godfather of tokyo entertainment

The review of "The Long Vacation" was quickly passed, and the crew was working on new episodes while waiting for the first episode to be broadcast.

Kei Fujiwara doesn't go to the studio much these days, because the broadcast format of Japanese TV dramas is filming and broadcasting at the same time, which means the entire crew is under great pressure. When everyone is so busy, Kei Fujiwara, as a screenwriter, is very indifferent.

It is indeed easy for people to look down upon you if you wander around.

Others are fine, especially Arima Guixiang. I used to see him chatting and laughing, but recently I saw him look stiff.

Time soon arrived on Friday, the day when "Tsukihime" was broadcast.

That night, Kei Fujiwara deliberately went to watch the drama. It was a costume drama. The investment in costume dramas must be slightly higher than that in modern dramas, not to mention that the cast of this drama is also very strong.

The male protagonist is Hayato Kimura, the actor who previously played the male lead in "In the Name of Love". Kei Fujiwara also worked as his stunt double for a while. He is one of the most popular actors at the moment.

The heroine is a popular newcomer, Kudo Minami, who was once called "the most beautiful girl in ordinary adulthood" by an entertainment magazine. This kind of false title is something that the Japanese people are always happy with. In the future, there will be "beautiful girls who only meet once in three thousand years" and "beautiful girls who meet in eight thousand years".

"The beautiful girl I met once", full of charm in the second grade.

Moreover, this Kudo Minami also has a competitive relationship with Arima Keika. Both of them belong to the same type of artist, and they are very similar in appearance and filming style.

The second female lead is Kiko Araki, so I won’t introduce her much.

In addition to these few people, there are also a large number of veteran actors who have joined the cast. The cast is so luxurious that Kei Fujiwara even cried.

Kei Fujiwara sat in front of the TV and quietly finished watching the first episode.

After reading it, Kei Fujiwara suddenly smiled.

The plot is quite satisfactory, the pictures are excellent, and the actors' performances are online, which are the advantages of this drama; but at the same time, the plot lacks surprises, and in Kei Fujiwara's view, they made a very serious mistake.

The plot is too heroic and emphasizes the use of human will to fight the pain of reality. This may be difficult for viewers who have just experienced the bursting of the economic bubble.

Just imagine, you have just experienced unemployment, your family is financially strapped, house prices have plummeted, but you still have thirty years of mortgage payments to repay. You wanted to turn on the TV to escape reality, but the character in the play shouted: "We workers must think for the country."

,I don't……"

Ahem, I'm off topic.

Literary and artistic works must be in line with the background of the times to be popular, so literary and artistic workers must be better at guessing public opinion than politicians. Now that the unemployment wave is approaching, society is full of frustrated people, and they must appropriately cater to the audience's frustrated mood.

This is why Fujiwara Kei came up with "Long Vacation". He felt that the male and female protagonists, as the "frustrated ones" in the play, might resonate with the audience.

The first episode is where the main tone is set, and the style should not change much later. Therefore, Kei Fujiwara silently gave this drama a cross in his heart.

And Kei Fujiwara also saw something else from this drama...

You can see the subtle things, and you can tell the whole story at a glance. Kei Fujiwara seems to have seen some interesting behind-the-scenes footage from the feature film.

For example, Kiko Araki's role seems to be a bit too much. Some of the highlight lines, which obviously seem more suitable for the heroine, were assigned to Kiko Araki.

Moreover, in the first episode, there is a scene where Araki Kiko slaps Kudo Minami. It is easy to see that it is not a borrowed position, so it is a real slap.

From these two points, Kei Fujiwara concluded that the relationship between the heroine and the second heroine was not harmonious, and it seemed that the second heroine was intentionally increased by the creative team to increase her role in the drama.

Three days later, it was "Long Vacation"'s turn to be reviewed.

Kei Fujiwara doesn't go to the studio very much now, and he suddenly has plenty of personal time, so he was invited to the Spring and Autumn Society's training class again.

"You're here." Itagaki Kazuhiko looked at Kei Fujiwara with a somewhat resentful look, "What you taught in the seminar last time had a great response. Many people hope that you can continue to teach them. I will follow you

I went to give a lecture in the first period of the year. As soon as I entered, everyone looked at me with disappointment..."

“After all, the help of theory to writing is limited.

Yes, they still need to study it themselves..."

"Please tell them this in person so that they can be convinced." Itagaki Kazuhiko spread his hands and said.

"By the way, Fujiwara-kun, have you considered writing a new work recently?" Itagaki Kazuhiko asked, this was the question he was most concerned about.

Originally, Itagaki Kazuhiko didn't plan to push for new works in such a hurry. He always had to give others a cooling-off period for his skills. But since the last training class, Itagaki Kazuhiko couldn't sit still.

Only then did he realize that Kei Fujiwara is not incapable of writing. This guy's brain is an idea generator. As long as he wants to, he can come up with new ideas anytime and anywhere. This guy is lazy!

Just force him appropriately.

"I have indeed considered it and thought of a few stories, but I don't know which ones to write... We will talk in detail later."

Itagaki Kazuhiko immediately beamed: "Okay, okay...come back to my house and ask my sister-in-law to cook some dishes for you, and we will talk in detail."

At this time, a clerk from the publishing house walked by and nodded to Itagaki Kazuhiko and Fujiwara Kei: "Teacher Fujiwara, Team Leader Itagaki."

Fujiwara Kei looked at him with a smile: "Have you been promoted to team leader?"

"Thank you." Itagaki Kazuhiko smiled and patted Kei Fujiwara on the shoulder, "By the way, I want to arrange for a clerk to go in and record this seminar. I plan to publish what you said in this seminar.

Is it convenient for you to read it in "Spring and Autumn Literature Appreciation"?"

"no problem."

After arriving at the seminar, the moment they opened the door, the students burst into cheers when they saw Kei Fujiwara's face.

"Teacher Shiba Keita!"

"I thought you wouldn't come again!"

"Don't talk nonsense, the teacher will never give up on us!"

"After your last guidance, I came up with several ideas, please enlighten me!"

Togada Nanako was sitting in the audience, also very happy, but she was reserved and did not express her excitement like others.

Kei Fujiwara smiled and walked up to the podium: "This time, we are talking about character creation..."

The audience suddenly became quiet, and everyone listened quietly.

"The three elements of a story are characters, plot, and environment, among which characters are the most important. Especially when it comes to writing reasoning, a common problem for beginners is that they don't know how to create characters, but only weird and bizarre events, so something like this happens:

A group of people with similar personalities and similar ways of thinking are working hard around clues, just like tool people to solve puzzles... Everyone, this becomes a puzzle game, not..."

"So, we have to give the characters distinct personalities and characteristics to make the characters in us come alive!"

"Characters have various characteristics, they can be selfish, stupid, humorous..."

"Of course, it is technically difficult to create an impressive character, so here I will share a technique with you."

"Inference is often a story about the game between good and evil, so villains are indispensable. Therefore, it is more effective to create a villain well than to create a decent person. And..."

At this time, Kei Fujiwara slowly took out a piece of paper from his backpack, a piece of black paper. This was the teaching aid he had prepared in advance.

Kei Fujiwara showed the black paper to the students, and in the center of the black paper, there was a white dot.

"Tell me, what did you see?"

"A white spot." everyone said.

Fujiwara Kei smiled and took out a piece of white paper from his bag with a black dot on it.

"Tell me again, what did you see?"

"A black spot..." the students said again, but at this time, they felt something was wrong.

Nanako Togata hesitated, as if she had discovered something. Kei Fujiwara was keenly aware of this reaction and asked: "Ms. Togata, what do you want to say?"

"Teacher Shiba Keita, I think what we see is not a white dot and a black dot, but..." Nanako Togada thought for a while and said, "but a piece of black paper with white dots on it, and a picture

white paper with black dots

.”

Kei Fujiwara placed the two pieces of paper on the podium, nodded to Nanako Togada with satisfaction and said, "Well said, Miss Togada."

"One of the best ways to attract readers' attention is contrast. Creating contrast in a character's personality is a good way to create a character."

"If you want to create an impressive villain, it's best to give him an advantage; if you want to create a good righteous man, it's best to keep a dark corner deep in his soul."

For example, Batman.

"..."

"Finally, let me tell you that many authors now have a bad habit in character creation. You should pay attention to avoid it. That is to create perverted characters and chuunibyou characters. They seem to have distinctive personalities, but in fact they are downright stupid. This is

This is a trick that is only used when technical capabilities are not met. Please do not use it unless it is absolutely necessary."

For example, Keigo Higashino's "The Witch of Laplace" almost caused Kei Fujiwara to have diarrhea after reading this book.

It is true that Keigo Higashino is a master, but he is also a master whose performance is extremely unstable.