而就在三个月前，超千名作者签署了公开信，要求出版商承诺永远不会发行机器创造的书籍，抗议的作 者中包括《小镇女孩的秘密》作者劳伦·格罗夫、《魔术师》三部曲作者列夫·格罗斯曼等等。 文字创作者们对AI的反抗正频频发生。 最近的一次发生在九月初。大洋彼岸，美国著名作家格雷迪·亨德里克斯与詹妮弗·罗伯逊代表数百名作 者，向科技巨头苹果公司发起集体诉讼，指控其未经授权使用盗版书籍训练AI模型OpenELM。 作家们拒绝机器代替人类成为表达情感、表达认知的主体，以这样的行动捍卫人文学科的尊严。这一反 抗背后的残酷事实是，AI创作的内容已经可以与畅销书作家的作品并列于书架之上。 同样的危机也在国内网文行业上演。 "我天生夹子音，做作得不行。"这是小沈发布在知乎上的短篇小说的开头。 时隔半年多，小沈发现番茄小说上到处都是这个开头，还有各种各样AI改编后的版本——主要角色人 设和整体情节都与小沈的设计大差不差，只是冗余的细节更多了，带着浓浓的AI味。 人们慢慢开始分不清AI和人类的创作。 小沈选择一一举报，侵权的作品被平台下架，但收入还是没有追回。 她的经历并非个例，去年以来，AI内容正在国内头部网文平台番茄小说上如同雨后春笋 ...

而就在三个月前，超千名作者签署了公开信，要求出版商承诺永远不会发行机器创造的书籍，抗议的作 者中包括《小镇女孩的秘密》作者劳伦·格罗夫、《魔术师》三部曲作者列夫·格罗斯曼等等。 作家们拒绝机器代替人类成为表达情感、表达认知的主体，以这样的行动捍卫人文学科的尊严。这一反 抗背后的残酷事实是，AI创作的内容已经可以与畅销书作家的作品并列于书架之上。 同样的危机也在国内网文行业上演。 "我天生夹子音，做作得不行。"这是小沈发布在知乎上的短篇小说的开头。 作者 | 兰杰 编辑 | 乔芊 文字创作者们对AI的反抗正频频发生。 最近的一次发生在九月初。大洋彼岸，美国著名作家格雷迪·亨德里克斯与詹妮弗·罗伯逊代表数百名作 者，向科技巨头苹果公司发起集体诉讼，指控其未经授权使用盗版书籍训练AI模型OpenELM。 时隔半年多，小沈发现番茄小说上到处都是这个开头，还有各种各样AI改编后的版本——主要角色人 设和整体情节都与小沈的设计大差不差，只是冗余的细节更多了，带着浓浓的AI味。 小沈选择一一举报，侵权的作品被平台下架，但收入还是没有追回。 她的经历并非个例，去年以来，AI内容正在国内头部网文平台番茄小说上如同雨后春笋般涌现 ...

Core Viewpoint - The article discusses the growing resistance from authors against AI-generated content in the literary industry, highlighting legal actions and personal experiences that reflect the impact of AI on traditional writing and the challenges faced by authors in a rapidly changing landscape [4][5][6]. Group 1: Author Resistance and Legal Actions - A collective lawsuit was filed by authors against Apple for unauthorized use of their works to train AI models, indicating a significant pushback against AI in the literary field [4]. - Over a thousand authors signed an open letter demanding publishers not to release machine-generated books, emphasizing the importance of human creativity in literature [4]. Group 2: Impact of AI on the Online Literature Industry - The influx of AI-generated content on platforms like Tomato Novel has surged, with new book releases increasing from 400 to 5,606 in one year, a 1,300% rise [8]. - Despite attempts by platforms to control AI content, the volume of AI-generated works continues to disrupt the flow of new authors and their potential earnings [8][9]. Group 3: Author Experiences and Challenges - Authors like "Cang Shu" and "Xiao Zhang" have reported significant drops in their readership and income due to the overwhelming presence of AI-generated content, leading to feelings of frustration and confusion [9][10]. - The introduction of AI-assisted writing tools has allowed for rapid content production, but many authors feel their traditional writing efforts are being overshadowed [9][10]. Group 4: AI Content Production and Monetization - Individuals and small teams are leveraging AI to produce large volumes of content quickly, with one author reportedly generating a 200,000-word novel in just a few hours [20][27]. - The monetization of AI-generated content is evident, with some authors successfully selling rights to their AI-generated works, indicating a new revenue stream in the industry [27][28]. Group 5: Industry Response and Future Outlook - Platforms are currently siding with traditional authors, implementing measures to limit low-quality AI content while still grappling with the challenges posed by AI advancements [30][32]. - The future of the online literature industry remains uncertain as the capabilities of AI continue to evolve, raising questions about the long-term impact on human authors and the quality of literary works [33][34].

Core Viewpoint - The article discusses the ongoing conflict between human authors and AI-generated content in the online literature industry, highlighting the challenges faced by writers as AI technology evolves and begins to dominate the market [4][9][23]. Group 1: AI Impact on Authors - A significant increase in AI-generated content has been observed on platforms like Tomato Novel, with new book releases skyrocketing from 400 to 5,606 in one year, marking a 1,300% increase [8]. - Many authors report a drastic decline in their readership and income due to the influx of AI content, leading to feelings of frustration and confusion about the platform's management of AI-generated works [10][12]. - The introduction of AI-assisted writing tools has allowed for rapid content production, enabling some authors to generate up to 20,000 words daily, which has further intensified competition [10][21]. Group 2: Market Dynamics - The article notes that AI-generated content is increasingly being produced in bulk, with individuals and small teams using AI to create multiple works simultaneously, often based on popular narratives [24][28]. - Despite the challenges posed by AI, there remains a market for AI writing tools and courses, with some individuals successfully monetizing AI-generated content through copyright sales [30][31]. - The online literature industry is experiencing a shift, with platforms like Tomato Novel and Jinjiang taking measures to regulate AI content, yet the effectiveness of these regulations remains uncertain [39][40]. Group 3: Author Reactions and Resistance - Authors have expressed strong opposition to platforms using their work to train AI, leading to widespread protests and demands for better protection of their rights [37][38]. - Some authors have chosen to leave platforms that do not align with their values regarding AI content, while others are exploring alternative avenues within the industry [14][36]. - The article highlights a divide among authors, with some embracing AI as a tool for collaboration, while others remain skeptical of its ability to replicate the nuances of human creativity [15][20].

作家们拒绝机器代替人类成为表达情感、表达认知的主体，以这样的行动捍卫人文学科的尊严。这一反抗背后的残酷事实是，AI创作的内容已经可以与畅 销书作家的作品并列于书架之上。 同样的 危机 也 在国内网文行业 上演。 "我天生夹子音，做作得不行。"这是小沈发布在知乎上的短篇小说的开头。 时隔半年多，小沈发现番茄小说上到处都是这个开头，还有各种各样AI改编后的版本——主要角色人设和整体情节都与小沈的设计大差不差，只是冗余的 细节 更多了，带着浓浓的AI味。 人们慢慢开始分不清AI和人类的创作。 作者 | 兰杰 编辑 | 乔芊 文字创作者们对 AI的反抗正频频发生。 最近的一次发生在九月初。大洋彼岸，美国著名作家格雷迪·亨德里克斯与詹妮弗·罗伯逊代表数百名作者，向科技巨头苹果公司发起集体诉讼，指控其未 经授权使用盗版书籍训练AI模型OpenELM。 而就在三个月前， 超千名 作者 签署了 公开信，要求 出版商承诺永远不会发行机器创造 的书籍， 抗议的作者中 包括《小镇女孩的秘密》作者劳伦·格 罗夫、《魔术师》三部曲作者列夫·格罗斯曼等等。 小沈选择一一举报，侵权的作品被平台下架，但收入还是没有追回。 她的经历并非个例， ...

Group 1 - The short drama market is expected to exceed 50 billion yuan, with Red Fruit achieving over 170 million monthly active users and monthly revenue surpassing 500 million yuan by 2025 [2][5][28] - Red Fruit's success is attributed to its free viewing model, which disrupts traditional paid models in the industry [4][5] - The platform's revenue-sharing mechanism ensures a baseline payment to creators, allowing for significant earnings, with over 10 copyright holders earning more than 10 million yuan in a single month [6][28] Group 2 - The industry is experiencing a divide, with Red Fruit thriving while many production companies struggle due to a focus on high-quality content that does not align with market demands [3][10] - Traditional production companies face challenges as they attempt to apply their established practices to the short drama market, which operates under different dynamics [9][24] - The rise of AI dynamic short dramas presents a new opportunity, with production costs significantly reduced and efficiency increased through AI technology [14][16][18] Group 3 - Rural dramas are emerging as a viable option, with low production costs and a focus on relatable content for underserved markets, demonstrating the importance of targeting specific audience needs [19][21][22] - Traditional long video platforms are struggling to adapt to the short drama format, often hindered by their established operational models [23][25] - The competitive landscape is shifting towards ecosystem and business model competition rather than content quality alone, requiring companies to reassess their strategies [33][34][35]

Core Viewpoint - The short drama "Cloud Catcher" aims to raise awareness about fraud prevention through storytelling, based on real cases from various platforms under Douyin Group, and is produced in collaboration with multiple organizations [1][4][10]. Group 1: Content and Format - "Cloud Catcher" consists of 62 episodes, each lasting 2 minutes, designed for mobile viewing, aligning with current audience habits [4][7]. - The series features a narrative involving a journalist and a cybersecurity expert who team up to combat fraud, highlighting various prevalent scams [1][4]. - The short drama format is characterized by its brevity, fast pace, and intense conflict, effectively capturing audience attention in a short time [4][7]. Group 2: Audience Engagement - The audience for micro-dramas spans various age groups, with 42.5% aged 18-30, 36.7% aged 40-59, and 15.8% aged 60 and above, indicating a growing interest among older demographics [7][17]. - Short dramas serve as an effective medium to educate audiences about fraud, particularly for those less familiar with online scams [7][8]. Group 3: Industry Trends - The micro-drama industry is transitioning from purely entertainment to a platform for social value, expanding content themes and innovative production models [8][17]. - The integration of mainstream media, platform institutions, and market forces creates a robust content production synergy, enhancing public safety education [10][17]. - The "Micro-drama +" initiative by the National Radio and Television Administration aims to guide the industry towards high-quality development, emphasizing social value alongside entertainment [17].

Core Insights - The article discusses the rapid growth and strategic developments of ByteDance's short drama business, particularly focusing on the "Hongguo" short drama app and its recent expansions with new apps "Muyu" and "Xianing" [2][4][15] - Zhang Chao, a key figure in ByteDance, has been instrumental in the success of both the Hongguo short drama and the Tomato novel platforms, employing a "wolf pack" strategy to capture market share [10][16] Group 1: Business Developments - ByteDance launched two new free short drama apps, "Muyu" and "Xianing," alongside the flagship "Hongguo," indicating a strategy to operate multiple brands within the same user category [2][4] - The "Short Drama Copyright Center" was established to centralize content supply and decision-making for all short drama collaborations within the Douyin ecosystem [2][8] - As of June 2023, Hongguo's monthly active users (MAU) surpassed 200 million, while the overall short drama market reached 696 million users, with a growth rate of approximately 5.1% in the first half of 2025 [2][7] Group 2: Strategic Approaches - The "wolf pack" strategy employed by Hongguo aims to maximize user acquisition in a market showing signs of slowing growth, focusing on capturing remaining incremental space [3][15] - The integration of multiple apps under a unified content supply model allows for efficient resource utilization and maximizes advertising revenue [8][14] - The free content model, which relies on advertising for monetization, has proven successful for both Hongguo and Tomato, creating a competitive advantage that is difficult for other companies to replicate [11][16] Group 3: Market Position and Competition - The competitive landscape is shifting, with Hongguo surpassing traditional video platforms like Youku in monthly active users, indicating a potential threat to long-form video content [15][16] - Other platforms, such as Kuaishou, are struggling to maintain their market position against ByteDance's aggressive expansion in the short drama sector [15] - The article highlights the challenges faced by competitors in adapting to the dominant free drama model established by ByteDance, which has led to a significant shift in market dynamics [15][16]

Core Insights - The cinema industry is facing significant challenges as short dramas gain popularity, leading to a decline in box office revenues [1][2][3] - The shift in entertainment preferences is evident, with audiences increasingly favoring short dramas over traditional films [6][10] Group 1: Box Office Performance - The summer box office in 2023 reached 206.19 billion yuan, but fell dramatically to 116.43 billion yuan in 2024, marking a significant decline [3][4] - As of August 10, 2025, the summer box office has only surpassed 85 billion yuan, indicating a continued downward trend [4][5] - The cinema industry is now stuck in a revenue range of 110-120 billion yuan for two consecutive years, impacting theater operators significantly [6] Group 2: Rise of Short Dramas - The market for short dramas in China reached 504.4 billion yuan in 2024, surpassing the total box office revenue of 425.02 billion yuan for the same year [6][7] - ByteDance's short drama platform, Hongguo, has seen a rapid increase in active users, reaching 210 million by mid-2025, a 179% year-on-year growth [7][10] - The cultural perception of short dramas has shifted from being viewed as low-quality to becoming a mainstream entertainment choice [10][11] Group 3: Content Strategy Shift - The traditional cinema model, which relies on "content is king," is being challenged by the short drama model that prioritizes "algorithm is king" [13][14] - Short dramas utilize algorithms to capture viewer attention quickly, contrasting with the lengthy, immersive experience of films [14][15] - The success of short dramas is attributed to their ability to provide immediate emotional satisfaction, which traditional films struggle to compete with [16][18] Group 4: ByteDance's Strategy - ByteDance's approach to short dramas involves leveraging its ecosystem, using platforms like Douyin for distribution and promoting content from its novel platform, Tomato [27][29] - The company has adopted a "free + ad" model for short dramas, allowing users to access content without upfront costs, thus increasing viewer engagement [25][26] - The financial success of short dramas has led to a significant increase in revenue for content creators, with some achieving over 100 million yuan in monthly earnings [21][31]

Core Insights - The rise of short dramas has gained significant attention, with a notable example being a professor from East China Normal University who openly expressed his fascination with short dramas in class, sparking discussions about their relevance in academia [1] - The user base for short dramas in China has reached 696 million by June 2025, covering nearly 70% of internet users, indicating a widespread acceptance across various demographics [1][4] Industry Growth - The explosive growth of short dramas is closely linked to the shift in business models from paid to free viewing, exemplified by the app Hongguo, which transitioned from 320,000 monthly active users at launch in August 2023 to over 200 million within two years, a 625-fold increase [2][4] - By December 2023, Hongguo's monthly active users surpassed 20 million, with projections indicating growth to 210 million by June 2025, surpassing traditional long video platforms like Youku [4] Market Dynamics - The free model has become the mainstream approach in the short drama market, with an estimated market size of 35 billion yuan by 2025, accounting for 55% of the total market [5] - Other platforms like Heima Theater and Douyin's short drama channel have also adopted the free model, with Heima Theater reaching 45.28 million monthly active users by June 2025 [5][8] User Engagement - The user engagement metrics indicate a significant shift, with the average daily usage time for short drama apps rising from 90 minutes to 101 minutes, matching that of instant messaging apps [17] - The competition in the short drama space is intensifying, with various creators and traditional media companies entering the market, leading to a diversification of content quality and audience engagement [15][16] Financial Performance - Hongguo's revenue model primarily relies on advertising, achieving over 1 billion yuan in monthly revenue for the first time in June 2024, and surpassing 5 billion yuan by April 2025 [11][13] - The financial landscape for short dramas has evolved, with the industry projected to reach a market size of 634.3 billion yuan by 2025, surpassing traditional film box office revenues [14] Challenges and Future Outlook - Despite the rapid growth, short dramas still face challenges in achieving the artistic and commercial impact of traditional long-form content, with industry leaders acknowledging the need for continued improvement in quality and storytelling [18]