From Script to Set: Jiayan He's Cross-Cultural Role in Vertical Drama - MovieMaker Magazine

      Jiayan He, a writer and script supervisor based in Los Angeles, navigates various languages, cultures, and production environments, infusing the intensity of Chinese short-form dramas into English-language vertical-screen narratives.

      As vertical dramas—also known as mini dramas—gain traction on global platforms, the format increasingly relies on creators who can fluidly navigate different cultures while moving between script and production. In this rapidly evolving landscape, He has established a portfolio that amalgamates the structure of Chinese short dramas with English storytelling.

      Operating from Los Angeles, He has worked on vertical-screen projects for platforms such as DreameShort, NetShort, PlayLet, DramaWave, ShortMax, ShortsWave, and Dramabox. His contributions mirror the global nature of the industry, showcasing stories influenced by Chinese short-form melodramas, tailored for English-speaking audiences, and designed for platforms where each episode must progress swiftly, resonate emotionally, and maintain momentum.

      As a script supervisor, He has been involved in productions like Caught Between the Mafia Brothers, Love, Lies, and Christmas Surprise, The Forbidden Love with the Young CEO, Daughter’s Dying, He’s Still Lying, Fated to the Alpha Who Left Me, and Lycan Princess Marries Her Nemesis. These projects cover some of the most prevalent genres in international mini dramas, such as billionaire romance, contract-love narratives, hidden identities, forbidden relationships, family melodramas, and werewolf fantasies.

      In the role of a script supervisor, He’s contributions are often understated yet vital. Within the fast-paced realm of vertical productions, continuity encompasses not just the accurate matching of movement, props, or costumes but also the preservation of the emotional journey that guides viewers through successive episodes.

      His experience as a writer adds further depth to this role. Although a vertical episode may only run a few minutes, it must still establish conflict, alter power dynamics, unveil desire, and create a compelling motivation for continued viewing. For He, following the script on set also entails safeguarding the rhythm under pressure.

      This rhythm significantly informs He’s writing. His screenwriting credits include Falling in Love with My Ex Husband Again, Callboy Punishes Me After Sunrise, Mute But Deadly, CEO’s Kansas Sweetheart, Triplets Alpha, and the AI vertical drama The Forgotten Iron Wraith.

      When discussing vertical drama, He frequently emphasizes a core idea: emotional connection must outpace the plot. While the audience may be drawn in by themes of betrayal, revenge, or hidden identities, it is typically the more personal elements—such as the desire to be chosen, protected, or acknowledged—that maintain their engagement.

      This belief influences his cross-cultural method. Many of the driving forces behind Chinese short dramas—humiliation, sacrifice, familial pressure, reversal of power, and cathartic outcomes—have specific forms but are relatable in their emotional resonance. Instead of merely translating these structures into English dialogue, He reinterprets them through natural speech, clearer motivations, and performance rhythms suited to Western audiences. In this process, bilingual writing evolves into more than mere linguistic skill; it transforms into a creative approach.

      His cinematic education at Syracuse University and ArtCenter College of Design enhances this production-minded methodology. He conceptualizes scenes not solely through dialogue and narrative but also considers blocking, camera movement, editing pacing, and how each moment will operate within a vertical frame.

      For He, vertical drama transcends being just a condensed form of television; it thrives on compression, forward motion, and immediacy of emotion. Through his dual roles as a writer and script supervisor, He embodies a fresh generation of international vertical creators, merging the intensity of Chinese short dramas, English-language performance, and production rigor into a singular mobile framework.