#so it almost feels like you're experiencing a parallel universe with the characters and growing with them

[riacte]

I feel like I learned a lot about storytelling + "marketing" a story from Webtoon (the Webtoon from a few years ago when it was still decent). The way it worked was that 1) story blurb to draw in people 2) three initial episodes to get people invested 3) one episode per week. It showed the strength of a strong summary with a genre but without trope tags (unlike fanfiction) or describing your work as abc meets xyz (which seems to be what YA publishing does nowadays?). The three initial episodes introduces tone, artstyle, main characters, main plot, basic worldbuilding, and is supposed to quickly "hook" the reader. I like the format of three initial episodes (instead of one) because the first episode is usually different (given its main purpose is to grab the attention of new people), the other two gives you a taste of what a "standard weekly update" might contain.

I feel a lot of Webtoons start with a strong premise/ gimmick/ hook but they don't know what to do with it. And that's totally normal because some premises are better when shrouded in mystery and you have to do the hard work of explaining the mystery. I've read Webtoons that start with one premise, then it gets sidelined in the middle as new themes develop, and in the end you realise the "premise" was a marketing tactic to draw people in and the story is about something else entirely, but you stayed because it was still a good story, and you have no complaints. (Eg. I think people step into I Love Yoo thinking it's a romance, and the first bits do seem like a set up for romance, but it turns out the genre is drama and the romance is a slooooooow burn.) I've read Webtoons that start with one interesting premise, then it fizzles away and turns into a rather standard story for its genre to the point the hook is barely relevant when it was what made it stand out. And on the rare occasion you will find a Webtoon that has its premise, develops the plot from there, sticks with its themes, and the ending is thematically resonant. (I think Cursed Princess Club does a good job at this.) But it's difficult to craft a very consistent and coherent story (especially given the serial format), so it's fine to just kinda sideline or even ditch your premise so long the actual main plot is solid. Your premise is what initially got people reading, but they'll get invested in other things. Maybe you even have to manually create a hook and get into the meat later once your readers are properly invested. But I feel most of the time it's otherwise because you can get a really cool idea but NO CLUE on how to end it and it sucks because either you drag on or give it an unsatisfactory ending. The good thing is that you get a "buffer zone" in which readers are still interested in reading due to the premise/hook and you get the time to properly work things out.

So I don't think a premise has to be completely executed and explained in order for a story to be compelling. If it does its job of bringing in new folks and convincing them to stay long enough to get invested in style/tone/plot/characters/relationships/whatever, sometimes it's easier to let the premise go. Sometimes you want a tonal shift. But at the same time, a premise is so useful for marketing purposes. You can talk about what tropes it has and what media it's influenced by, but what is the story actually about?