By: Damian Kerr
Los Angeles — Vertical drama has evolved from a fringe experiment into a format that attracts billions of views in just three years, reshaping how audiences consume stories in the age of TikTok and mobile binge-watching. However, as the format continues to mature, a noticeable pattern has emerged: many English-language verticals still rely on formulas that are often borrowed from Chinese ‘beta’ shows that have been proven overseas. While this approach is not uncommon, it remains a prevalent model.
That’s where screenwriter Yijun Zhu stands out. Armed with a master’s degree in screenwriting from UCLA and Hollywood training, Zhu has emerged as one of the few creators in the space capable of balancing two competing demands: delivering the addictive, high-stakes twists that vertical audiences expect, while also creating space for originality and cultural specificity that resonates with Western viewers.
“Most of what you see are adaptations, copy-and-paste frameworks repackaged with English dialogue,” says one industry observer. “Zhu doesn’t just adapt. She examines what makes a story work in the West, what feels authentic, and builds from there.”
Photo Courtesy: Yijun Zhu
Breaking Beyond the Beta
Since its inception, Western vertical apps have often leaned on Chinese prototypes: domineering CEOs, endless bullying cycles, predictable slaps and rescues. Zhu, who has written and produced more than a dozen vertical dramas, acknowledges the foundation but isn’t limited to it.
In her most recent sweet romance show, You Drive Me Crazy (2025), she took the familiar beats of a popular Chinese property but reimagined the heroine as a car restorer — a distinctly American spin that transformed cliché into more nuanced character depth. In Her Double, His Trouble (2025), she pushed further, incorporating thriller elements into a genre that often leans toward simple revenge tropes. And in The Lost Quarterback Returns (2025), Zhu flipped the gender on a classic “lost child” storyline, creating the very first YA male vertical that became a massive hit and quickly gained a following.
“The work has to feel lived-in,” Zhu says. “Even when I’m asked to adapt, my job is to sand down the illogic, stitch in research, and find the heartbeat that actually resonates with an American audience.”
A Faster, Riskier Medium
Vertical dramas operate at warp speed compared to Hollywood. Writers can see their scripts shot, edited, and streamed within months. The upside: almost immediate audience feedback. The downside: there’s nowhere to hide. If a story is flat, retention can drop significantly overnight.
Zhu embraces the pace. “You don’t have the luxury of three years in development. You write, you adapt and adjust, you learn in real time. That pressure is also what makes it thrilling.”
Her willingness to explore new genres — YA sports drama, 90s rom-com throwbacks, even projects without central romance arcs — has earned her a reputation as one of the format’s more daring creators.
From UCLA to the Global Stage
Before entering verticals, Zhu trained in traditional screenwriting at UCLA and worked with veteran Hollywood producers. That background is evident in her work. Where many vertical scripts rely on shorthand, Zhu insists on structure, motivation, and texture. Critics have taken notice: The Return of My Drama Queen (2024) was hailed as “more expansive than the genre” by reviewers, with its Marie Antoinette-in-Hollywood concept winning over some initial skeptics of the medium.
For Zhu, the goal is more than just clicks. It’s about proving that vertical drama can expand beyond mere imitation. “This is still a young form. But young forms shape their future quickly. If we only chase formulas, the audience will likely outgrow us. If we take risks, if we find stories rooted in our own cultures, this could be a medium with lasting potential.”
