Creative plot key to K-drama success

A scene from hit drama "Guardian: The Lonely and Great God" / Courtesy of CJ E&M

Support urged to nurture new writers

By Park Jin-hai

K-dramas have been rapidly expanding their overseas appeal. Shows such as "Guardian: The Lonely and Great God," "Love in the Moonlight" and "Descendants of the Sun" have enjoyed huge popularity in other Asian countries.

"Guardian," which told the unique fantasy romance story of an immortal dokkaebi, a mythical Korean creature, and his future bride, aired its last episode in January, but its success is still an ongoing story.

Tickets for its lead actor Gong Yoo's fan meeting in Taiwan sold out in minutes, while the 16-part drama's video-on-demand sales posted 14 billion won between December and February, recording an all-time sales high for a Korean drama. The number suggests 15 million to 16 million viewers watched the show after it was taken off the air.

Studies on K-dramas have shown an interesting plot has more to do with success than faces of popular Korean actors and actresses, defying a misconception that their success in overseas markets relies on fandom of the starring cast.

A February report by the Korea Creative Content Agency (KOCCA) titled "Studies on K-drama viewers in the U.S.," stated that more than half of American viewers who watch Korean dramas _ 52 percent of 4,753 polled _ answered they value the plot, while 35.7 percent chose casting, 8 percent genre and 0.9 percent director or writer. A similar finding has been reported among Brazilian K-drama viewers as well. It is no different with Korean viewers.

Kwon Ho-young, a KOCCA researcher, said, "In order to develop the drama industry, nurturing talented new writers who can write creative stories is a must. Instead of leaning on originals whose commercial success is guaranteed to some degree and making them into dramas, the industry should work more to find aspiring new writers who have a sharp eye to see social matters of today and can write original stories."

In this context, KBS fantasy period drama "Love in the Moonlight" and tvN's romantic comedy "Another Oh Hae-young," aired last year, made meaningful progress. Both were born under the hands of established star writers have enjoyed strong viewer responses.

In the local drama industry, where star writers are equated as a guarantee for a drama's success, the rise of those writers armed with fresh ideas and plot has been welcomed by many as they suggest what direction the future local drama industry should head.

The industry increasingly depends on a few famous star writers, while many other budding writers face high market barriers, meager payment, long working hours and poor conditions. So the industry has rolled up its sleeves to nurture talented new writers who have the potential to become the next Kim Eun-sook.

CJ E&M recently announced it will invest 13 billion won to foster new writers by 2020. Opening the center O'PEN for writers of dramas and films last week, the local media mogul selected 40 writers who will have half a year of free mentoring and help them get their works made into dramas and movies.

Showbox, one of the largest film distribution companies, together with Kakao and Huayi Brothers, is accepting webcomic stories in a scriptwriting contest. The "Story Avengers Season 1" contest initially looked for webcomic stories, but it aims to find great stories that can be further adapted to video.

"The essence of the story industry is creators. However, given the circumstances of the local drama industry, depending on a few star writers, it is extremely hard for budding writers to get into the market at all," an official of CJ E&M said. "Although costs for hiring a star cast and star writers jump year by year, the industry is still paying little attention to fostering new writers."

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