TRUE INDIE: Writing for Verticals – Interview with Screenwriter Lynn Grant Beck

Ah, how the tables…or phones…turn.  

Not all that long ago, shooting in landscape was the only way to go, but now a growing number of indie filmmakers are ditching the traditional 16:9 and flipping it (literally) to 9:16.  

Vertical apps like ReelShort and DramaBox are sweeping the globe, bringing in so many millions of viewers and billions of dollars that mainstream streamers like Peacock and major brands like Maybelline took notice and have created their own vertical series.   

So, what are verticals—or microdramas, as they’re often called—and why are they so popular?  

In short, they’re essentially soap operas for a new generation that can be consumed in 1-2 minute increments on cell phones, in the most comfortable position that most people hold their phones: vertically. While many verticals are romantic dramas, there are also a growing number of fantasy, sci-fi, horror, and other genres to choose from. Their popularity seems to stem from the ease of consuming them in the vertical format and the over-the-top hooks of each episode that keep viewers coming back for more.  

I had the chance to chat with screenwriter, playwright, and author Lynn Grant Beck, who was recently hired to develop a vertical series for Everbrite Studios, about the world of verticals and how screenwriters can break into this popular new format.   

Lynn’s produced work includes movies for Lifetime and Hallmark, as well as episodes of the TV series Cypher on Roku. Her play, All American, had its world premiere at the Hollywood Fringe Festival, where it was nominated for Best Drama and won the Hollywood Producers Encore Award. Lynn’s latest adapted series, French Vanilla & Felonies, is currently being pitched to streamers, and she recently published a non-fiction book about another one of her passions—pickleball—titled Dink, Drive, Thrive: How Pickleball Transforms Lives. 

Rebecca: What would you say the differences are between vertical films/microdramas and other short content like short films and web series? 

Lynn: First, the short-form vertical drama series are shot vertically for people specifically to consume on their phones. This narrow lens means that scenes will have limited characters, often only two protagonists. The mini episodes are extremely short, between one and two minutes, and they should end in a cliffhanger to hook the audience into watching the next episode. The writing is extremely melodramatic with heightened emotions. Like MOWs [movies of the week], most have female protagonists because the audience is mainly female. The total length of these series is roughly the length of a short feature film, around ninety minutes, which means you can chart an entire season like you would a feature film with three acts. 

Rebecca: Why would you say apps like DramaBox and ReelShort have taken off, while earlier iterations like Quibi did not? 

Lynn: It’s all in the financial model. Quibi spent millions of dollars on A-list writers, directors, and actors and could not recoup that kind of investment. The producers of short form vertical drama series spend as little as possible, around $100K for an entire series. The production value is extremely low and everything is done non-union. There is also a quick ROI because as soon as the editing is completed, the series are launched on the apps. The apps are also membership-based, practically guaranteeing profits. 
 

Rebecca: What is it that vertical apps are looking for as far as story?  

Lynn: The stories coming out of China were primarily romantic stories with female protagonists. But now that U.S. producers are getting in the game, we’re seeing stories expand into other genres like fantasy, thriller, and horror, but always low budget. 
 

Rebecca: What are the potential pitfalls of writing in this medium?  

Lynn: In a word, the writing is bad; they are looking for cheesy, heightened, melodramatic writing. Personally, I would love to see a production company produce better-quality vertical series, but that’s not really what their audience is looking for. These are series where people can watch an episode in line at the grocery store or while waiting for a bus. 
 

Rebecca: How can a screenwriter who wants to work in verticals get started? 

Lynn: This world is all about quantity, not quality, so there is a real need for scripts. Writers wanting to try their hand at writing and selling these scripts should reach out to the producers and production companies who make them. It would be a good idea to write a sample script to show that you understand the format. 

Learn more about Lynn and her projects at LynnGrantBeck.com!