Tokyo Literary Godfather

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 the situation? Do you still need to save images for reviewing manuscripts for newcomers? It’s getting really difficult to be an editor...

Just as he was thinking, a voice came from behind Kei Fujiwara: "Mr. Fujiwara?"

Kei Fujiwara turned his head and saw a familiar face, which 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 like a senior, he generally took good care of Kei Fujiwara. .

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

After seeing Kei Fujiwara, Jin Mulong showed a warm and friendly smile on his face, ran all the way and stretched out his hands, holding hands with Kei Fujiwara.

"I didn't expect that my former young colleague would suddenly become a famous writer. I heard that you also produced the program "Anthropological Observation"? That program is now used as a textbook in our company. Sure enough, talented people no matter what He can show great energy in any industry."

"Now you have become a legend in our company. The talk in the office has almost become a myth. Even Producer Kobayashi sometimes laments in meetings, saying that today's achievements may not be enough for others. It's a lifetime achievement, but for you it may just be 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 the best if there are shots of popular writers, hehe..." Jin Mulongyi scratched his head in embarrassment and said.

"No problem." Fujiwara Kei agreed readily, although he is now deliberately reducing his appearance, and even many interviews and documentary invitations from Fukuyama Station have been rejected by him.

But Xiuzo Kobayashi had been kind to him in the past, since it was his show, it was only natural for him to do some insignificant help.

"I'm here today to give lectures to some newcomers. You can follow along and take pictures, as long as the classroom is quiet."

"No problem, we are professionals...Hey, Fujimoto, stop taking pictures, unit one and unit two follow me!"

Fujiwara Kei walked to a large conference room on the second floor and pushed them aside. The conference room was decorated like a university classroom. There were young men and women inside, with an average age of no more than 25 years old. They were talking in a low voice. After seeing Fujiwara Kei , immediately became quiet.

"It's Teacher Sima Keita!"

"It really is him. I said he would come today, but I still didn't believe it!"

Kei Fujiwara walked into the meeting room with a few follow-up portraits, and the photographer immediately searched for a camera position and settled down in two corners of the meeting room.

Fujiwara Kei walked to the front of the stage, and quickly swept his eyes down the stage, only to see Nanako Togata sitting in the corner cautiously.

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 the embarrassment was fleeting.

"Hello everyone, my pen name is Sima Guitai. 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."

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

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.

Although the storyline is important in mystery novels, for a mystery novel, trickery has always been a crucial part.

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

If the reader guesses the modus operandi before the mystery of the conspiracy is revealed; or if the reader still cannot understand the modus operandi 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 mystery novels are also novels. 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 conspiracy settings, and should use more energy on plot arrangement.

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

Because "White Night Journey" itself is a novel that despises trickery and values ​​plot. The modus operandi of the novel itself is not complicated, 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 the socialist school has long existed, it was "White Night Walk" that really opened the door to socialist reasoning. Before this, almost no work of socialist reasoning had 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 conspiracy reasoning in "White Night Journey", they don't need to set up any tricky tricks when writing novels.

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. That's what "White Night Walk" did, that's what this book did. Why, don't you believe what the Naoki Award winner did?

Kei Fujiwara has also heard some comments like this recently and finds them ridiculous. Socialist reasoning doesn’t require trickery? So what does Matsumoto Seicho mean?

Once a work becomes popular, just blindly follow suit and imitate it. It seems to be a common problem in all eras... Even the submissions of these new students have traces of being brainwashed by the fallacy of "socialists don't need tricks". Therefore, as the indirect instigator, Fujiwara Kei has an obligation. I want to refute the rumors here.

"Conspiracy is the temperament of mystery novels, and it is an important element that makes mystery novels independent from many types of novels. Whether it is crime novels, monster novels, or gangster novels, as long as there are very sophisticated conspiracy settings and reasoning elements, it can be Call it a mystery novel.”

"Nowadays, there is a saying that in social mystery novels, trickery is dispensable or even abandoned. This is an unwise statement. I even question that the people who put forward this point of 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 and designs in "White Night Journey"!"

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

(shy)