My View on the Evolution of Micro-Short Dramas: From Unregulated Growth to Standardized Development
Author: Weng Yishui (China)
Abstract
Drawing from the dual perspectives of a creator and an industry participant, this paper provides a comprehensive review of the development of Chinese micro-short dramas, analyzing the industrial logic and creative practices that have evolved from a phase of unregulated expansion to one of standardized growth. It defines the time-length boundary between micro-short dramas and short dramas, emphasizing that micro-short dramas—designed for mobile viewing—are characterized by frequent updates, fast-paced storytelling, and vertical-screen visual language. These features cater to the fragmented viewing habits of contemporary audiences and have fueled an explosive increase in content production.
The paper highlights that the literary script remains the decisive factor in determining the success or failure of a micro-short drama. While early audiences tolerated narrative jumps, redundant dialogue, and weak logic, rising competition and higher aesthetic standards now demand scripts that are well-structured, rhythmically tight, and rich in plot twists, character depth, and concise dialogue. High-quality scripts are not only prerequisites for platform collaboration and funding but also the key to achieving long-term dissemination and creating viral hits.
In addition, this paper explores the multiple pathways through which micro-short dramas are expanding into overseas markets and proposes possible directions for future development.
I. Definition of Micro-Short Drama
Although the National Radio and Television Administration (NRTA) of China officially defines micro-short dramas as serialized, story-based online audiovisual content with individual episodes ranging from several seconds to less than twenty minutes, industry practitioners in film and television generally hold a more specific view. Within the industry, productions with episodes shorter than five minutes are categorized as micro-short dramas, whereas those running between five and twenty minutes are referred to as short dramas. This distinction helps delineate the conceptual and industrial boundaries between the two forms.
The duration of micro-short dramas varies across online video platforms, reflecting their flexibility and adaptability. On short-video platforms, individual episodes typically last one to three minutes, while on mobile mini-program platforms, episodes are generally one to two minutes long (rarely exceeding two minutes per episode). These works are usually filmed in vertical format, optimized for mobile viewing. By contrast, micro-short dramas with episodes lasting three to five minutes are often distributed on long-form video platforms, where both vertical and horizontal formats may be used.
The total number of episodes in a micro-short drama also follows no fixed pattern. Typically, series with one- to three-minute episodes range from 60 to 120 episodes. If a series becomes highly popular, it may be extended with sequels or additional seasons, similar to the production models of American, Korean, or Japanese dramas. For micro-short dramas with episodes of three to five minutes, the number of episodes is even more flexible, depending largely on production costs and team decisions. Such series may consist of 8, 9, 10, 12, 16, 24, 36, 48, 60, 80, or even 100 episodes.
If a first-season release fails to achieve significant market traction or recover its investment, production companies typically choose not to continue with subsequent seasons. This agile “cut-loss” mechanism reflects the highly adaptive and risk-sensitive nature of the micro-short drama industry.
II. The Birth and Unregulated Growth of Micro-Short Dramas
Tracing its origins, the micro-short drama can be viewed as a derivative or hybrid form that evolved from earlier genres such as sketch dramas, situational comedies, and microfilms. It combines the narrative continuity of television drama with the brevity and immediacy of internet video content.
Around 2008, micro-short dramas began to emerge online and entered a phase of rapid, unregulated expansion. The rise of the “one person, one smartphone” era provided the essential technological foundation for this phenomenon. During this period, production companies and individual creators overwhelmingly chose to shoot in vertical format, catering to the growing population of mobile viewers. This shift was so significant that Hengdian, China’s largest film production base, colloquially became known as “Vertical Town” (Shudian). Soon, similar small-scale “vertical film studios” appeared in many other cities across the country.
Micro-short dramas grew explosively, capturing a substantial share of the domestic audiovisual market within just a few years and squeezing traditional long-form drama production into near-stagnation. Several factors drove this phenomenon: beyond the widespread popularity of smartphones and streaming platforms, the most critical element was regulatory leniency. At the time, micro-short dramas did not require filing or approval from the National Radio and Television Administration (NRTA). Instead, they only needed registration with an online platform. Once a platform-issued registration number was obtained, the series could be released immediately.
This drastically shortened the production-to-distribution cycle and disrupted the long-established regulatory and market order of the film and television industry. As a result, investors from various sectors flocked to the new medium, drawn by its low entry barriers and high return potential—creating a frenzy reminiscent of the earlier wave of coal magnates investing in film and television. Many investors hastily assembled makeshift teams to produce content, resulting in a marketplace flooded with uneven-quality productions and a chaotic, “melting-pot” landscape.
Freed from official oversight, a considerable portion of early micro-short dramas pushed the boundaries of acceptable content. They frequently contained sexually suggestive, violent, or morally questionable material, which not only polluted the online cultural environment but also exerted negative social influence, particularly on younger audiences. This “wild growth” phase reflected both the creative vitality and the ethical risks of an emerging industry operating outside traditional regulation.
III. The Period of Standardization and Vigorous Development of Micro-Short Dramas
In August 2020, China’s National Radio and Television Administration (NRTA) officially incorporated online micro-short dramas into its classification system for audiovisual works, though concrete regulatory measures had yet to be implemented at that time. This marked a critical step toward recognizing the form as a legitimate branch of the audiovisual industry.
During this transitional phase, numerous companies and creators began experimenting with the new format. One illustrative example involves a technology company that initially purchased the adaptation rights to a historical novel but hesitated to proceed with a full-length costume drama due to its prohibitively high production costs. Upon consultation, I suggested reinterpreting the historical narrative through a contemporary love-and-marriage storyline interwoven with echoes of the original setting. The proposed micro-short drama required only a fraction of the investment—hundreds of thousands of yuan instead of tens of millions—and could be completed quickly. The company’s management immediately approved the project after a brief discussion, their decision largely driven by the low production risk and high potential return.
At that time, the concept of micro-short dramas was already gaining traction. Under pressure to deliver swiftly, I completed a 60-episode script within twenty days (the company had initially demanded a five-day turnaround). The entire production, from pre-shoot preparation to release, was completed within twenty days, after which the series was launched online and promoted to the company’s internal fan communities to maximize monetization. Although the project recouped its costs, it failed to achieve significant visibility, disappearing quickly in an oversaturated market. Nonetheless, this experience marked my first direct involvement in the operational mechanisms of micro-short drama production and distribution.
By December 2022, the NRTA issued a formal notice introducing ten key regulatory measures for micro-short dramas, covering areas such as access and registration, planning and guidance, and content review. This announcement clearly delineated the boundaries, classifications, and procedures for the micro-short drama sector. The industry began to self-regulate, and the chaotic “wild growth” period gradually gave way to structured, rule-based development.
From that point onward, the industry entered an era of explosive yet orderly growth. Many large companies began adapting popular online novels into micro-short dramas and exporting them overseas. The form rapidly gained global visibility, with numerous Chinese productions distributed and broadcast internationally. Platforms such as TikTok and other global social media networks became major outlets for these works, leading to an ongoing wave of viral successes.
In terms of international expansion, Chinese micro-short dramas have pursued several cooperative models:
Script licensing, where overseas producers purchase adaptation rights, translate the scripts, and remake the dramas with local actors and crews;
Direct sale of domestic versions, where Chinese-produced dramas are exported in finished form and monetized through overseas distribution or revenue-sharing agreements;
Localized co-productions, in which foreign production teams establish small-scale studios in China—often repurposing warehouses or disused factories into “foreign-style” sets—to film with local resources and international casts, before re-exporting the completed series for distribution abroad.
Since becoming involved in micro-short drama production, I have participated in projects across the entire production and distribution chain—from scriptwriting and project registration to filming, post-production, and release. Through this process, I have come to appreciate the complex operational “logic” behind successful productions.
According to the NRTA’s tiered regulatory framework:
Projects with production costs below 300,000 RMB may be self-reviewed and registered directly with online platforms;
Those with budgets between 300,000 and 1 million RMB must obtain official approval at both provincial and national levels before production can begin;
Productions exceeding 1 million RMB are subject to heightened scrutiny and categorized as key micro-short drama projects for stricter review and supervision.
Although low-cost dramas (under 300,000 RMB) require only platform-level registration, content that crosses regulatory lines may face immediate removal, resulting in total loss. Some platforms, wary of liability, have shifted greater responsibility to producers, explicitly stipulating in contracts that the production party bears all legal and content-related risks, while the platform merely provides distribution.
These regulations represent only the early stages of the production process. Later stages—such as pre-production, filming, post-production, marketing, release, and revenue sharing—all demand precise coordination. Any misstep at one stage can jeopardize the entire venture. Therefore, professional production teams typically ensure that, after a script’s finalization and project registration, comprehensive production and distribution agreements are signed with platforms. These agreements guarantee exclusive or joint distribution and establish a closed-loop system to minimize financial and operational risks.
IV. Characteristics and Key Success Factors of Micro-Short Dramas
Micro-short dramas are defined by the core attributes of being “short, low-cost, and fast.” Their commercial models—though diverse in form—generally revolve around several recurring mechanisms: user payment, product placement, advertising revenue-sharing, and platform-based profit distribution. Exceptions include customized productions sponsored by brands or tourism agencies, which operate under distinct financial frameworks.
1. “Short”: Compact Production Cycles and Rapid Returns
The defining feature of micro-short dramas is their brief production cycle and quick turnaround. In many cases, investment recovery can be achieved within six months. This efficiency stands in stark contrast to the extended timelines of traditional film and television production. For example, a feature film typically requires two to three years—from script development and approval to post-production, release, and box-office recovery—and in some cases even longer. Television dramas often follow a similar rhythm, with one to three years being common and five years not unusual. Online dramas (web series) tend to have slightly shorter cycles, while online films (web movies) still take two to three years to yield returns.
The explosive rise of micro-short dramas cannot be attributed solely to market trends or audience habits—nor simply to the fast-paced, fragmented nature of modern life and “fast-food culture.” Instead, it is the result of a confluence of technological, industrial, and social factors that together formed an ideal environment for their proliferation.
2. “Low”: Modest Investment and Promotion Costs
Compared with films or television dramas, micro-short dramas require significantly lower production and marketing budgets. During the early “wild growth” phase, production costs were extremely minimal—some teams even shot entire series on smartphones. However, with increased regulation and market maturation, the quality bar has risen sharply. Today, micro-short dramas are moving toward higher sophistication, finer production standards, and larger budgets, with some projects now exceeding five million RMB in total investment.
Marketing expenses, too, remain far lower than those of traditional audiovisual works. In the early years of mobile platforms, traffic acquisition costs were virtually zero, as platforms actively provided algorithmic boosts and promotional incentives to attract creators. This trend was especially evident on mobile mini-program platforms (apps), many of which emerged in large numbers during the boom period. However, only a handful—such as Hongguo Short Drama—ultimately achieved notable influence.
Today, the situation has reversed: platforms now charge for traffic promotion, and most micro-short dramas must invest heavily in paid traffic acquisition, known in the industry as touliu (投流). This practice involves purchasing algorithmic exposure to enhance visibility and drive audience reach. Although touliu represents the most unpredictable cost component for producers, even the highest expenditures remain a fraction of what feature films or TV dramas spend on marketing and distribution.
3. “Fast”: Speed in Production, Recovery, and Narrative Rhythm
“Fast” refers not only to the pace of storytelling in micro-short dramas but also to the agility of their production teams. The workflow—from scripting to release—operates at remarkable speed. Major studios, adhering to the principle of “not putting all eggs in one basket,” often produce multiple series simultaneously.
For example, one large media group was known to invest in ten micro-short dramas of varying lengths at once. Under this strategy, if even one became a viral success, the overall investment would break even; one major hit and several smaller successes could yield substantial profit. As this model proved effective, other capital groups quickly replicated it, creating specialized micro-short drama divisions within their organizations. (I myself have served as a chief consultant for one such division and am familiar with its operational logic.) These groups either build in-house production teams or subcontract to external studios. Once a script is finalized, they negotiate exclusive or multi-platform broadcast agreements with online platforms before filming begins, ensuring efficient execution and predictable returns.
Alternative collaboration models also exist. In some cases, platforms recognize the production quality of established film and television companies and commission them to produce platform-owned series, with the platform retaining copyright while the production company earns production fees. In other cases, production companies present their scripts, creative teams, cast, production plans, budgets, and promotional strategies to platforms. If the platform’s evaluation deems the project promising, it may co-invest and share both ownership and revenue.
V. The Core Value of the Literary Script in Micro-Short Dramas
A successful micro-short drama relies first and foremost on a compelling script. The script is the soul of the production—it determines not only the structure and rhythm of the story but also the emotional depth and audience engagement.
Given the brevity of each episode, usually ranging from one to three minutes, every second of screen time must be purposeful. This demands highly condensed narrative expression, in which plot progression, character revelation, and emotional resonance are achieved simultaneously and with precision. The writer must distill a complete dramatic arc—rising action, climax, and resolution—into an extremely limited time frame, ensuring that the story remains both coherent and emotionally satisfying.
The key to an effective script lies in mastering the “hook” mechanism: the first few seconds of each episode must grab attention and establish a strong sense of anticipation. Each episode should end with a cliffhanger that motivates immediate continuation, forming a rhythmic alternation of tension and release. This structural compression and repetition of suspense create the addictive viewing experience characteristic of successful micro-short dramas.
In contrast to traditional film or television writing, where subplots and nuanced character development are common, the micro-short drama demands narrative economy—every line of dialogue, every gesture, every scene transition must advance the plot or deepen emotion. This style echoes the precision of poetry, where brevity amplifies intensity.
Furthermore, micro-short dramas often blend popular culture, internet trends, and genre hybridity—for instance, fusing romance with fantasy, suspense with comedy, or realism with moral allegory. The most successful works often reflect contemporary social emotions, such as the desire for justice, love, or self-empowerment, within relatable yet heightened scenarios. In this sense, the literary script becomes a mirror of collective sentiment in the digital era.
Writers of micro-short dramas must thus combine literary sensibility, structural mastery, and commercial awareness. They must understand both the emotional mechanisms of storytelling and the logic of digital dissemination—how titles, thumbnails, and episode pacing affect viewer retention. The craft of micro-short drama writing is therefore not a simplified form of screenwriting but a new narrative discipline—one that integrates literary artistry with data-driven insight.
VI. Conclusion
The rise of micro-short dramas represents more than a fleeting entertainment trend; it signifies a structural transformation of China’s audiovisual landscape. This form embodies the convergence of technology, capital, and creativity, demonstrating how artistic expression adapts to the logic of digital platforms and the fragmented attention economy.
From the early experimental phase to the period of chaotic expansion, and finally to today’s regulated and mature stage, the micro-short drama industry has evolved into a complete ecosystem—with standardized production procedures, refined genre typologies, and international distribution networks. Its vitality stems from its adaptability: short in length but not in meaning, lightweight in cost but rich in resonance.
At the center of this ecosystem remains the literary script, the origin of all creative momentum. No matter how advanced production technologies become or how sophisticated platform algorithms grow, the emotional core—the story itself—continues to determine whether a work will capture hearts and transcend its digital boundaries.
In this sense, the micro-short drama, though born of technological acceleration, reaffirms a timeless truth: the power of storytelling endures. The form may evolve, but the essence of human emotion and imagination—conveyed through language, rhythm, and dramatic conflict—remains the foundation upon which all successful screen narratives are built.
