Entertainment industry insiders are keenly aware that microdramas are among the fastest-growing segments in entertainment, with audiences increasingly embracing fast, on-the-go storytelling, with notable actors launching their own mobile-first platforms dedicated to producing, distributing, and monetizing vertical, or micro-drama, content.

As this format continues its rapid rise, platforms like GoodShort are helping lead the charge by delivering premium, bite-sized content tailored to evolving viewing habits. Meet Brenda Cheong, co-founder of GoodShort, the chinese vertical dramas platform, and a compelling voice for coverage across this fast-growing vertical drama space.

As one of the early pioneers of vertical storytelling, GoodShort entered the United States market in 2023 and has quickly established itself as a major player, delivering high-quality short-form dramas and films, many of which are adaptations of popular titles from its expansive GoodNovel content library. The platform continues to stand out for its premium storytelling and global reach.

Cheong brings over 16 years of experience in mobile internet operations and is a seasoned entrepreneur in the pan-entertainment sector. She currently co-leads a globally recognized company at the forefront of online literature and premium short-form drama, with a multilingual content ecosystem spanning 11 languages and ranking among the top players worldwide.

With sharp strategic vision and strong execution, Cheong has been instrumental in scaling GoodShort’s global footprint and building a leading creator platform and IP ecosystem that drives both cultural impact and commercial success.

I spoke with Cheong about the rise of microdramas and how her company is staying ahead of the curve.

Cheong On Why Microdramas Are Popular:

The rapid rise of short-form dramas really comes down to how well they fit today’s lifestyles and audience needs. From a production standpoint, they’re faster and cheaper to make, which lowers the barrier for creators. This also opens up the possibility for audiences to move from

passive viewers to active participants in content creation.

At the same time, the format fits naturally into how people consume content today. Social media has reshaped viewing habits, and audiences are now used to fragmented, more passive consumption.

More importantly, short dramas go beyond simple entertainment. Because they’re highly accessible and emotionally engaging, they’ve become a new way for audiences to find emotional satisfaction and a sense of connection or identification.

Ultimately, their success comes from how well they fit modern life — people have limited time, rely heavily on mobile devices, and seek strong emotional payoff with minimal time investment. That’s also why the industry is starting to move from rapid growth into a more mature phase.

How Vertical Dramas Are Disrupting Traditional Hollywood Models:

Vertical short-form dramas are disrupting the traditional Hollywood model across production, distribution, and the overall industry ecosystem, so it’s natural that they face some skepticism.

On the production side, the biggest shift is moving away from Hollywood’s high-budget, long-cycle approach. Vertical dramas can be produced at a much lower cost and iterate much faster. With frequent releases and real-time audience feedback, the process becomes more flexible and more aligned with what audiences want.

From a market perspective, they also change the traditional “develop first, market later” model. Instead, content is often localized for specific markets from the start and distributed through platform algorithms, enabling more precise audience targeting. At the same time, their fast-paced, high-conflict storytelling is reshaping how people watch and consume content.

That said, there are still challenges. Most vertical dramas are non-union projects, so union professionals tend to be cautious. But if they become unionized, costs would rise, which would conflict with the model’s core advantage.

As the format grows, audiences are also expecting more in terms of genres and originality, and consistently producing high-quality content is still a challenge.

Finally, after Quibi’s failure, Hollywood remains cautious about short-form content, and the industry is still figuring out sustainable business models.

On GoodShort’s Strategic Decisions To Achieve Growth:

I think there are two main reasons. First, we’ve been very consistent in combining strong storytelling with a proven short-form drama framework that’s already been validated in the market. At the same time, we place a strong emphasis on localization, adapting our content based on North American audience values and cultural habits to create projects that truly resonate locally.

Second, our online fiction platform, GoodNovel, already has a strong overseas user base. That gives us a solid foundation for IP adaptation and a built-in audience for our stories.

Another key factor is that we’ve built our own production team in the U.S., with strict production quality standards.

On the distribution and monetization side, we’ve also developed a relatively mature model. We use paid acquisition to target specific audiences, and then monetize through a combination of ads and subscriptions.

Overall, from script development to production, our entire pipeline is centered around localization and quality. We focus on maintaining strong pacing and emotional impact while ensuring the content feels culturally relevant to North American audiences.

Identifying Stories That Are Well-Suited For Adaptation Into Vertical Drama Formats:

When it comes to adapting novels into vertical short-form dramas, there are a few key things we look at.

First, the premise needs to be universal and repeatable. It has to tap into emotions that audiences can easily relate to, so they can quickly connect with the story and characters.

The opening episodes are critical. We need a strong hook with high conflict, fast pacing, and frequent twists to grab attention right away. Character setup and relationships also matter a lot. Clear motivations and easy-to-follow dynamics work much better for the fast-paced storytelling style of short dramas. Structurally, we usually prefer a strong, clear main storyline with minimal subplots, so the barrier to entry stays low.

Most importantly, each episode needs a strong ending, especially around paywall moments. There has to be a compelling emotional or narrative hook that keeps audiences coming back and willing to continue watching.

From a production standpoint, we also consider whether the settings are relatively contained and practical, and whether the story can realistically be executed in production.

On Creating Content That Resonates Globally:

During the creative process, I focus on leading our company in identifying the universal elements across different stories. Themes like revenge, sweet romance, and family ethics all share emotional cores that resonate globally, regardless of region.

We then apply the standardized narrative structure of vertical short dramas worldwide—fast pacing, strong conflict, and cliffhangers at the end of each episode—as our creative foundation. Finally, we localize details by adjusting character identities, living environments, cultural customs, dialogue, aesthetic preferences, and value systems according to different language markets, ensuring alignment with local audience habits.

How GoodShort Is Building Access And Opportunity In A Meaningful Way:

GoodShort provides internships and job opportunities to talent from major film schools across North America. Many young and talented writers, producers, and directors from top institutions such as USC, AFI, and NYU have contributed to the company’s past projects. We have offices in Los Angeles and New York, and creators can proactively submit their work. GoodShort simplifies the collaboration process while offering creative guidance and training.

We also provide strong financial support, including production funding, revenue sharing, and guaranteed minimum earnings. In addition, creators benefit from one-stop global distribution, multilingual localization, platform-specific promo, and data-driven creative insights. GoodShort’s Creator Incubation Program establishes a clear career pathway—from vertical short dramas to IP development—while expanding diverse monetization channels. This helps emerging creators achieve long-term growth and stable income in the global market.

Six core strengths will set leading companies apart:

The most important factor is long-term commitment, not short-term opportunism. Companies must respect content and creators as their foundation, allowing great stories to thrive continuously. For example, GoodShort’s vision is to build a robust platform for global creators and maximize IP value.

IP source barriers. Proprietary web novel IP reserves, exclusive author contracts, and continuous original script production ensure control over hit-making potential without relying on expensive acquisitions.

Industrialized production and cost control. Standardized production workflows and in-house capabilities across scripting, filming, and post-production enable high-quality output at lower cost and greater scale.

Localization capability. Strong multilingual adaptation, sensitivity to regional aesthetics and cultural preferences, and locally tailored storytelling prevent a superficial “one-size-fits-all” approach to global expansion.

Algorithms, promo, and monetization models. User insight algorithms, precise content recommendation, mature promo strategies, and a hybrid monetization model (subscriptions, ads, paid content) create a sustainable revenue loop.

Global compliance and copyright risk control. Cross-regional content review, copyright protection, and regulatory compliance ensure long-term operational stability.

Long-term IP development capability. Expanding from novels into short dramas, audio dramas, long-form series, and adaptations turns individual works into reusable IP assets with compounding value.

On The Future Of Micro-Dramas:

Vertical storytelling will not fully replace traditional film and television. Instead, the two will coexist, while vertical formats increasingly reshape the narrative logic and consumption habits of long-form content.