Tokyo Literary Godfather

The next day, Kei Fujiwara came to Fukuyama Terrace again, and Shiraishi Monet had already arrived at the station early. Her desk is facing Kei Fujiwara's office, so Kei Fujiwara can see it as soon as he comes in.

Usually when Kei Fujiwara came, Monet Shiraishi would react quickly the moment he walked to the door of the office and touched the doorknob, standing up and saying hello to Kei Fujiwara. Often without waiting for Kei Fujiwara's answer, he immediately sat down and continued to work, as precise as a machine.

But today, Kei Fujiwara did not hear the voice of "Mr. Fujiwara, good morning", and suddenly felt a little uncomfortable. When he looked back, he found Shiraishi Monet with a very rare flustered expression in his office area. Looking for something in a hurry.

Kei Fujiwara walked into the office, continued to write today's script, and then put the materials he brought home yesterday on the table, among which Shiraishi Monet's script was placed on the top.

Less than half an hour later, Kei Fujiwara picked up the phone receiver and pressed the "well" key. After a while, a voice came from the receiver: "Mr. Fujiwara, I'm here."

"Shiraishi, hand over my new script to Producer Shimizu."

"Okay, please wait a moment."

In less than five seconds, there was a knock on Kei Fujiwara's office door, and Shiraishi Monet walked in. After receiving the script of the new episode of "Furuhata Rensaburo", he was about to leave when his eyes suddenly caught sight of the A Mary Sue script. Suddenly, his expression froze, and his whole body seemed to be stiff.

Fujiwara Kei looked up at her: "What's the matter, is there anything else?"

"Teacher Fujiwara..." Shiraishi Monet's face gradually turned from white to red. He raised his hand slightly and pointed at the script on the table with trembling fingers, "This..."

"This was included in the information yesterday. I don't know which screenwriter wrote the script." Fujiwara Kei said, "Shiraishi, do you know which screenwriter it was?"

Shiraishi Monet was silent for several seconds, and then slowly said: "Mr. Fujiwara...how do you think the script is written?"

"It's very good. As a trending drama, it can be fascinating. Although I am a man, I still find it very interesting. Although some plots that deviate from reality make people feel unrealistic, but trending dramas don't need to be too rigorous... "

Trend drama, that is, idol drama. In the beginning, it was a genre drama that first imitated Western soap operas and sitcoms in Japan. Later, it spread to Taiwan and was renamed as an idol drama by Taiwan.

"Does Fujiwara-sensei also think that trending dramas are not popular?" Shiraishi Monet said suddenly.

Fujiwara Kei raised his head and glanced at her. Ever since Shiraishi Monet became his assistant, he was like an instrument performing tasks. He would not question his orders or ask questions back.

The moment Shiraishi Monet met Fujiwara Kei's eyes, he immediately lowered his head, as if he felt that he did not dare to say such a thing. Just when he was about to turn around and leave, Fujiwara Kei said: "I have never thought so. On the contrary, I I think trend dramas are very alive in Japan and even in the entire Asian market.”

"And you should know that my latest Yuejiu drama is also a trend drama. Although "Long Vacation" and "Beautiful Life" are pure love dramas, they are also born out of trend dramas..."

"I said that trend dramas don't need to be too rigorous, and I'm also saying it based on the reality. As a trend drama, if the story is rigorous, it will be better. If it is not rigorous enough, it will not hurt. For the creator, this is not only not The shortcomings are actually advantages.”

"Shiraishi." Fujiwara Kei raised his head and asked, "Is this the script you wrote yourself?"

Shiraishi Monet was a little hesitant and embarrassed at first, but when he stared into Fujiwara Kei's eyes, he felt a calm emotion like water in his eyes, so the tension in his heart disappeared, and he nodded and admitted directly: "Yes, Fujiwara-sensei."

"It's very well written." Kei Fujiwara said, "Is this your first work?"

"Yes...it doesn't count..." Shiraishi Monet took a breath and said: "Actually, to be precise, I don't have a single work now. I have written many before, but none of them could be filmed into dramas or scripts that could not be filmed. It’s just waste paper.”

When saying this, Shiraishi Monet's face showed a slightly sad look.

"Oh? Have you given the script to the producer for reading?" Kei Fujiwara asked.

Shiraishi Monet said with some embarrassment: "I didn't have the nerve to hand it over to the producer directly, but I submitted it to Fukuyama Station under a pseudonym... but it all came to nothing."

"What about your script? Do you plan to submit it too?"

"Teacher Fujiwara has this book for me to participate in the young screenwriter competition." Shiraishi Monet said seriously.

In Japan, if new screenwriters want to get ahead and have their own screenwriting works, there are three main ways. One is to work in a television station, starting as a writer's assistant and working your way up the career ladder. Gradually get exposed to the core process of script creation, from screenwriter assistant to line writer, to episode writer. The promotion path is the same as that of an ordinary TV station employee. Even creative work such as screenwriting cannot escape the shackles of interpersonal relationships and seniority.

Many people who engage in artistic creation have out-of-the-box thinking, hate this kind of workplace constraints, and don’t like the clique culture, so they often choose the other two paths.

Participate in new screenwriter competitions and submit your work directly to production companies and television stations.

Among them, the most influential newcomer screenwriter competition is the Japanese Youth Screenwriter Contest. Its influence in the screenwriting circle is not weaker than that of the Ranpo Award in the writer circle. Newcomer screenwriters who win this award can often make their debut directly. My own screenwriting work.

Submitting stories to TV stations and production companies is another way, and many screenwriters have made their debut through this method, but the hope is even slimmer. It takes hard work and time for screenwriters to create a drama, but the producer has to invest real money. The production cost of a drama is hundreds of millions of yen. Unless it is a particularly courageous producer, I really dare not directly adopt a drama Works by newcomers.

"Young Screenwriter Contest... I remember the submission deadline has passed, right?" Kei Fujiwara said.

This competition also invited him to be a judge not long ago, but he declined because he was too busy.

"Yes, but I have already submitted the manuscript... This is a copy in Mr. Fujiwara's hand." Shiraishi Monet sighed, "Actually, I also submitted last year and the year before the year before, but they were all unsuccessful. This year, I just tried to I’ll give it a shot, but I don’t know what to do with it.”

"Shiraishi, are the works you submitted last year and the year before last also trending dramas?" Kei Fujiwara asked.

Shiraishi Monet nodded: "Yes, because I am more interested in trending dramas, so..."

Kei Fujiwara sighed, and said: "Shiraishi, I have to tell you something. I have also been invited to be a judge of some screenwriting competitions, so I still have some understanding of the award rules of screenwriting competitions. Often the more influential In the screenwriting competition, the first ones to be eliminated are the scripts of trending dramas...the competition is more optimistic about dramas with deep intentions and emotions, and pure trending dramas like this are often not welcomed by the judges and organizers."

Shiraishi Monet was startled, then the light in his eyes gradually disappeared visibly to the naked eye...