Posters for MBC’s rom-com “Perfect Crown,” left, penned by prize-winning debutant writer Yoo Ji-won, and its upcoming spin-off web novel / Courtesy of MBC, Kakao Entertainment
The long-standing success formula for Korean entertainment is undergoing a dramatic pivot as original television screenplays increasingly serve as the foundation for new webtoons and web novels, flipping the industry’s traditional “webtoon-to-screen” equation.
For years, the K-drama industry relied on popular digital comics and fiction as guaranteed blueprints for televised hits, but recent breakout successes are reversing this trajectory. The first half of 2026 has seen a surge in original scripts — many by rookie writers — that are expanding “backward” into the digital space after proving their commercial viability on screen.
This shift is fueled by a new business model known as “reverse expansion,” where the drama acts as the source intellectual property (IP) rather than the end product.
Leading the trend is MBC drama “Perfect Crown,” starring IU and Byeon Woo-seok, and Netflix series “The Art of Sarah.”
Despite being penned by rookie writers, these projects have secured substantial production budgets and star-studded casts, signaling a significant shift in how the industry values and invests in original storytelling.
The commercial performance of these works has been encouraging across both domestic and international markets. “Perfect Crown” surpassed an 11 percent national viewership rating in its second week, according to Nielsen Korea. It also claimed the top global spot in the Disney+ non-English segment, according to FlixPatrol.
Upon release, the Netflix series “The Art of Sarah” and “Boyfriend on Demand” surged to the top of the global non-English TV charts as pure original creations rather than established adaptations.
Posters for SBS romance drama “Our Beloved Summer,” top, and its spin-off webtoon / Courtesy of SBS, Naver Webtoon
“Perfect Crown,” penned by prize-winning debutant writer Yoo Ji-won, is now spawning a spin-off web novel on Kakao Page to coincide with the drama’s finale.
Other productions are following suit to maximize audience engagement. The KBS series, “To My Beloved Thief,” written by contest-winning up-and-coming writer Lee Sun, released its webtoon version a week prior to its premiere to build anticipation, while various hit dramas such as “Extraordinary Attorney Woo” (2022), “Our Beloved Summer” (2021) and “King the Land” (2023) have previously been adapted into webtoons and web novels.
The methods for expanding IP have become increasingly multifaceted as well. Beyond the screen, creators are fleshing out these fictional universes by adding narrative depth and character details that the original series could not fully explore. They are further broadening these worlds by producing entirely new content, such as prequels that delve into origin stories or sequels that track characters’ lives after the original plot concludes.
Creating new virtuous cycle for K-content
Industry experts suggest that the “reverse expansion” of IP signals a healthy return to original storytelling. By bypassing the traditional requirement of a pre-existing digital fanbase, the trend creates a “virtuous cycle” that opens doors for new writers to enter the market with innovative concepts.
This shift not only diversifies the K-content ecosystem but also maximizes the value of intellectual property by capturing audiences across multiple platforms, regardless of the medium of origin.
Cultural critic Kim Hern-sik noted that while dramas based on webtoons or web novels come with a built-in fan base, bringing them to the screen isn’t always smooth sailing.
“The upside is that these stories are already hits, but the adaptation process is tricky,” he said. “If a studio tries to film something they bought the rights to ten years ago, there’s a ‘time lag’ where the vibe and values just don’t click with modern audiences anymore. So, trying to stick too closely to the original can be a real gamble,” he explained.
He added that when a rookie writer’s contest-winning script takes off, it creates a “win-win” for everyone. “For networks and streaming sites, it’s a chance to find fresh, out-of-the-box stories. For the industry, it builds a healthy cycle that opens doors for more new talent to break through,” Kim said.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.koreatimes.co.kr ’
