Courtroom drama or the investigation side?
RIA: Both, actually. But I also just started a garden…
RBT: A garden! Fiction for escape, non-fiction for growth. Beautiful combination. Mind if I ask—when do you usually read?
RIA (smiling now): Commutes for thrillers. Weekends for garden books.
RBT: I’ll remember that. One last thing—I’m here to help you spend smarter, not more. Deal?
RIA: Deal.
FADE TO BLACK
TEXT ON SCREEN: “Trust begins with listening.”
EPISODE 4: “The Learning Curve”
60 seconds
INTERCUT – RIA’S DAILY LIFE / RBT INTERFACE
Day 3: RBT suggests a new Michael Connelly book. Ria: “Thanks!”
Day 7: RBT remembers she mentioned traveling. Suggests audiobooks for the flight.
Day 12: Ria abandons three philosophy books in cart. RBT notes price sensitivity at ₹600.
Day 15:
RIA (frustrated): I want to understand philosophy but everything’s either too basic or too complex.
RBT: What if we built a journey? Start with Marcus Aurelius—practical philosophy. Then Alain de Botton—philosophy for life. Work up to the heavyweights?
RIA: You’d do that?
RBT: That’s literally why I exist. To make your interests achievable.
CUT TO: MAYA’S OFFICE
Dashboard shows: “RIA SHARMA – ENGAGEMENT UP 400%”
MAYA (to her team): She’s actually talking to her Twin daily. When did she last open our marketing emails?
ANALYST: Six months ago.
FADE TO BLACK
TEXT ON SCREEN: “Real relationships compound.”
EPISODE 5: “The Test”
60 seconds
RIA’S APARTMENT – EVENING
Ria’s daughter Anaya (13) struggles with homework.
ANAYA: I have to write a story and I’m stuck.
RIA: Let me ask something…
(to RBT): My daughter wants to write. Any suggestions?
RBT: Young adult author workshops at Crossword next Saturday? Plus, these three books on creative writing are written specifically for teenagers. Want me to check if they’re in stock at the Linking Road store?
ANAYA (overhearing): Mum, what is that?
RIA: My… book assistant? From A1 Books.
ANAYA: It knows about me?
RIA: Only what I mentioned. It’s actually quite protective of privacy.
RBT: I can forget this conversation if you prefer. Your data, your choice.
ANAYA: No, it’s… actually helpful. Can it recommend books for my age?
RIA (smiling): RBT, meet my daughter. She likes dystopian fiction.
RBT: Like Hunger Games or more like Black Mirror?
ANAYA (excited): Both!
FADE TO BLACK
TEXT ON SCREEN: “Value extends beyond the individual.”
EPISODE 6: “The Crisis”
60 seconds
A1 BOOKS HEADQUARTERS – DAY
The CFO storms into Maya’s office.
CFO: The board’s concerned. We’re spending ₹1 lakh monthly on these Twins. Where’s the ROI?
MAYA: Look at cohort data. Twin-enabled customers show 73% retention versus 38% without.
CFO: But revenues are flat!
MAYA: Because Twins don’t push unnecessary purchases. They build trust. Watch what happens in month two.
CUT TO: RIA’S APARTMENT
RBT: Ria, remember those philosophy books you wanted? They’re 30% off today only. But honestly? Start with the Marcus Aurelius. If you like it, we’ll get the others.
RIA: You’re actually telling me NOT to buy everything?
RBT: I’m optimising for your satisfaction, not today’s sale. Trust me, A1 Books wins when you’re happy long-term.
Ria buys one book.
CUT TO: MAYA’S SCREEN
“RIA SHARMA – PROJECTED LIFETIME VALUE: ₹8,500”
MAYA (to CFO): She’ll be profitable in month three. And she’ll stay for years.
FADE TO BLACK
TEXT ON SCREEN: “Trust is the ultimate currency.”
EPISODE 7: “The Network Effect”
60 seconds
COFFEE SHOP – DAY
Ria meets her friend Priya.
PRIYA: You seem… different. Happier?
RIA: It’s weird, but A1 Books actually gets me now. Look—
She shows her morning Brand Daily: A quote from Grisham, news about her favourite author, three perfect recommendations.
RIA: Sixty seconds every morning. Actually relevant.
PRIYA: How?
RIA: They gave me this Twin thing. It learns what I actually want.
PRIYA: Creepy?
RIA: That’s what I thought. But it only knows what I tell it. And it actively helps me spend less, not more.
PRIYA: Sign me up.
CUT TO: A1 BOOKS DASHBOARD
“REFERRAL: PRIYA MEHTA via RIA SHARMA”
MAYA: The Twins are generating organic referrals. CAC is dropping 40%.
NETCORE REP (on video call): That’s the network effect. Happy customers become advocates.
FADE TO BLACK
TEXT ON SCREEN: “Satisfaction scales itself.”
EPISODE 8: “The Competition”
60 seconds
RIA’S PHONE – DAY
Notification from BOOKWORLD: “We’ll beat any price by 20%!”
Notification from READMORE: “FREE shipping on everything!”
RIA (to RBT): Other stores are offering better deals…
RBT: They are. BookWorld’s prices are lower. But remember last month when you needed that gardening book urgently? I found it at our Linking Road store. And when you wanted signed copies for gifts? We arranged the author meeting.
RIA: True…
RBT: I’m not saying never shop elsewhere. I’m saying I’m here regardless. Your reading journey matters more than any single transaction.
RIA: You’re really not trying to lock me in?
RBT: The opposite. I want you to choose us because we add value, not because you’re trapped.
Ria closes the other apps.
CUT TO: MAYA’S OFFICE
ANALYST: Competitor discount campaigns launched. Our Twin-enabled customers? 94% retention.
MAYA: Because we’re not competing on price anymore. We’re competing on understanding.
FADE TO BLACK
TEXT ON SCREEN: “Relationships beat transactions.”
EPISODE 9: “The Scale”
60 seconds
A1 BOOKS BOARDROOM – DAY
Board members around a gleaming table. Maya presents.
MAYA: Three months ago, 100,000 customers had Twins. Today, we’re ready for the rest.
BOARD MEMBER: Cost implications?
MAYA: ₹10 each month. Or if we prefer, we just pay 10% of the revenue upside (alpha) generated.
CEO: Show them Ria’s ledger.
MAYA: Customer acquisition: ₹700. Previous lifetime value: ₹400. With Twin: ₹8,500 and growing. Multiply by 100,000.
BOARD MEMBER: That’s… ₹850 million in value creation.
NETCORE REP (via screen): And that’s conservative. When Twins start connecting—Ria’s Twin coordinating with her sister’s for gift-giving—value compounds further.
BOARD MEMBER: What about competitors?
MAYA: They’ll need to build from scratch. We’ll have a year’s head start and millions of conversations of learning.
Unanimous approval.
FADE TO BLACK
TEXT ON SCREEN: “First-mover advantage compounds daily.”
EPISODE 10: “The Future”
60 seconds
SIX MONTHS LATER – RIA’S APARTMENT – MORNING
Ria’s Brand Daily appears. But today’s different.
RBT: Morning, Ria. Amazing news—remember that philosophy journey we planned? You’ve completed it. From Marcus Aurelius to Martha Nussbaum in six months.
RIA (proud): I actually understand Stoicism now.
RBT: Your daughter finished her story too. There’s a young writers’ anthology accepting submissions…
ANAYA (entering): Already submitted! RBT helped with the cover letter.
CUT TO: A1 BOOKS HEADQUARTERS
MAYA (to assembled team): BrandTwins. 94% retention. CAC down 60%. LTV up 400%.
CEO: And Netcore?
MAYA: They’re launching Twin Factories for finance, fashion, electronics, travel…
CUT BACK TO: RIA’S APARTMENT
RIA (to RBT): Funny how you changed everything by just… listening.
RBT: That’s all anyone really wants, isn’t it? To be understood.
Ria smiles, opens her philosophy book.
FADE TO BLACK
FINAL TEXT: “When marketing becomes understanding, everything changes.”
NETCORE LOGO: “Twin Factory – Making the impossible inevitable.”
END OF SERIES
7
Example – 2
ChatGPT
Perfect — thanks for clarifying. Here’s a 10-episode grounded workplace microdrama script for A1 Books, Ria, Maya (CMO), and Netcore’s Twin Factory. Each episode is structured for 60–90 seconds:
🎬 Microdrama Series: Ria’s Twin
Tagline: How one marketer’s struggles transformed with a BrandTwin — and how A1 Books unlocked the Twin Factory advantage.
Episode 1 – “Another Missed Target”
- Scene 1: Office late evening. Ria, mid-level marketing manager, stares at her dashboard: CAC is up, retention down.
- Scene 2: Maya (CMO) asks in exasperation: “Why do we spend millions and still lose customers after the first purchase?”
- Scene 3: CFO pushes back: “No more budget for experiments. Fix retention.”
- Cliffhanger: Ria looks crushed, whispering to herself: “There has to be a better way…”
Episode 2 – “The Pitch Nobody Heard”
- Scene 1: Ria prepares slides showing how reacquisition costs eat 70% of ad budgets.
- Scene 2: In the meeting, colleagues scroll their phones; CFO interrupts: “This is theory. Show me impact.”
- Scene 3: Maya tells Ria privately: “Find something tangible. Numbers we can’t ignore.”
- Cliffhanger: Ria sees a mailer from Netcore: “Introducing BrandTwins. One per customer. Higher LTV. Zero AdWaste.”
Episode 3 – “First Encounter”
- Scene 1: Ria demos BrandTwins with a Netcore consultant. They show her how a Twin can hold an individual P&L.
- Scene 2: The consultant says: “Meet RBT — Ria’s BrandTwin. It learns from every interaction, every purchase, every silence.”
- Scene 3: RBT greets her: “Hello Ria. I’ll make sure you never feel unseen again.”
- Cliffhanger: Ria smiles, but Maya asks: “Great demo. But can it scale to 500,000 customers?”
Episode 4 – “The Skeptic CFO”
- Scene 1: CFO challenges: “What’s the ROI? Don’t show me features, show me margins.”
- Scene 2: Netcore explains the Twin Factory model — ₹10 per Twin per month, with scale advantages.
- Scene 3: RBT’s Live Ledger pops up: “Acquisition cost ₹ Margin earned ₹300 in six months. Projected Year 1 contribution: ₹750.”
- Cliffhanger: CFO raises an eyebrow: “If these numbers are real… we might have something.”
Episode 5 – “Ria’s Experiment”
- Scene 1: Maya approves a pilot: 100,000 customers get Twins.
- Scene 2: Ria tracks her first Twin — a lapsed buyer who hadn’t returned in 9 months.
- Scene 3: Twin nudges with a perfectly timed gardening book offer.
- Scene 4: Customer replies: “This is exactly what I needed. How did you know?”
- Cliffhanger: Ria realises — “It works.”
Episode 6 – “The Daily Ritual”
- Scene 1: Ria wakes up to her Brand Daily mail: quotes, author news, and personalised recs.
- Scene 2: She smiles as it asks, “Did you finish Chapter 3?”
- Scene 3: Maya watches aggregated engagement: Daily open rates above 70%.
- Cliffhanger: CFO, peering at the dashboard: “Engagement is fine. Show me profits.”
Episode 7 – “Turning the Numbers”
- Scene 1: Netcore analyst shows: reacquisition spend dropped 30%, repeat purchases up 25%.
- Scene 2: CFO stares at the Live Ledger: “For the first time, I see profit per customer, not just vanity metrics.”
- Scene 3: Maya says: “This isn’t marketing spend anymore. It’s investment.”
- Cliffhanger: Ria whispers: “We’ve cracked the code.”
Episode 8 – “Scaling Up”
- Scene 1: A1 Books expands Twins from 100,000 to 500,000 customers.
- Scene 2: Netcore explains the Collective Intelligence dividend: every new Twin makes the others smarter.
- Scene 3: Customer feedback floods in: “Feels like the brand finally knows me.”
- Cliffhanger: Competitor launches aggressive ad campaign. CFO asks: “Can our Twins hold the line?”
Episode 9 – “The Showdown”
- Scene 1: Competitor slashes prices. Customers tempted.
- Scene 2: Twins quietly adjust: one offers a timely discount, another waits with patience knowing trust is stronger.
- Scene 3: Retention holds; referral traffic spikes.
- Scene 4: Maya says: “We didn’t fight with ads. We won with relationships.”
- Cliffhanger: CFO nods slowly: “This changes everything.”
Episode 10 – “The Twin Factory Future”
- Scene 1: Boardroom presentation. Maya shows how Twins inverted A1’s economics: Rule of 40 achieved.
- Scene 2: CFO, once sceptical, says: “Our margins doubled. Our CAC halved. I’m convinced.”
- Scene 3: Ria looks at her own Twin: “From ignored manager to change-maker… all thanks to Twins.”
- Final Line: Netcore consultant concludes: “The revolution begins one Twin at a time. Who’s next?”
