I make complicated companies easy to understand, and worth listening to.
Born to journalist parents in Ahmedabad, India, which is where I learned that a word carries a consequence. Since then I have built a streaming platform's slate, a media channel, a typography archive and campaigns for founders raising money. I work out what a company actually is, and then I make the work that carries it.
Both my parents work in journalism. My father still talks about what it costs to keep a publication alive: the deadlines, the price of paper, the duty to print something risky anyway. I absorbed the idea that a word has a consequence before I understood what a word was.
Theatre came next, and elocution competitions, which is where I learned that an audience decides about you in the first ten seconds and spends the rest of the time confirming it.
Four years of direction and editing at Annapurna College of Film and Media in Hyderabad. I shot and cut my own work, and I still do, which is why I can make a film rather than brief one.
Film gave me the habit that runs through everything after it: a story is an argument with a running time, and the order in which someone receives the facts decides which ones they believe.
I arrived at Oho Gujarati as its third employee and left as Head of Creative Development, owning development, production oversight and the editorial line for everything the platform released. Before that, a year of development, direction and advertising work at CineMan Productions, one of the prominent production houses in Indian cinema.
Deciding what gets made is the most useful training I have had for positioning a company. You price an idea before an audience has confirmed it, and then you find out in public whether you were right.
The channel is Navi Savar: developmental journalism, solutions reporting and long interviews, in a market where outrage usually takes the attention. I set the editorial strategy and built the weekly process a small team could repeat without me in the room.
I wrote titles and rebuilt openings every week for ten months, and the numbers told me which version people stayed for. Most writing advice is guesswork. That year I got to check.
I landed in the United States in August 2024 for a master's in advertising at the Savannah College of Art and Design, where I went deep on generative systems and narrative. Living near a technology campus settled the question of what I wanted to write about.
I worked through the degree. A Deloitte internship through SCADpro, where I led the team. An internship at Nexerios on brand strategy, including the investor deck they used to move their fundraising forward.
I work under my own name and through Word Force, the studio I started in March. Positioning for founders raising rounds, communications consulting for Harit Zaveri, the retail brand of the listed jewellery manufacturer RBZ Jewellers, writing for an international art residency, and campaigns built with generative tools from the beginning.
I write software now as well, so that I can build a version of a product before I describe it. When a measurement was missing I built the measurement, which is the benchmark under Building.
What the company is, who it is for, and the thesis a founder can hold on stage. Then the language everywhere after it.
- Positioning and messaging frameworks
- Company thesis and category story
- Investor narrative and pitch decks
- Website, launch and announcement copy
- Executive voice and internal alignment
Getting the story to the people who decide, then building a process a team can repeat every week.
- Go-to-market and launch planning
- Editorial strategy and commissioning
- Series, video libraries and podcasts
- Retention writing, titles and openings
- Paid media and community building
The making itself, which is why a plan I write survives production.
- Launch films, product videos and brand spots
- Direction, shooting and editing
- Generative campaigns and AI workflows
- Prototypes, benchmarks and internal tools
- Exhibition writing, live production and hosting
HiggsfieldMy school was founded on Gandhian principles, so I spent my childhood inside the idea that you move a person by taking their position seriously. At home my father kept putting on Chaplin, who could hold a room for eighty minutes and still say something true about being poor.
Those two sat side by side in my head and became how I understand communication, and society with it. Reach the heart, and earn the attention while you do it. Both men did it at a scale nobody has matched since, with very little to work with.
Work that picks one and surrenders the other is everywhere. Serious work turns worthy and goes unwatched; entertaining work travels fast and says little. The combination is the standard I hold my own work to, and the reason I would rather build something people join than something they merely receive.
The other thing I hold to is less romantic. Most of the people who decide about a company will never use the product: the investor, the candidate, the journalist, the regulator, the buyer who reads two paragraphs and leaves. They meet the sentences instead, and they judge the company on those. So I treat the writing as part of the product, and I hold it to the same standard of accuracy the product is held to.
Everything I do answers one question: what is this, and why should anybody care. A museum panel answers it in eight seconds for a stranger holding a ticket. A pitch deck answers it in twenty minutes for someone holding a cheque. A launch film answers it in ninety seconds for a person who came for something else. Same question, different patience.
That is why the formats look varied and the practice is narrow. I have built the story and the thing that carries it often enough to know which format a message deserves, and I arrive with a method rather than a house style to impose on you.
Hiring, briefing and reviewing writers and producers, owning an editorial line firmly enough to defend it with the people who sign the cheques, and carrying the administrative half as well: budgets, run sheets, contracts, vendors, and the venue negotiation everyone hopes someone else will take.
Speaking has never been a separate skill for me. I won the S. R. Bhandari Best Speaker Award at the Ahmedabad Management Association in 2023, which is the formal version of a habit that started with school elocution.
In August 2026 the Consulate General of India in New York brought me into the Chief Minister of Gujarat's United States visit, among the founders and young chief executives he met, to talk about how the state and its financial centre present themselves internationally. I also took Silver in Integrated Marketing Campaign at the SCADDYs. Panels, podcasts, all-hands and workshops are all welcome.
A full-time role suits me best: head of narrative, communications lead, head of content, or product marketing and go-to-market lead. The title matters less to me than the scope: the story, the work that carries it, and the route it takes to a reader. For teams who want to start smaller, I take engagements through Word Force.
I am most useful where the product is technically real and the explanation is running behind it, and I am at my best when I arrive early enough to write the first version of everything and to hire the people who write the second.
