Filmmaking / Directing : The future of storytelling has arrived and if you hated what Netflix did to cinema, you might not like what's coming... by Geoff Hall

I'm getting ready to write vertical scripts, Geoff Hall. I watched the "Understanding Vertical Storytelling "Verticals" 101" webinar on Stage 32 last week. I plan on watching the "How to Write Vertical Micro Drama Scripts" webinar on Dec. 9th too. A producer-director I've worked with for a long time wants me to write some vertical scripts for him.

I still don’t fully understand the difference between the two, but since vertical storytelling aims for layers, depth, and philosophical twists, I think I’m ready for this new era of the cinematic industry.

Maurice Vaughan so these vertical scripts are basically micro dramas?

Yeah, Geoff Hall. I need to watch more for research too.

Maurice Vaughan thanks Maurice. That’s good to know.

I read more about the difference,

and I think it’s a big challenge—especially for stories with larger stakes.

A large background gives more space to show, not tell,

something that’s hard to achieve in a focused, vertical format that imitates reels.

Hi, Brian Jackson. The "Understanding Vertical Storytelling "Verticals" 101" webinar I took comes with a sample episode script. www.stage32.com/education/products/understanding-vertical-storytelling-v...

The upcoming "How to Write Vertical Micro Drama Scripts" webinar comes with a 1-page template for a 2-minute vertical micro drama. www.stage32.com/education/products/how-to-write-vertical-micro-drama-scr...

Thanks for the link to watch free episodes!

You're welcome, Geoff Hall.

You're welcome, Brian Jackson.

Geoff Hall

What a fascinating (and provocative) topic. Thanks for raising it.

Russo's observation about how we consume content ("upright, in motion") is undeniably true. We see the proof of it everywhere, every second, especially here in Vietnam.

However, like you, I'm skeptical that verticality will "win" over horizontality. To me, they are simply different languages for different purposes.

The horizontal frame (1.85:1, 2.39:1) is the language of environment, scope, and the space between characters. The vertical frame is the language of the portrait, the individual, and the close-up.

I believe the contradiction you pointed out is actually the key: the future is still "cinematic." "Cinematic" is a language of intent, light, composition, and subtext—it's not an aspect ratio.

Funnily enough, I am currently deep in this exact challenge. I'm developing "Kẻ phản diện" (The Villain Within), an experimental, AI-driven micro-series specifically for vertical platforms (TikTok/Reels). Trying to bring a contemplative, "auteur" sensibility to a 60-second vertical frame is an incredible creative test!

It’s a massive shift, and it’s great to see you provoking this exact discussion. It's always a pleasure to read your thoughts.

Phuc Quang Vu Dao Hello Dao, thank you for your comment. I wish you well with The Villain Within, it seems that verticality will be a great medium for this kind of story.

I love what you said here,

“The horizontal frame (1.85:1, 2.39:1) is the language of environment, scope, and the space between characters. The vertical frame is the language of the portrait, the individual, and the close-up.

I believe the contradiction you pointed out is actually the key: the future is still "cinematic." "Cinematic" is a language of intent, light, composition, and subtext—it's not an aspect ratio.”

That is a beautiful way of putting it. Cinematic as a language of intent, light composition and subtext. Subtext to me is perhaps the key to great storytelling.

In terms of verticality, I believe it is a great format for the psychological profile and its potential for intensity.

Brian Jackson hi Brian, so reel shorts is heavy on melodrama and romance it seems!

Geoff is there a manual for writing these verticals?

Jon Shallit I think Maurice pointed to that in his comment, Jon.

Hmm, are there any vertical format theaters yet? Considering that they changed the format of the original iPhone to 16:9, to be able to watch widescreen movies, it is a bit ironic that people not watch films at 9:16 super-slim portrait format instead.

Pretty interesting Geoff Hall - I've often wondered if they made good marketing tools.

Geoff Hall Vertical has been here for many years, in the advertising space, and that's where it actually belongs. There's been a push that it can be a narrative format for a little bit, by (IMO) people with the same type of thinking that says our attention span has reduced so that we can't tolerate long form content anymore. In other words, the same type who decided Quibi would obviously be the next biggest thing. But Quibi turned into the quickest large-scale bankruptcy in film history. I recommend everyone take about 20 minutes and watch some of reelshorts.com. Once you get past the fact that it's mostly just people posting stuff from their cell phones that TikTok didn't want or that couldn't get traction on YouTube shorts, you'll see why this is unlikely as a narrative format. If and when you do find something interesting, it'll be only a moment or two before you ask "why did they shoehorn this into a vertical, it's so uncomfortable to watch." And that's the reason it won't be much of a thing. Humans see in ~16:9 field of vision. Vertical's lateral squeeze means it's only good for a certain kind of visual. I am not saying that it cannot be done - I am one who likes breaking convention and form, as my partner will tell you - but it has to be done with intent and with an understanding of the visual frame and how that affects communication as well as story itself. You cannot squeeze a regular show into it. You have to understand, design and shoot for this peculiar format.

That's what I'll be writing too, Brian Jackson. Horror.

Brian Jackson Romance dramas have a solid market. Short-short narratives have never succeeded as a commercial product (they've been around since the early days of film), they are by definition ephemerals. Misunderstanding that is why Qjuibi failed, but why TikTok succeeds. The real question is NOT genre, but what are you shooting that demands or takes advantage of a vertical format, in artistic and presentation terms?