As vertical-format dramas rise to dominate global and U.S. content consumption trends, screenwriter Shuli Tan is emerging as a standout voice in the movement. A bilingual writer with a growing reputation for commercial storytelling, Tan has become a breakout figure in the American vertical short drama landscape. Tan also serves as one of the lead screenwriters on a highly anticipated animated feature film. The project is currently in development as an international co-production and is based on a globally successful video game IP.
Currently based in Los Angeles, Tan has been at the forefront of content innovation, entering the vertical drama field early and contributing widely popular works to major platforms. Her scripts are known for their tight structure, emotional intensity, and fast-paced plot twists, all of which align with the evolving demands of mobile-first storytelling, a format designed for vertical screens.
Vertical Dramas and Their Explosive Growth in the U.S. Market
In recent years, vertical-format storytelling has surged across the North American entertainment landscape, becoming one of the most promising growth sectors in the media industry. In the first quarter of 2025 alone, short-form vertical dramas generated more than $400 million in revenue in the U.S. According to research by iMedia, the global market for vertical dramas is expected to reach $13.8 billion by 2027. Some industry projections go even further, estimating the long-term international market potential to be as high as $360 billion.
In this rapidly evolving space, storytelling quality has emerged as the primary factor driving audience engagement. A 2024 report by TikTok for Business noted that "plot and story" are the top elements audiences care about when choosing vertical content—positioning skilled screenwriters like Tan at the very center of the genre’s growth.
A Breakout Hit in the U.S.: Submitting to My Best Friend’s Dad
In 2024, Tan’s breakthrough series Submitting to My Best Friend’s Dad premiered on DreameShort, one of the largest vertical drama platforms in the U.S., and quickly became a breakout success. The series accumulated millions of views across platforms and was named one of the most-watched dramas of the year. One year later, it remains in the top three of DreameShort’s “Best of 2025” chart, maintaining a heat score close to one million—an indicator of its enduring popularity with American audiences.
Soon after its release, the series was featured in a looping billboard ad in New York’s Times Square—one of the most iconic commercial locations in the United States. The campaign significantly expanded the show’s visibility, drawing attention from both mainstream viewers and industry insiders.
Submitting to My Best Friend’s Dad also launched on DramaBox, another leading U.S. short drama platform, where it has amassed over 117,000 saves as of April 2025. It continues to rank in the platform’s “Most Trending” and “Top Search” categories, highlighting its strong resonance with domestic audiences.
Continuing the Streak: Scriptwriting That Drives Attention and Value
Following the success of Submitting to My Best Friend’s Dad, Tan followed up with a slate of new vertical drama scripts, including Breaking Engagement, Out of Control, HIS, and Her Sunset Billionaires. All of these scripts have been highlighted by streaming platforms and have received strong user engagement.
In early 2025, Tan penned the script for Finding Love in My Second Life, an original vertical drama project filmed in Los Angeles and currently in post-production. Created in collaboration with a top-tier director, producer, and cinematographer, the project is already gaining pre-release attention as a potential new hit.
On Writing for Vertical Dramas
Tan views the rise of short-form series in the U.S. as more than a fleeting trend—it’s a structural response to the speed and density of modern digital life. “Fast pacing, emotional punch, and precision in narrative structure—that’s what vertical dramas demand,” she says. “As a writer, you have to build emotional connection and plot momentum in a fraction of the time, without sacrificing character depth.”
Rather than a departure from traditional storytelling, she sees vertical dramas as a new form of narrative architecture. “This is a storytelling revolution,” she adds. “The stakes are higher. Every second matters.”
From Mobile to Movie Screens: Writing an Animated Feature Film
Tan’s experience in mobile-first storytelling is also informing her work in feature-length projects. She is currently serving as a lead writer on a major animated feature film co-produced by American and Asian studios. The film is being developed in Los Angeles by an A-List creative team that includes alumni from top U.S. animation studios such as Disney and Pixar.
The film is based on a globally popular female-oriented game IP, which has produced four mobile game titles to date and amassed over 200 million registered users worldwide. The franchise’s cumulative revenue has exceeded $500 million. With a dedicated fanbase and high commercial expectations, the film aims for wide theatrical release, particularly in the North American market.
“The fanbase has an incredibly deep connection with the main character,” Tan says. “Our responsibility is to honor that history while crafting something fresh and emotionally rich for the big screen. The script will define the success of this adaptation, and I’m fully committed to delivering something exceptional.”
Looking Ahead: Storytelling with Vision and Reach
Tan is currently writing three new vertical drama projects while continuing work on the feature film. Her goal is to create stories that move fast, hit hard, and connect deeply with today’s audiences—especially in the fast-evolving U.S. media landscape.
“We may tell stories about love, growth, or transformation,” she says, “but the core is always human emotion and universal truth. That’s the language every audience understands.”
