In the blink of an eye, it was Saturday, the production committee had passed the review, and when it came to approving the budget, Kei Fujiwara still couldn't help, and he still wrote his script in an orderly manner.

That night, he drove to the Spring and Autumn Society, and when he entered, he passed by the reception room and found that an editor was reviewing the manuscript for the newcomer, and there was a photographer next to him who was taking pictures at close range.

What's the situation? Do you still need to do image retention for newcomer reviewers? It's getting harder and harder to edit......

Just as he was thinking, a voice came from behind Kei Fujiwara, "Fujiwara-kun?"

Fujiwara Keiichi turned around and saw a familiar face, which turned out to be Ryuichi Kaneki.

In the past, when he was working in high-tech production, he worked as a planner and broadcast writer in the program group of "My Illustrated Guide", and he had a good relationship with Fujiwara Kei, although he occasionally put on some seniors' shelves, but he also took care of Fujiwara Kei in general.

"Oh, I was still thinking if I could see you today, and sure enough, I met, we are really fated."

After seeing Kei Fujiwara, Ryuichi Kaneki had a warm and kind smile on his face, and he trotted all the way and stretched out his hands and shook Kei Fujiwara's hands.

"I didn't expect my former young colleague to become a famous writer, I heard that the program "Human Observation" was also done by you? That program is now used as a textbook in our company, and sure enough, talented people can exert great energy in any industry."

"Now you have become a legend in our company, the focus of the office conversation, you kid is about to become a myth, even Kobayashi producer sometimes sighs at the meeting, saying that today's achievements may take a lifetime for others to achieve, but for you may be just the beginning!"

"It's really a false praise, ashamed to be ashamed!" Keiya Fujiwara shook Ryuichi Kaneki's hand vigorously, and subconsciously looked around, "Is Producer Kobayashi here too?"

"He's a producer, of course he's in the rear." Jin Mulong smiled and said, "We are here to shoot a documentary today, and the theme is a day in the editorial department, to film the detailed process of how a book meets readers."

"Of course, it would be best if you could shoot a shot of a popular writer, hehe......" Kaneki Ryuichi said with a little embarrassed scratching his head.

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

But Kobayashi Shuzao used to be kind to him, and since it was his show, it was natural for him to do some insignificant help.

"I'm here to give a lecture to some newcomers today, you can follow along, just make sure the class is quiet."

"No problem, we're professionals...... Hey, Fujimoto, stop shooting, I'm going with No. 1 and No. 2!"

Fujiwara Kei walked to the outside of a large conference room on the second floor, and pushed them away, the layout of the conference room was similar to a university classroom, and it was full of young men and women, with an average age of no more than 25 years old, who were talking in a whisper, and when they saw Fujiwara Kei, they immediately quieted down.

"It's Mr. Keita-sensei!"

"Sure enough, it's him, I said he was coming today, I didn't believe it yet!"

Kei Fujiwara walked into the conference room with a few followers, and the photographer immediately looked for a camera seat and settled in the two corners of the conference room.

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

Fujiwara Kei smiled at her, originally wanting to give her a little encouragement and let her not be so nervous, but I don't know if she laughed too arrogantly, and made the girl directly shy, and directly lowered her head, and never dared to look up again.

Fujiwara Kei was a little embarrassed, but the look of embarrassment was fleeting.

"Hello everyone, my pen name is Sima Keita, and some of you must have heard of me."

The students in the audience nodded one after another, these people are all writers' reserves, and they are determined to enter this circle, how can they not even hear of the winners of the latest Naoki Award.

"I can't teach." Kei Fujiwara pulled out a chair and sat down

"I'm also a rookie author, so I'm just telling you some of what I've seen, and I hope you can get something."

"In the last study class, screenwriter Kikuchi explained the difference and usage of the first person and the third person, so the lesson I prepared today is - the use of tricks in reasoning."

As soon as these words came out, the eyes of the students in the audience lit up, and even Nanako Toshida subconsciously straightened her waist.

Although the storyline is important in mystery, trickery has always been a crucial part of a book.

In the era of the declension before the rise of the Benge, a book of reasoning is a bestseller, trickery plays a decisive role. If the ruse isn't interesting enough, it's not reasonable enough, it's not novel enough, and the book will be abandoned by the reader.

If, before the mystery of the trick is revealed, the reader guesses the trick; Or after revealing the mystery, the reader still can't understand the technique, and the book is also a failure.

In recent times, there seems to be a phenomenon of contempt for trickery in the world of reasoning, and some voices believe that reasoning is also the same, and if the weight of trickery is too large, it will weaken the reader's reading experience. Therefore, the author should not spend too much energy on trickery and more on plot arrangement.

It's funny to say, this trend is inseparable from Fujiwara Kei to a certain extent.

Because "White Night Walking" itself is a film that despises trickery and attaches importance to the plot. The technique itself is not complicated, and it is almost spread out to tell the reader, and the reader does not need to participate in solving the puzzle at all.

Since "White Night Walking" became popular, there have been many social reasoning works on the market. Although the Socialist School is a genre that has existed for a long time, it is actually "White Night Walking" that really opened the door to the Socialist School of reasoning. Prior to this, there was hardly a work of social reasoning that achieved such outstanding results.

Therefore, in the field of social reasoning, "White Night Walking" is the most authoritative reference textbook.

Since there is no complicated trickery and reasoning in "White Night Walking", they don't have to set up any tricky tricks to write.

Even many private writing schools teach their students that if they want to write social reasoning well, they don't have to bother with devotion to trickery. That's what "White Night Walking" does, that's what this book does, why, don't you believe in the Naoki Award winners?

Kei Fujiwara has also heard some such remarks recently, and he feels ridiculous. Sociological reasoning doesn't need trickery? So what is Kiyohari Matsumoto?

When a work becomes popular, it blindly follows the trend. It seems to be a common problem in all eras...... Even the works submitted by these rookie students have the shadow of being brainwashed by the fallacy that "socialists don't need trickery", so as an indirect initiator, Kei Fujiwara has an obligation to refute the rumors here.

"Trickery is the temperament of reasoning, and it is an important element that separates reasoning from many types, whether it is crime, monsters, or underworlds, as long as there are very elaborate trick settings and reasoning elements, it can be called reasoning."

"There is now a discourse that in social reasoning, trickery is dispensable, and even tricks can be abandoned. This is an unwise statement, and I even suspect that the person who put forward this view is using this excuse to confuse the public because he can't think of a good trick."

"But Teacher Sima......" At this time, one hand was raised, and one of the students said with some hesitation, "But there are almost no complicated trick designs in 'White Night Walking'!"

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

(shy)