Become a TV News Anchor.

YouTube Content Creators produce video content — tutorials, vlogs, opinion pieces, comedy sketches, finance education, tech reviews, gaming commentary, or short-form Shorts — and build an audience that generates revenue through AdSense, brand deals, Super Chat, merchandise, and digital products. India is YouTube's largest market globally (~470M monthly active users), yet the economics are brutally power-law: the vast majority of creators earn nothing or near-nothing; CarryMinati, Bhuvan Bam (BB Ki Vines), Gaurav Chaudhary (Technical Guruji), Prajakta Koli (Mostly Sane), Slayy Point, and Dhruv Rathee are the visible 0.01%, supported by years of consistent output before commercial success. Hindi and regional-language content (Tamil, Telugu, Marathi, Bengali) drives the bulk of Indian monetisation. The YouTube Partner Program (YPP) requires 1,000 subscribers + 4,000 public watch hours in 12 months (or 1,000 subscribers + 10M Shorts views) before AdSense turns on — and AdSense RPMs for Hindi content typically run ₹30–80 per 1,000 views versus ₹150–400 for English financial or tech content. Brand deals and affiliate commissions dwarf AdSense for creators above 100K subscribers; for most creators, AdSense alone never pays the rent.

Short-form vertical video creators make 15–90 second clips on Instagram Reels, YouTube Shorts, Moj, Josh, and ShareChat — the five platforms that absorbed India's creator energy after TikTok was banned in June 2020. The craft is brutally specific: hook the viewer in the first 1.5 seconds, build a retention loop that drives replays, caption every word for silent-mode watchers, and nail trending audio before it peaks. India's short-form landscape is distinct from the global one — Hindi and regional language content (Bhojpuri, Tamil, Marathi, Bengali) consistently outperforms English; the highest-reach niches are comedy, devotional, dance, and DIY; and the algorithm rewards completion rate, shares, and saves far more than likes. Top practitioners include Prajakta Koli (Mostly Sane, 7M+ on YouTube, 3M+ on Instagram), RJ Karishma, Anjali Anand, Maxtern (Sahil Kumar), Sahiba Bali, and Niharika NM — most of whom built their following primarily on short-form before expanding to long-form. The TikTok ban removed the platform but not the audience: 250–300 million Indians now watch Reels weekly, and Meta's infrastructure makes it the primary monetisation channel. Moj and Josh serve tier-2 and tier-3 audiences and run separate creator funds. Current Indian monetisation stack: Reels Play Bonus (selective invite, ended widely in 2023, now Meta Pro Bonus invite-only), brand deals (the primary income source), affiliate (Meesho, Flipkart, Amazon India), and YouTube Shorts monetisation via the YouTube Partner Programme once shorts cross 1000 subscribers + 10M public Shorts views in 90 days.

Film Actors perform scripted characters in feature films and OTT originals — interpreting a writer's words and a director's vision into a living performance that survives 40 takes, a dubbing studio, and a global streaming release. In India the profession spans Bollywood (Mumbai), Telugu (Tollywood, Hyderabad), Tamil (Kollywood, Chennai), Malayalam (Mollywood, Kochi), Kannada (Sandalwood, Bengaluru), Bengali, and Marathi cinema, plus the rapidly growing OTT slate at Netflix India, Prime Video India, and Disney+ Hotstar. Entry is ruthlessly non-linear — star kids with family connections, NSD/FTII drama-trained graduates, television actors, and Instagram influencers all compete for the same audition rooms at Mukesh Chhabra Casting Studio, Casting Bay, and Honey Trehan's table. Income is binary at entry (junior artist ₹2-15K/day, zero between shoots) and stratospheric at the top (A-listers ₹50-200Cr/film, plus ₹100-500Cr/year in brand endorsements).

Dubbing Artists replace the original voice performance in a film, series, or anime with a new language track while matching lip movements, emotional beats, and character personality. In India the industry runs on two giant streams: Hollywood localisation into Hindi, Tamil, Telugu, and Malayalam, and South Indian cross-dubbing (Tamil films dubbed to Telugu, Telugu to Tamil, Malayalam to Hindi). Streaming has turbocharged demand — Netflix, Prime Video, Disney+ Hotstar, JioCinema, Sun NXT, and Aha now require simultaneous multi-language dubs on every original and acquisition. Master practitioners define the field: Sanket Mhatre has been the Hindi voice of Spider-Man across Marvel films; Mona Ghosh Shetty voiced Rachel Green for the entire Friends run; Rajesh Khattar is Jack Sparrow in every Pirates of the Caribbean film. Mumbai's Andheri West and Andheri East studio belt — Sound & Vision India, VR Films & Studios, Mediahub Mumbai, Aditya Music — is the national dubbing capital, with Hyderabad and Chennai running parallel pipelines for South-Indian language work. Entry-level dubbing pays ₹500-3,000 per reel (one reel ≈ 10 minutes); serial episode rates run ₹3,000-15,000; a full A-list Hollywood feature dub can pay ₹50,000-3 lakh for a lead voice. The craft requires three skills no other voice job demands simultaneously: precise lip-sync to the original actor's mouth movements, character continuity across years and sequels, and emotional authenticity in a language the audience treats as the original.

Stage actors in India perform live theatre across repertory companies, commercial productions, festival circuits, and government-funded institutions. The primary hubs are Mumbai (Prithvi Theatre, Aadyam Theatre, QTP, Atul Kumar's The Company Theatre) and Delhi (NSD Repertory Company, Shri Ram Centre, Kamani Auditorium). Unlike film acting, stage work demands embodied technique — Stanislavski-based psychological realism, Meisner's emotional truth, or physical theatre traditions from Adishakti and Ninasam — applied live in front of an audience with no retakes. A single production runs 6-12 weeks of ensemble rehearsal before 8-30 shows; actors repeat the same performance dozens of times across tour dates, including Bharat Rang Mahotsav (BRM) at NSD. Income is project-based and highly variable: most working stage actors supplement with film/OTT bit roles, teaching acting workshops, voice-over work, and corporate training. NSD graduates with strong Bollywood crossover (Irrfan Khan, Nawazuddin Siddiqui, Rajkummar Rao) represent the ceiling; the working majority earns ₹4-15L from a patchwork of theatre, workshops, and ancillary creative work.

Television actors in India are the engine of the world's most prolific daily-soap machine — Hindi GEC channels (Star Plus, Zee TV, Sony, Colors) each run 4-8 daily soaps producing 250+ episodes a year at 22-minute runtime, making Indian TV actors among the hardest-working performers globally. The work is split across three worlds: Hindi GEC daily soaps and primetime fiction (the highest-volume, highest-fee segment), regional language channels (Sun TV in Tamil, Star Maa in Telugu, Zee Tamil, Suvarna in Kannada — collectively larger in reach than Hindi GEC), and reality TV (Bigg Boss, Khatron Ke Khiladi, Indian Idol, Jhalak Dikhhla Jaa — where actor-participants command ₹10-40L per week). A TV actor's market value is tracked weekly through BARC India ratings: a strong BARC week on a top-rated soap can push day fees 30-50% upward at renewal. ITA Awards (Indian Television Academy) and Star Parivaar Awards are the industry's primary recognition circuit.

Sales Development Representatives (SDRs) own top-of-funnel pipeline creation at B2B SaaS companies — researching named accounts, sending personalised cold emails, running cold calls, working LinkedIn outbound, qualifying inbound leads, booking discovery meetings, and handing the meeting to an Account Executive who closes. The role is daily, high-volume, and unforgiving: an SDR typically runs 60-120 touches a day, books 8-15 meetings a month, and is measured weekly on Sales Qualified Opportunities (SQOs) added to pipeline. In India, SDR is the most-hired entry-level B2B SaaS role and the dominant career-launch path into software sales — heavy hiring at Indian SaaS exporters (Postman, Freshworks, Zoho, Atlassian-IN, Chargebee, BrowserStack, MoEngage, Whatfix, Hasura, Rocketlane) and at US-SaaS-with-India-offices (Salesforce India, HubSpot, GitLab, Twilio, Workato). The career arc is well-defined: 18-24 months as an SDR → promotion to AE / BDM → 2-4 years as AE → Sales Manager → VP Sales. Top-performing SDRs at Indian SaaS exporters out-earn most other entry-level corporate roles within 3 years.

Senior: ₹30.0L

Newspaper journalists in India report on beats — politics, courts, business, civic, crime, sports — for English-language nationals (The Hindu, Indian Express, Times of India, Hindustan Times, Mint), regional-language dailies (Malayala Manorama, Eenadu, Dainik Bhaskar, Sakal, Mathrubhumi), and digital-first outlets (The Wire, Scroll, The Print, ThePrint Hindi). The day-to-day is beat sourcing, filing 1-3 stories against hard deadlines, working the press conference circuit, cultivating off-the-record relationships with bureaucrats and politicians, and submitting copy through a desk that rewrites headlines and enforces AP Stylebook or the house style guide. The market is structurally shrinking — print ad revenue has been declining 8-12% annually since 2020 — but journalism-school seats fill every year because the prestige, access, and byline culture remain powerful draws in India.

Senior: N/A

Ad Sales Managers sell media inventory — airtime, digital impressions, sponsorships, branded content, and audio spots — to brands and agencies on behalf of publishers and broadcasters. In India the role sits at the revenue front-end of TV broadcasters (Disney Star, Sony LIV, Zee Entertainment, Sun TV), digital publishers (Times Internet, Network18, Inshorts, NDTV.com, HT Digital), OTT platforms (JioCinema, SonyLIV, Zee5, Voot, MX Player), audio publishers (Spotify India, Saavn/JioSaavn, Pocket FM), and print-digital hybrids (TOI, HT Media, India Today Group). The work involves packaging and pitching inventory to media-buying agencies (GroupM, Wavemaker, Mindshare, Madison, Dentsu, Initiative) and direct brand marketing teams, negotiating rates and share-of-voice, building custom sponsorship proposals for marquee properties (IPL, cricket, Bigg Boss, Kaun Banega Crorepati), closing multi-crore annual deals, and managing rate cards, discounts, and post-campaign delivery reports. Entry is usually through a media agency buying desk, a publisher ad-ops role, or an MBA in media/marketing; the career ladder moves from executive to senior manager, national sales head, and VP/Chief Revenue Officer at major publishers.

Senior: ₹55.0L

Sports journalists in India write match reports, player profiles, and tactical analysis for outlets like Cricbuzz, ESPNcricinfo, Sportstar (The Hindu), and newspapers — then travel with the Indian cricket team on overseas tours, file copy from BCCI press boxes, and meet daily deadlines set by digital editors who track live-traffic spikes. The broadcast tier (Star Sports, JioCinema commentary panels, Sony LIV) is the highest-earning runway: Harsha Bhogle-level anchor-commentators command ₹50L-3Cr. The written-press route peaks at senior cricket writers like Sharda Ugra or Sidharth Monga — respected, well-travelled, but monetarily below broadcast. Most entrants start through apprenticeships at regional sports desks, student journalism at IIMC or ACJ, or by building a digital byline on Cricbuzz's freelance contributor network.

Senior: N/A

Broadcast Journalists in India are the field reporters, package producers, and OB-van operators who generate the content that fills the 24x7 news cycle on NDTV, CNN News18, India Today TV, Aaj Tak, Republic TV, Times Now, Zee News, and ABP News — plus the 100+ state and regional language channels carrying live breaking news round the clock. The job is split between field reporting (OB van deployment, live shots, byte collection from sources) and production (scripting packages, laying voice-over tracks, collaborating with editors on visual sequencing, pushing finished packages to the studio desk before the prime-time slot). Unlike a TV News Anchor who owns a studio chair, a broadcast journalist owns a beat — defence, politics, business, crime, health — and is evaluated on the exclusivity and speed of their stories, not their camera presence. IIMC Delhi, ACJ Chennai, and OP Jindal Global University's journalism school are the principal entry pipelines; Barkha Dutt's Mojo Story model shows the independent digital pivot available to journalists with deep source networks. Declining institutional trust in television news — BARC TRP manipulation controversies, prime-time advocacy replacing reportage — creates both a reputational headwind and a differentiation opportunity for journalists who maintain editorial rigour.

Senior: N/A