Tokyo Literary Godfather

The review of "Long Vacation" was quickly passed, and the crew was preparing new episodes while waiting for the first episode to air.

Kei Fujiwara doesn't go to the set very much recently, because Japanese TV dramas are broadcast while filming, and the entire crew is doomed to be under great pressure. When everyone was so busy that their hands and feet were upside down, Kei Fujiwara, as the screenwriter, walked around without winking, and it was indeed easy to be looked down upon.

The others were fine, especially Arima Guixiang, who used to talk and laugh when he saw him, but recently saw him with a stiff face.

The time soon came to Friday, and it was the day when "Yue Ji" was broadcast.

That night, Kei Fujiwara also 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 played the leading role in "In the Name of Love" before, Kei Fujiwara also served as his stand-in 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 adult life" by an entertainment magazine. This kind of false title is something that the Japanese people are very 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 Zhong Er aura.

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 joining, and the cast is so luxurious that Kei Fujiwara was crying.

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 stretched, housing 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 person in the play shouted: "We workers must think about the country." ,I don't……"

Keke, digressed.

Literary and artistic works must be in line with the background of the times to be popular, so literary and artistic workers are better at guessing public opinion than politicians. Now that the unemployment wave is approaching, society is full of frustrated people, and it is necessary to 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 shouldn’t change much later on. Because of this, Kei Fujiwara silently gave this drama a cross in his heart.

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

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

For example, Kiko Araki's role seems a bit too much. Some of the highlight lines seemed more appropriate for the heroine, but they 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 the second heroine seemed to be intentionally increased by the creative team.

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

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 issue of the magazine. As soon as I entered, everyone looked at me with disappointment..."

"After all, the help of theory to writing is limited, and 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 people a cool-down period for his skills. But since the last training session, Itagaki Kazuhiko couldn't sit still.

Only then did he realize that Kei Fujiwara was not incapable of writing. This guy's brain is an idea maker. He can come up with new ideas anytime and anywhere as long as he wants. This guy is lazy! You have to force him properly.

"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?"

"Thanks to you." Itagaki Kazuhiko smiled and patted Fujiwara Kei 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 coming to the workshop, the moment the door was opened, when the students saw Kei Fujiwara's face, cheers erupted immediately.

"Teacher Sima Keita!"

"I thought you wouldn't come again!"

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

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

Sitting under the stage, Nanako Togata was also very happy, but she was reserved and did not express her excitement like others.

Fujiwara Kei walked onto the podium with a smile: "This time, let's talk about character creation..."

The audience suddenly fell silent, and everyone listened quietly.

"The three elements of a story are characters, plot, and environment, among which characters are the most important. Especially when writing mystery novels, a common problem for beginners is that they do not know how to create characters, but only weird and bizarre cases, so strange things like this will appear: 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 a novel."

"So, we need to give the characters distinct personalities and characteristics, so that the characters in our novels come alive!"

"Characters have a variety of characteristics, they can be selfish, stupid, humorous..."

"Of course, there are certain technical difficulties in creating an impressive novel character, so here I will share a technique with you."

"Mystery novels are often stories 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 character. And..."

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

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

"Tell me, what did you see?"

"A white spot." Everyone said.

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

"Tell me again, what did you see?"

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

Nanako Togata hesitated, as if she had discovered something. Kei Fujiwara was keenly aware of this reaction and asked: "Miss 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 moment and said, "but a piece of black paper with white dots on it, and a picture White paper with black dots."

Kei Fujiwara abruptly placed the two pieces of paper on the podium, nodded at Nanako Togata with satisfaction and said, "Very well said, Ms. Togata."

"One of the best ways to attract readers' attention is contrast. Creating contrast among characters is a good way to shape characters."

"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."

Take Batman for example.

"..."

"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 It is a trick that is only used when the technical ability is not up to the mark, if it is not a last resort, please do not use it."

For example, Keigo Higashino's "The Witch of Laplace", this book almost gave Kei Fujiwara diarrhea.

It is true that Keigo Higashino is a master, but he is also a master who plays extremely unstable, and he is a master...