Tokyo Literary Godfather

"Alas..." Shiraishi Monet finally couldn't help but sigh, looking very disappointed.

"Your writing skills are pretty good... mainly because you seem to be able to write what the audience wants. If you change the subject, maybe winning the prize won't be difficult for you."

"Teacher Fujiwara, I... I may only write trend dramas. Works like "Naoki Hansawa" are too difficult for me." Shiraishi Monet said with disappointment.

"That's it." Fujiwara Kei held his cheek and looked at Shiraishi Monet and said, "Then it may not be suitable for you to make your debut by participating in screenwriting competitions for the time being. After all, the current mainstream screenwriting competitions all focus on conception and Emotional. Take the Young Screenwriter Competition as an example. There has never been a trend drama that won an award. The only award-winning work that is close to a trend drama is because it focuses on the conflict between the male protagonist and his family. Because of the concept Profound and award-winning.”

"Then I have no chance..." Shiraishi Monet's head became lower.

"You can't say that." Keiichi Fujiwara said, "Participating in the screenwriting competition is not the only way."

"It's not feasible to submit the article to the TV station. I have submitted it many times... It seems that I can only climb up step by step from the screenwriting assistant." After saying this, Shiraishi Monet bowed to Fujiwara Kei, "Sorry, Fujiwara Teacher, after talking to you so much, I have disturbed your work, I will leave first."

"Wait a minute." Kei Fujiwara said suddenly, then took out a script from the drawer and placed it on the table, "This is a trending drama script I wrote. Take a look at it. From your perspective, this script is How was the play written?"

"this is……"

"'Tokyo Cinderella' is a Yuejiu drama that will be broadcast next quarter, following 'Life is Beautiful'." Kei Fujiwara said, "Although it is an urban love drama like "Long Vacation" and "Life is Beautiful," This drama is more in line with the definition of a trend drama, and it is similar in content to your script, so you might like it."

"Yuejiu..."

Of course Shiraishi Monet knew about the famous Yuejiu drama, and he also knew that it was the man in front of him who elevated such an ordinary period of time to its unparalleled status today.

Kei Fujiwara has achieved what all screenwriters dream of, including Shiraishi Monet, of course, but the gap between the two is almost endless.

Shiraishi Monet sometimes even feels that he will never be able to achieve the results of Fujiwara Kei in his two years.

However, even screenwriters like Mr. Fujiwara put trend dramas in the ninth month of the month. Doesn’t it mean that trend dramas are no worse than other types of dramas?

"Teacher Fujiwara, does the script need to be retyped and proofread?" Shiraishi Monet asked.

"No, the format of the script does not need to be changed. What I want you to read is the content." Fujiwara Keidao, "I want you to look at this script from the perspective of a creator and tell its pros and cons. If you were asked to write it, How would you change this drama?"

Shiraishi Monet was taken aback, "Mr. Fujiwara, you asked me to..."

"I have read your script. In the field of trending dramas, to be fair, Shiraishi, you are quite talented." Kei Fujiwara looked at Shiraishi Monet and said seriously: "So just think of it as submitting this script to me. And with me, you passed.”

"Teacher Fujiwara..."

"Don't get me wrong, it's not your script that passes, but you. Your work still needs polishing, but your own screenwriting ability has been recognized by me. There are some scenes in your work that I find very interesting, so I hope You can take a look at the script of "Tokyo Cinderella", and you can boldly make changes while the main line remains unchanged."

Kei Fujiwara smiled: "This is the real job of a screenwriter's assistant, isn't it? Just asking you to do some work that is not technically difficult these days is too indulgent. Now, it's time to put some pressure on you."

Shiraishi Monet was silent for three seconds, and then bowed to Kei Fujiwara seriously. Different from the previous programmed bow, this time it seemed to have some emotion, "I will definitely do it with my heart."

"Okay, you can go about your business."

Shiraishi Monet left the office and returned to his workstation. The first thing he did was read the script carefully.

If Kei Fujiwara intends to expand the broader overseas market of Japanese dramas, it is safest to learn from the production mode of Korean dramas. Korean dramas followed the style of Shiraishi Monet's scripts at the very beginning, bloody, routine, and full of unrealistic fantasies. But I have to admit that this style is very popular with the general public, especially female audiences.

Korean dramas are like American blockbusters, with an assembly-line production method that ensures high-efficiency output, but will lead to homogeneity, but commercial results are guaranteed; while Japanese dramas are more like European movies, with a high quality rate, but after leaving the country The influence is somewhat limited.

In the later stages of the development of Korean dramas, Korean dramas have also begun to develop in a more diversified direction, including both assembly-line fast-food works and artistic high-quality works. This shows that the development of Korean dramas has entered a virtuous cycle.

One of the reasons that supports the efficient development of Korean dramas is its "screenwriter-centered system".

Among the TV drama industries of China, Japan and South Korea, the status of Chinese screenwriters is the lowest, followed by Japan, and South Korea is the highest. The reason is that South Korea adopts a scriptwriter-centered production method. The scriptwriter has the highest right and can change actors and even directors.

Kei Fujiwara also has such power, but Kei Fujiwara is an outlier in the industry. In Japanese film crews, directors, screenwriters and producers are equal. If we say who has more power, it is usually the producer.

China is a bit more chaotic. Sometimes even the biggest actor has to listen to the entire crew, and the most famous person often listens to whoever is the most famous. If the director is Zhao Baogang, then the director is the biggest; if the screenwriter is Qiong Yao, then Qiong Yao is the biggest... This is a special situation and we won’t discuss it too much.

In the Korean screenwriting industry, female screenwriters account for the majority. And in this industry, there is a huge disparity in status between men and women, with women far outnumbering men. Because the main audience of TV series is women, and female screenwriters know what the audience wants better than male screenwriters.

After the Moon 9 Project, Kei Fujiwara has a new goal, which is to implement the "writer-centered system" in the entire Japanese drama industry and discover a large number of screenwriters who can write good scripts, so that these people can become the cornerstone of your career.

Even if Kei Fujiwara has a large number of works from that world in his mind, he can at most reach the top of the industry by himself. If you want to support a company's dominance in the industry, you can't rely on one person, you have to rely on a group of people.

Let’s start with Shiraishi Monet.

Two days later, Shiraishi Monet handed two scripts for "Tokyo Cinderella" to Kei Fujiwara.

One is the original version of "Tokyo Cinderella", and the other is the version after Shiraishi Monet combined his own creations.

"Teacher Fujiwara, I have revised the outline. Take a look at it... If you implement it into each episode, it cannot be completed in two days, so I have only changed the contents of the first three episodes for the time being."

Shiraishi Monet looked a little haggard, and it is estimated that he has worked a lot in the past two days. Kei Fujiwara opened the revised script and found that Shiraishi Monet had given a new outline of the story and pointed out his own revisions.

The first is the modified character of the male lead. The second male lead in the play is the older brother of the heroine and does not participate in the relationship between men and women. The third male lead is a somewhat despicable subordinate of the male lead, who received orders from the male lead’s father. , requiring him to spare no effort to separate the hero and heroine, and to facilitate the marriage between the hero and the famous young lady.

After Shiraishi Monet's modification, the role of the third male lead increased sharply and became the second male lead. And his method of breaking up the heroine and heroine has also changed from brutal intimidation to seducing the heroine, but gradually fell in love with the heroine in the process of getting along...

It smells bad... it smells too bad...

Kei Fujiwara thought while watching, and then took a deep look at Monet Shiraishi.

Sure enough, women understand women better...