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Writing for microdramas, aka verticals

September 24, 2025 Film Industry, Follow Up, Los Angeles, Television

Over the last six months, we’ve discussed microdramas (aka verticals) several times on Scriptnotes. For readers who don’t know, microdramas are a format originating in Asia in which a filmed narrative is broken into very short episodes intended to be watched on your phone. They’re often called verticals because they’re shot to be watched on a phone held vertically.

Typically, the first few episodes are free, and then each subsequent episode requires an in-app purchase. The overwhelming majority of microdramas are romances, often feeling like a heightened soap opera.

They’ve recently hit American shores, with U.S. productions shooting in Los Angeles, largely using non-union crews. They have provided work for underemployed actors and crew members — particularly recent film school graduates — and have some experienced producers kicking the tires.

Here’s an example from the ReelShort series The Hidden Billionaire in First Class.

Note that the WGA contract does cover this type of work. Guild writers should not be working on these productions unless they’re under a Guild contract.

We asked listeners who have written on these productions to share their experiences. Several wrote in. Here are two examples.


Risky Business writes:

I spent six months writing for Reelshorts. As a writer, it was terrible.

The first 10 chapters were pored over with repeated rewrites until all the joy was taken out of them, then pretty much they didn’t care. The rest of the story had little oversight as they didn’t expect people to watch.

The CEO repeatedly criticized the writers in company wide messages, while giving 100% of the credit for successes to the editors.

All while paying $22 an hour, with ‘no work’ orders between feedback cycles, and a constant “your contract can be cancelled at any time” hanging over your head, and expectation that you’d be immediately available the second they had feedback, which sometimes took over a week to receive. It ended up being less than minimum wage to basically hold all the blame for a possible failure poured on you from the entire company.

Creative decisions were entirely made by algorithms based on what was selling. The whole prediction model that hollywood is always trying to master contracted by the short production schedule.

I have not had the pleasure of joining any union, but the success of reelshorts definitely scares me. If the model succeeds, AI will definitely be writing the scripts, and the CEO can have his dream of never having to rely on a writer’s creativity again


Another listener wrote in with their experience:

In episode 693, Risky Business shared about his negative experience writing for verticals. I recently started as a screenwriter for one of the larger vertical drama companies as well, and I wanted to offer my perspective since I’ve had a more positive experience.

My salary is about $1540 a week–about $40/hr–with benefits. My lawyer also negotiated that my agreement be non-exclusive, so I am free to keep developing and writing non-vertical projects. Since I’m staffed, I still get paid when I’m waiting for feedback.

For sure, figuring out the soapy, melodramatic tone and structure of verticals has been a tough nut to crack. Even though there’s some room for innovation and creativity, at their core verticals are reverse-engineered around data-driven formulas. It’s kind of like doing a fill-in-the-blanks puzzle. It can be fun and even playful, but it’s a very different process from anything else I’ve done.

Because writing verticals often feels more like solving a puzzle than writing from scratch, I usually have a lot of creative energy left over to keep working on my own projects. I’m also able to write remotely outside LA, which has been a godsend for family reasons.

As a non-WGA writer, I’d love to see verticals get WGA coverage. But at this point, especially with the current state of the industry, I’m grateful for a screenwriting gig that pays the bills while leaving space for my own stuff.


To clarify, verticals already do have WGA coverage. WGA writers shouldn’t be writing on them, just as they shouldn’t be writing any film and television that’s produced without a Guild contract.

Play AlphaBirds with us

November 1, 2024 Los Angeles, Talk

AlphaBirds — the fun, fast word game we make — is having its first-ever live event this month.

We’re holding it at Village Well in Culver City, November 22nd at 6:30pm.

Come have a drink and learn to play our game. Space is limited, so do get a ticket in advance.

Not in the LA area? AlphaBirds is also available through our store and on Amazon.

Summer Reading

June 24, 2020 Author, Books, Los Angeles

On Saturday, I hosted a group of local authors to celebrate [Chevalier’s Books](https://www.chevaliersbooks.com), LA’s oldest independent bookstore, which recently reopened for pick-up orders.

Chevalier’s is our neighborhood bookstore, hosting many of our launch parties — including Arlo Finch — so we’re excited to see its doors semi-open.

The theme for our Zoom conversation was “summer reading.” We gave our picks for kids, teens and adults, with special focus on books about understanding race in America.

Guests include Stuart Gibbs, Leslie Margolis, Aline Brosh McKenna, Thomas Lennon, Sarah Mlynowski, Julie Buxbaum, Kayla Cagan and Julia Claiborne Johnson.

You can see their reading lists on [Chevalier’s site](https://www.chevaliersbooks.com/local-authors-060620), with links to order directly from Chevalier’s or bookshop.org.

My picks are below, along with a few additions I made as we were recording.

Support your local indie bookstore! Like Chevalier’s, many are partially open, and can easily get any book you’re looking for.

### Young Readers:

– [Don’t Let the Pigeon Drive the Bus](https://bookshop.org/a/2114/9780786819881) by Mo Willems
– [Raccoon Sick Day](https://www.indiebound.org/book/9781732761612) by C.E. Miller
– [Hair Love](https://bookshop.org/a/2114/9780525553366) by Matthew Cherry

### Middle Grade:

– [My Side of the Mountain](https://bookshop.org/a/2114/9780142401118) by Jean Craighead George
– [The Curious Incident of the Dog in the Night-Time](https://bookshop.org/a/2114/9781400032716) by Mark Haddon
– [Marvel Encyclopedia](https://bookshop.org/a/2114/9781465478900) by Stan Lee (DK)
– [Incredible Cross-Sections](https://bookshop.org/a/2114/9781465483898) by Stephen Biesty

### YA:

– [Dune](https://bookshop.org/a/2114/9780441172719) by Frank Herbert
– [Pride and Prejudice](https://bookshop.org/a/2114/9780141439518) by Jane Austen
– [Guns, Germs, and Steel: The Fates of Human Societies](https://bookshop.org/a/2114/9780393354324) by Jared Diamond
– [Things to Make and Do in the Fourth Dimension](https://bookshop.org/a/2114/9780374535636) by Matt Parker

### Adults:

– [Their Eyes Were Watching God](https://bookshop.org/a/2114/9780061120060) by Zora Neale Hurston 
– [The Autobiography of Malcolm X](https://bookshop.org/a/2114/9780345350688) as told to Alex Haley
– [Trick Mirror: Reflections on Self-Delusion](https://bookshop.org/a/2114/9780525510543) by Jia Tolentino
– [Free-Range Chickens](https://bookshop.org/a/2114/9780812977110) by Simon Rich
– [Station Eleven](https://bookshop.org/a/2114/9780804172448) by Emily St John Mandel
– [Atrocities: The 100 Deadliest Episodes in Human History](https://bookshop.org/a/2114/9780393345230) by Matthew White
– [The Hardest Job in the World: The American Presidency](https://bookshop.org/books/the-hardest-job-in-the-world-the-american-presidency/9781984854513) by John Dickerson
– [Raising White Kids](https://bookshop.org/a/2114/9781501878077) by Jennifer Harvey

Come to the Arlo Finch launch

February 5, 2019 Arlo Finch, Los Angeles, Projects

If you’re in the Los Angeles area, please come to the launch event for Arlo Finch in the Lake of the Moon. I’ll be signing books and answering questions about the series. I may even be allowed to share some cool news.

Invite for LA book signing

The LA event is at:

Chevalier’s Books on Larchmont
Saturday, February 9th at 12:30
[website](https://www.chevaliersbooks.com/john-august-2019)

You can also [order the book online](https://read.macmillan.com/mcpg/arlo-finch/) or purchase it at many US bookstores.

First week sales are a wonderful thing, because they help more readers discover the book. So does sharing it on social media (#arlofinch) and leaving a [review on GoodReads](https://www.goodreads.com/book/show/31180257-arlo-finch-in-the-valley-of-fire). (The review page for book two is [pretty light](https://www.goodreads.com/book/show/39073390-arlo-finch-in-the-lake-of-the-moon?ac=1&from_search=true) because it just came out today.)

As I post this, I’m in St. Louis, where I just finished two days of school visits. Tonight, I fly to Seattle, for two more days of school visits and a live Scriptnotes. Then it’s a day in San Francisco before heading home.

The second half of the tour comes in April, when I’ll be headed up and down the East Coast for events at schools and bookstores. For more details, you can check out my [Arlo Finch](https://johnaugust.com/arlo-finch) page.

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