godfather of tokyo entertainment

Saturday arrived in the blink of an eye, and the production committee had passed the review. When it came time to approve the budget, Kei Fujiwara was still unable to help and was still writing his script in an orderly manner.

That night, he drove to the Spring and Autumn Club. When he entered, he passed by the reception room and found that an editor was reviewing manuscripts for newcomers, and there were photographers taking photos at close range.

What's going on? Do you still need to save images when reviewing manuscripts for newcomers? It's getting really difficult for editors...

Just as he was thinking about it, a voice came from behind Kei Fujiwara: "Fujiwara-kun?"

Fujiwara Keiichi turned around and saw a familiar face, it turned out to be Kaneki Ryuichi.

When he used to work in high-skilled production, he served as a planner and broadcast writer in the "Japanese Illustrated Book" program group. He had a fairly good relationship with Kei Fujiwara. Although he occasionally put on some airs as a senior, he generally took good care of Kei Fujiwara.

.

"Oh, I was wondering if I could see you today, and I did. We are really destined."

After seeing Kei Fujiwara, Ryuuichi Kaneki showed a warm and friendly smile on his face, trotting along and stretched out his hands, holding hands with Kei Fujiwara's.

"I didn't expect that my former young colleague would suddenly become a famous writer. I heard that you also produced the program "Anthropology"? That program is now used as a textbook in our company. Sure enough, talented people

No matter what industry you are in, you can exert great energy."

"Now you have become a legend in our company. You are the focus of talk in the office. You have almost become a myth. Even Producer Kobayashi sometimes laments in meetings, saying that today's achievements may not be enough for others.

A lifetime of achievements, but for you it may be just the beginning!"

"That's really ridiculous, I'm so ashamed!" Fujiwara Keiya shook Kaneki Ryuichi's hand vigorously and subconsciously looked around, "Is Producer Kobayashi here too?"

"He is a producer, so of course he has to sit behind the scenes." Jin Mulong said with a smile, "We are here to shoot a documentary today. The theme is a day in the editorial department. We want to film the detailed process of how a book meets readers."

"Of course, it would be best if you could take pictures of popular writers, hehe..." Jin Mu Ryuichi said, scratching his head in embarrassment.

"No problem." Fujiwara Kei agreed readily, although he is now deliberately reducing his appearance. He has even declined many interviews and documentary invitations from the Fukuyama Station headquarters.

But Kobayashi Shuzo had been kind to him, and since it was his show, it was natural for him to do some insignificant help.

"I'm here to give a lecture to some newcomers today. You can follow me and take pictures. Just make sure the class is quiet."

"No problem, we are professionals... Hey, Fujimoto, stop filming, Unit 1 and Unit 2 follow me!"

Kei Fujiwara walked to a large conference room on the second floor and pushed them aside. The layout of the conference room was similar to a university classroom. There were young men and women inside, with an average age of no more than 25 years old. They were talking quietly. After seeing Kei Fujiwara,

, and immediately became quiet.

"It's Teacher Shima Keita!"

"It is indeed him. I said he was coming today, but I didn't believe it!"

Kei Fujiwara and several follow-up photographers walked into the conference room. The photographers immediately looked for a camera spot and settled down in two corners of the conference room.

Kei Fujiwara walked to the stage and quickly glanced at the audience, only to see Togada Nanako sitting solemnly in the corner.

Fujiwara Kei smiled at her. His original intention was to give her some encouragement and make her not so nervous. But in the end, he didn't know if he smiled too arrogantly, which made the girl feel shy. She lowered her head and said nothing.

Don't dare to look up.

Fujiwara Kei was a little embarrassed, but his embarrassment was fleeting.

"Hello everyone, my pen name is Sima Keita. Some of you should have heard of me."

The students in the audience nodded. These people are reserve writers and are determined to enter this circle. How could they have never heard of the latest Naoki Award winner?

"It's not about teaching." Kei Fujiwara pulled out his chair and sat down.

, "I am also a new author. I am just telling you some of my experiences. I hope you can gain something from it."

"In the last training class, Screenwriter Kikuchi explained to everyone the difference and usage of the first person and the third person, so the lesson I prepared today is - the use of trickery in reasoning."

As soon as these words came out, the eyes of the students listening in the audience lit up, and even Togada Nanako straightened her back subconsciously.

Even though the plot of the story is important in a mystery, trickery has always been a crucial part of a mystery.

In the original style era when biange has not yet emerged, trick plays a decisive role in whether a mystery book is a hit or not. If the trick is not interesting enough, not reasonable enough, and not novel enough, the book will be abandoned by readers.

If the reader guesses the trick before the mystery of the conspiracy is revealed; or if the reader still cannot understand the trick after the mystery is revealed, the book will also be a failure.

Recently, it seems that there is a phenomenon of despising trickery in the world of mystery literature. Some voices believe that the same is true for reasoning. If the proportion of trickery is too large, it will weaken the reading experience of readers. Therefore, the author should not spend too much energy on setting up tricks.

, more applications are used in plot arrangement.

Funny to say, this trend is inseparable from Kei Fujiwara to a certain extent.

Because "White Night Journey" itself is a film that despises trickery and emphasizes plot. The plot method itself is not complicated, and it is almost laid out to tell the readers, and the readers do not need to participate in solving the puzzle at all.

Since "White Night Walk" became popular, many socialist reasoning works have appeared on the market. Although socialist school has long existed, in fact, it was "White Night Walk" that really opened the door to socialist reasoning.

.Prior to this, almost no work of socialist reasoning has achieved such outstanding results.

Therefore, in the field of socialist reasoning, "White Night Walk" is the most authoritative reference textbook.

They did what they did in "White Night Journey". Since there is no complicated trickery and reasoning in "White Night Journey", they didn't need to set up any tricky tricks in writing.

Even many private writing training classes teach their students this way, telling them that if they want to write social reasoning well, they don't need to spend time designing tricks. This is what "White Night Walk" does, and this book does it.

Well, why, don’t you believe what the Naoki Prize winners did?

Fujiwara Kei has also heard some remarks like this recently and finds it ridiculous. Socialist reasoning does not require tricks? So who does Matsumoto Seicho mean?

When a work becomes popular, you blindly follow it and imitate it. It seems to be a common problem in any era... Even the works submitted by these new students have the shadow of being brainwashed by the fallacy of "socialists don't need tricks", so , as the indirect initiator, Kei Fujiwara has the obligation to refute the rumors here.

"Trick is the temperament of reasoning, and it is an important element that separates reasoning from many types. Whether it is crime, monsters, or the underworld, as long as there is a very sophisticated trick setting and reasoning elements, it can be called reasoning."

"Nowadays, there is a saying that in socialist reasoning, trickery is dispensable, or that trickery can even be abandoned. This is an unwise statement. I even question whether the people who put forward this view are because they can't think of anything. It's a good trick, so I used this excuse to confuse the public."

"But Teacher Sima..." At this time, a hand was raised, and a student said hesitantly: "But there are almost no complicated tricks in "White Night Journey"!"

(That... I want to ask for a monthly pass)

(shy)