Core Viewpoint - The article discusses the varying success rates of authors in adapting their works into films and series, highlighting the concept of "adaptation luck" in the Chinese entertainment industry, particularly in the context of web literature and its transition to screen adaptations [1][4][5]. Group 1: Adaptation Success Stories - The article emphasizes the rise of author Qianshan Chake, whose works have gained significant popularity through successful adaptations, particularly with the web series "Mo Yu Yun Jian" and "Yan Hui Shi," which have achieved high viewership and engagement [6][14][16]. - Qianshan Chake's notable works, such as "Rebirth of the Noble Girl" and "Rebirth of the General's Poisonous Wife," have accumulated millions of views, showcasing her strong presence in the web literature scene [9][10]. - The success of her adaptations is attributed to the compelling female characters and engaging narratives that resonate with contemporary audiences, aligning with current trends in the entertainment industry [18][19][20]. Group 2: Challenges in Adaptation - The article contrasts the success of Qianshan Chake with other authors like Wei Yu, whose adaptations have faced criticism and poor reception, indicating that not all popular web literature translates well to screen [27][30]. - The difficulties faced by authors like Wei Yu stem from the complexity of their narratives, which often do not adapt easily to the visual medium, leading to challenges in maintaining the original story's essence [28][29]. - The article suggests that adaptation success is not solely dependent on the original work's popularity but also on the adaptability of its content and the execution of the adaptation process [30][39]. Group 3: Future of Adaptation - The article posits that authors can enhance their "adaptation luck" by considering the potential for screen adaptation during the writing process, as seen with the author of "Da Feng Da Geng Ren," who tailored his narrative for better compatibility with film and television [31][34]. - It highlights the importance of collaboration between authors and web literature platforms to create works that are more likely to succeed in adaptations, indicating a shift in the industry's approach to content creation [36][37]. - The article concludes with a hopeful outlook for both successful and struggling authors, suggesting that the evolving landscape of the entertainment industry may provide new opportunities for adaptation success in the future [44].

Core Viewpoint - The competition between short dramas and long dramas is intensifying, with short dramas increasingly encroaching on the long drama market, leading to a shift in content creation dynamics [1][16]. Group 1: Market Trends - The release of the ancient costume drama "Cheng He Ti Tong" by iQIYI has generated significant buzz, with a short drama version already in production [1]. - The trend of adapting the same IP into both short and long versions is becoming more common, indicating a shift in how content is developed and marketed [6][7]. - The micro-drama market has seen a notable increase in IP adaptations, with four out of the top five trending short dramas being based on existing IPs [6]. Group 2: Production Dynamics - The production cycle for short dramas is significantly shorter, typically taking around 20 days to film and one month to release, compared to the two to seven years required for long dramas [16]. - The cost of producing short dramas has increased, with some productions now exceeding 100 million yuan, reflecting a trend towards higher quality content [6]. - The decline in the prices of IP rights has made it more feasible for producers to adapt high-quality long-form web novels into short dramas, further blurring the lines between the two formats [6][15]. Group 3: Audience Engagement - The relationship between short dramas and long-form web novels is increasingly reciprocal, with both formats benefiting from each other's popularity and audience reach [13]. - The quality of content remains the primary factor influencing audience choice between short and long dramas, with both formats offering different emotional experiences [18]. - The simultaneous development of short and long versions of the same IP may lead to audience fatigue, as viewers may lose interest in the content if it is overexposed [16].