Ruijia “RJ” Wang has steadily carved out a space for herself as a producer bridging cultures and formats in an industry still dominated by traditional models. With eight years of experience across China and the United States, she has built a reputation for taking projects from concept to completion with a sharp eye for production management, financing, and creative strategy.
Now a full-time creative producer at TapStory/Good Short, one of the leading platforms shaping the future of vertical entertainment, Wang is helping redefine how audiences consume stories on mobile. Her recent success producing the viral rom-com Straight Until He Kissed Me underscores both her creative instincts and her commitment to championing fresh voices and formats at a time when the industry is in flux.
Short and vertical formats are quickly reshaping how audiences engage with stories. From your perspective, what makes this form so powerful right now?
I think vertical formats provide a direct engagement with the audience because they utilize the most accessible way of entertainment, our cellphones. Vertical formats provided such easy access that no one had seen before, bringing engaging narrative drama to the palm of your hand. It differs from Tik because it is a TV-like drama that is engaging and keeps you hooked, allowing you to enjoy it at your own pace.
Your project Straight Until He Kissed Me went viral on Good Short. What do you think made that piece resonate so strongly with viewers?
It went viral because it is a very high-quality show with a very cinematic tone. And the performance is fantastic, Evan and Greg did such an excellent job bringing those characters to life. Additionally, a romantic comedy drama is exactly what we need right now, given the current stress of life, and everyone could use some laughs. People really needed a getaway from their daily routines.
How does producing for vertical platforms like Good Short differ from traditional film and television production in terms of both creative and logistical choices?
The most significant difference is really the pace of production. Feature films take about an average of a year, if not more, to get developed and made. TV is shorter, but it’s still more than 6 months for a standard network TV show. Vertical, however, takes less than 3 months from writing to delivery. We aim for an average of 8 days to complete a 100-120 page script.
Creatively, the significant difference is that vertical dramas tend to be more dramatic than regular TV and film. That way it could be more engaging to the audience and keep them entertained. But also, vertical drama is still shifting to a more natural and closer to film and TV performance as well.
Many say short-form storytelling is redefining audience attention spans. Do you view this as a limitation or an opportunity for new forms of creativity?
I think it creates a challenge to keep the audience attached, and it creates a new opportunity for storytellers to come up with a different approach to writing and film content. I don’t think it’s necessarily a bad thing that people’s attention spans are getting shorter. People are able to take in more versatile information in a more efficient way. With shorter formats, it boils the drama down to the essence, so I think shorter attention span actually means better quality content.
What role do you see vertical content playing in the future of mainstream entertainment? Will it complement long-form formats, or begin to replace them?
I think vertical will gradually see vertical taking more market shares, but I don’t think it will replace long form because going to the theater and watching a good TV show with your family is still an essential part of life. I think short formats fill a blank that is missing: on-the-go mobile entertainment.
As a female producer in a male-dominated industry, how have you used short-form projects as a way to amplify underrepresented voices and stories?
Because this is such a new industry, the playing field is slightly better because you get to start fresh, but it is still a difficult climb. Since it’s an innovative industry, I get to explore new options and new types of stories. It is an industry that is very susceptible to new ideas.
How do financing and production strategies shift when working in short-form compared to traditional film and TV models?
It’s a quick turn and burn, so everything is on an accelerated pace, so we need to adapt quickly. There is less red tape compared to traditional film and TV. It really capitalizes on the mobile platform and the viral elements to attract the audience.
It focuses more on the individual shows rather than trying to do sequels, spin-offs, and seasons.
Looking ahead, what innovations or storytelling experiments in vertical and short content are you most excited to explore?
I think interactive storytelling is an exciting idea where the audiences have certain choices that would affect the outcome of the show. Because vertical shows are focused on smartphones, it is natural for the audience to scroll through the shows, and an interactive show could make it more interesting for the audience to engage with.
