“Even a cup of coffee can be the spark” – creative process of our favorite tropes!
By Alex Corner
May 18, 2026
12 min
Table of Content
Hello, friends! Alex Corner here, and today we’re launching a sizzling series of interviews with the people who secretly control our emotions — the creative writers of HoneyToon. These are the ones who craft the scripts for the webtoons we binge-read at night and obsess over in group chats.
Today, my guest is Pantsumania, the author of one of the edgiest titles out there — the plot literally walks the blade. Сo-author of the script that became an absolute leader on HoneyToon! This webtoon isn’t just popular — it’s a true phenomenon: it has held the #1 spot on the platform’s ranking for over six months straight and is winning hearts worldwide. The autoBehind the sharp, precise dialogue, painful twists, and cliffhangers that keep you awake at night lies enormous work: from the first spark of an idea to battling burnout and brutal deadlines
Pantsumania will share how ideas are born in vertical format, why sometimes it’s worth breaking every trope, and how to stay true to yourself when thousands of readers demand the next episode immediately.
Welcome, Pantsumania! Ready to dive behind the scenes? Let’s go! 🚀
Resume:
- Name
- Pantsumania
- Colour
- Lemon yellow
- Home pet
- A German Mittelspitz named Monte
- Food
- Kinder chocolate
- Drink
- Tequila Sunrise
- Superpower
- Teleportation for sure
How It Started
Pantsumania, welcome to our blog pages! You’re one of the first writers at HoneyToon.
Please tell me how you got into writing adult webtoons on HoneyToon. Was there a specific story, drama, or moment that inspired you to dive into taboo romance with cheating, in-law, and step-family dynamics?
P: Hi Alex! Honestly, I just got lucky. I was desperate to escape the 9-to-5 office grind. At some point, I’d had enough of that life and started looking for something creative. Back then, the small Honeytoon team was just starting to grow, and they needed someone with a creative spark. I immediately thought to myself, ‘Hell yeah. If it’s about creating, improvising, and researching instead of staring at a screen like a zombie — count me in!’ So yeah, my main motivator was simply not wanting to waste my life away in an office.
Do you remember your first written episode? What emotions did you have when you finished it, and when you saw it on the platform?
P: Oh, I do. My very first task was to script the first episode of ‘My Stepmother’s Friends’. At the time, they just wanted me to look at the images and transform them into a text format — guys basically wanted to see if I ‘got’ the vibe. It was only later that I started creating original titles and hunting for references for every single panel, but it all began with that ‘look and turn into text’ method.
My main emotion was pure anxiety. I gave it my all, but like any intern, I was terrified they’d say, ‘You did it all wrong, By-y-ye.’ But the thing is, our young team was just starting out back then, and there was no ‘right’ way to do it. We essentially built the methodology together — figuring out what to describe, which references to find, and so on. Four years ago, there was no ‘gold standard’ for scripts. In the end, since I’m still here, my description for that first MSF episode couldn’t have been that bad, lol.
What or who was your inspiration at that time and now? How do you think those influences showed in your early works?
P: I just love the process of creation itself. I also love that webtoons are becoming more mainstream and that anime isn’t seen as some ‘cringe geek thing’ like it used to be. I want to help popularise webtoons because I’ve seen firsthand how many incredible stories can be told in this format. Plus, our work brings out positive emotions, so I’m happy if someone can just come home after a long day and have a good time — iykyk, lol.
The Creative Process
Walk us through a typical work week/day during active chapter releases. How much time goes to planning an arc, writing one chapter, and revisions?
P: Oh, to be honest, I don’t really have a set work plan. I’m a highly undisciplined but very responsible person. I don’t write webtoons on a schedule; I write when I feel the moment. That could be during the day (though rarely), in the evening, or at night. Sometimes, even a cup of coffee can be the spark that gets me to finish an entire episode in one sitting.
As for the arcs, we brainstorm the plot within a small team to make it as engaging as possible. By the time we start the first episode, I already have the full 15-episode story visualised in my head, and we rarely make changes after that. When I’m writing, I try to avoid ‘sudden epiphanies’ that might derail the plot.
Regarding the time spent per episode… sometimes it just flows: the references are easy to find, the text is already in my head, and there are no hiccups. But other times, you can spend an hour hunting for that ‘one specific pose’ when you still have 50-70 panels to go. So it varies — I’d say anywhere from 6 to 10 hours.
How do you structure your scripts? Do you write full panel-by-panel scripts with detailed descriptions, or do you start with dialogue + key beats and leave visuals to the artist?
P: Through trial and error, I found that it’s easiest for me to find or create all the references first, effectively building the visual story of the episode. At that stage, I already know who is saying what and where, but I don’t write down the lines yet. Once the references are set, I describe all the panels, and only then do I write the dialogue. Finally, I add the sound effects and double-check for typos. I used to write everything out panel by panel (Panel 1, Panel 2, and so on) from the start, but now that seems very inconvenient to me.
Where do your ideas usually come from? (Middle-of-the-night bursts, showers, memes, toxic comments, favorite K-dramas, etc.)
P: My ideas usually start with the thought, ‘Oh, but what if…?’ Whatever I’m watching — whether it’s a movie, an anime, or another webtoon — I’ll grab a specific ‘hook’ that interests me and wonder if I can play it out within our genre. The goal is always to make it original, not just a rip-off.
How do you craft those killer cliffhangers? Is it a deliberate strategy to keep readers hooked, or does it just happen because you want to see the reactions?
P: I don’t know, I just go with my gut. I end an episode at the exact point where I’d be hooked if I were the reader. Everyone has their own sense of taste; I’m not saying mine is absolute, but it’s there. There has to be a question at the end — some intrigue or a hint of what’s to come — because that’s exactly what I look for when I’m reading or watching something myself.
Do you ever change the plot in the middle of the scenario?
P: It’s rare, but it happens. Especially if I realise that I wrote the plot six months ago, and I wasn’t in my best form back then. Sometimes it just takes time before you suddenly go, ‘OH MY GOD, IT’S SO OBVIOUS!
Now tell us about the characters. How do you build characters that readers want to either hug or punch? Do you have a “recipe” for making them feel alive and deep?
P: I don’t think there are ‘recipes’ in creativity. Seriously, anything that’s mass-produced or follows a strict formula doesn’t always work. You just create the characters you believe in. And honestly, it happens — sometimes a character just doesn’t resonate with the readers, and that’s fine. But in the end, you get those great characters that the audience really remembers. What matters is the situation they’re in, their relationship to one another, and how they’re drawn. But I think it’s simply impossible to create a character that everyone will like in every comic or every situation.
Is there a character you personally love writing the most? And one that’s the hardest to control — the one who keeps escaping the script?
P: My favorites are Florent and Amanda from the title I’m currently writing. I think they’re a total blast — a very solid and funny couple. As for the most difficult… that would be the ‘Big Boss Mommies.’ They’re a whole different art form, and I feel like I haven’t quite mastered portraying that kind of women as well as I’d like yet. But I’m working on it.
The most popular tropes
Bla
You are a co-author of the most popular title on the platform “Teach me first”. Did you think that this webtoon, which you had a hand in creating, would become so popular? And what exactly do you think readers liked most about this webtoon?
P: It’s because the characters feel alive, and the art is beautiful. Honestly, when I’m writing, I truly understand each of the four leads. I get the chemistry between them, I know exactly what words they should say to one another, and I understand why readers would want to be in their shoes. To hook an audience, you don’t necessarily need a mind-blowing plot or even
top-tier art—you need characters that resonate. I’d say TMF works because there isn’t a single ‘extra’ character, and the setting feels different from most titles. I think people are just tired of megacities and office buildings.
Bla
The characters’ growth in “Teach Me First” is huge. How do you craft that electric chemistry? Do you start with dialogue, key scenes, or overall arc?
P: I visualise a situation, describe it, and then think about what the characters would actually say to each other. It shouldn’t be cliché — Andy and Mia will have completely different dialogues than, say, Jack and Amber. The key is to feel that ‘family vibe’ from everyone’s perspective. After all, nothing is more important than family!
Teach Me First
A fan-favorite story with unforgettable characters and intense chemistry.
Recently, the platform launched a new animated version of “Teach me first”. What did you feel when you saw your characters come to life and move?
P: Overall, I’m just so happy for our whole team and how we’re evolving. I truly feel like I’m part of a massive group of creative people who WANT to make things cooler, better, and higher quality. The animation idea is just… wow. Imagine: first, it’s just in your head, then it’s an artist’s sketch, then a finished illustration, then hundreds of those images in a webtoon, and then suddenly — it moves, it has sound, it lives! It’s just… WOW. How else can you even put it?
You often collaborate with your colleagues, but Prank Goes Wrong is your solo work. What’s the difference in the creative process? And how was this intense, edge-of-your-seat title born? What sparked the idea of a “prank that goes wrong”?
P: I think everyone has that one friend whose jokes make YOU feel second-hand embarrassment. We decided to pit a guy like that against his sister — two people with strong personalities — and the reader gets to see who comes out on top. The initial spark came from our producer, and then together we scaled it up into a full title. The premise was simple: pranks that cross the line of common sense. I mean, what better idea for a webtoon is there?
How do you build that slow-burn tension from a funny/vulgar start to serious emotional and physical stakes without losing the humor?
P: IMaybe it’s subconscious. We all watch movies, TV shows, and anime, and some things just work on a psychological level. You almost never expect someone to suddenly start cracking jokes or getting intimate in the middle of a high-stakes fight or an intense action scene. Everything has to be harmonious and consistent. I feel like if we didn’t understand how to write a solid, sequential script, we simply wouldn’t have been hired in the first place! 😀
Prank Goes Wrong
It started as a joke…but some pranks go too far.
What was the most difficult moment while working on “Prank Goes Wrong” or “Teach Me First”? And which is your favorite moment from these two titles?
P: To be honest, I don’t recall any truly ‘difficult’ moments. Sure, some titles can be a bit of a grind—when you don’t fully click with the characters but still have to churn out an episode, or when you realise a character isn’t fully fleshed out yet. But with Prank Goes Wrong and Teach Me First, I understood the characters immediately—their motivations, temperaments, their taboos, and their guilty pleasures. So, there were no real struggles.
For some reason, I really love the moment in TMF where Mia gets tangled up with the kite. It’s so sweet and naive. That scene didn’t feel dirty or vulgar; it felt bright and romantic, at least to me. If I didn’t already know how cunning she actually is, I’d have thought it was all just a pure accident.
What’s your favorite webtoon on the platform (not your own) that inspires you?
P: Outlaw Girl. Honestly, for me, it’s the gold standard of quality. Whenever someone asks me what I do for a living, I show them Outlaw Girl on our platform. It’s that rare case where the art, the characters, and the plot all merge into one smooth, hot, and captivating title. I’d be absolutely thrilled if my future projects reach the same level as Outlaw.
Outlaw Girl
Dangerous. Untamed. Unstoppable.
Advice from Pantsumania
What are your top 3 pieces of advice for someone just starting to write webtoon scripts?
P: “It’s simple:
- Find a workflow that makes writing enjoyable. Every episode shouldn’t start with ‘Damn, another script to write,’ but with a light whistle and a thought: ‘Easy. Let’s make a little masterpiece.
- Study the webtoons that make you drool. Know that you can reach that same level. Never undersell yourself.
- Don’t be afraid to share your thoughts. If a character feels flat or an action seems stupid, speak up. Work on it together. Writing becomes much more pleasant when you actually believe in what you’re putting on the page.”
What are the most common mistakes beginner webtoon writers make (including ones you made yourself)?
P: I think the most common mistake is a lack of reference sources. You need to build a massive collection from diverse places: manga, webtoons, art galleries, you name it. And don’t hesitate to ask more experienced creators for help. We have so much adult material available that you couldn’t scroll through it all in a single day — use it.
And the last question. We’ve seen spin-offs like Show Me How tied to Teach Me First. Any plans for more spin-offs or the new titles? What are you working on right now, and what are you planning next?
P: Spin-offs are incredibly unpredictable. I’m sitting here talking to you, suspecting nothing, and in a couple of days, I might be assigned to write a spin-off for some title. As of now, I don’t have any on my plate, lol — but who knows what’s next? Right now, I’m focused on major titles, including Teach Me First 2. They have my full attention, but I have to admit, I love writing spin-offs. There’s a certain freedom in them; you can make things a bit more twisted and gritty than we do in the main series.
Thank you for your time, and we from the blog team wish you inspiration and look forward to your new top-tier titles!
That was Alex Corner.
We keep diving deeper behind the scenes of Honeytoon.
The next guest is coming very soon. Get your popcorn ready!
