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

"Your writing skills are good...... The main thing is that it seems to be more able to write what the audience wants, and if you change the subject, maybe it won't be difficult for you to win the lottery."

"Fujiwara-sensei, I'...... I'll probably only write trend dramas, and the kind of work like "Naoki Hanzawa" is too difficult for me." Monet Shiraishi did not lose his ground.

"That's right." Fujiwara Kei held his cheeks and looked at Shiraishi Monet and said, "That may not be a suitable way for you to make your debut by participating in a screenwriting competition for the time being, after all, the current mainstream screenwriting competitions all focus on ideas and feelings. Take the Young Screenwriters Competition as an example, there has never been a trend drama award in the past. The only award-winning work that is close to a trend drama is because it focuses on depicting the conflict with the family, and it won the award because of its profound intention."

"Then I don't have a chance......" Shiraishi Monet's head became lowered.

"Can't say that." Keido Fujiwara, "Participating in the screenwriting contest is not the only way."

"It doesn't work to submit to the TV station, I've done it many times...... It seems that I can only climb up step by step from the screenwriter's assistant." As he spoke, Shiraishi Monet bowed to Kei Fujiwara, "I'm sorry, Mr. Fujiwara, I told you so much, I disturbed your work, I'll go first."

"You wait." Fujiwara Kei said suddenly, and then took out a script from the drawer and put it on the table, "This is the trend drama script I wrote, take a look, in your eyes, how is this drama written?"

"This is ......"

"'Cinderella Tokyo', the ninth drama that will be shown next quarter, after 'Life is Beautiful'." Kei Fujiwara said, "Although it is an urban romantic 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 to your script in terms of content, and you may like it."

"...... the Ninth of the Month"

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

Kei Fujiwara has done what all screenwriters dream of, including Monet Shiraishi, of course, but the gap between the two is simply unsightly.

Monet Shiraishi sometimes even felt that he would not be able to match Kei Fujiwara's two-year achievement in his lifetime.

However, even screenwriters like Mr. Fujiwara have put trend dramas in the period of the ninth day of the month, doesn't it mean that trend dramas are not worse than other genre dramas?

"Fujiwara-sensei, does the script need to be reformatted and proofread?" Monet Shiraishi asked.

"No, the format of the script doesn't need to change, what I want you to see is the content." Kei Fujiwara said, "I want you to look at this script from the perspective of a creator and say what it is good and bad about, if you were asked to write this drama, how would you change it?"

Shiraishi Monet was stunned, "Fujiwara-sensei, you made me ......."

"I've read your script, and in the field of trend dramas, in all fairness, you can be considered talented in Shiraishi." Kei Fujiwara looked at Monet Shiraishi and said seriously, "So you should have submitted this script to me, and with me, you passed."

….

"Fujiwara-sensei......"

"Don't get me wrong, it's not your script that passed, it's you. Your work still needs to be polished, but your own screenwriting ability has been recognized by me. There are some episodes in your work that I find very interesting, so I hope you will take a look at the script of "Cinderella Tokyo" and make bold changes while the main story remains the same."

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

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

"Okay, you can go about your business."

Monet Shiraishi leaves the office

, returned to his workstation, and the first thing he did was to read the script carefully.

If Kei Fujiwara wants to expand into a wider overseas market for Japanese dramas, it is safest to learn from the production model of Korean dramas. At the very beginning, Korean dramas followed the style of Monet's script in Shiraishi, which was 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 efficient output, but there will be homogenization, but commercial performance is guaranteed; Japanese dramas, on the other hand, are more like European films, with a high quality rate, but after leaving their home country, their influence is a little stretched.

In the later stage of the development of Korean dramas, Korean dramas have also begun to develop in a more diversified direction, with both assembly-line fast food works and artistic boutiques, which shows that the development of Korean dramas has entered a virtuous circle.

And one of the reasons why Korean dramas have developed so efficiently is its "screenwriter-centric system".

In the TV drama industry of China, Japan and South Korea, Chinese screenwriters have the lowest status, and this time, South Korea is the highest. The reason is that South Korea adopts a screenwriter-centric production method, and screenwriters have the highest rights to change actors and even directors.

Kei Fujiwara also has such power, but Kei Fujiwara belongs to the outliers of the industry. In Ben's crew, the director, screenwriter and producer are on an equal footing, and if anyone has more power, it is usually the producer.

China is more chaotic, sometimes even the actor is the biggest, and the whole crew has to listen to him, often 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 case and will not be discussed too much.

In South Korea's screenwriting industry, female screenwriters account for the majority. And in this industry, there is a huge disparity between the status of men and women, and women far exceed men. Because the main audience of TV dramas is women, and female screenwriters know better what the audience wants than male screenwriters.

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

….

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

Let's start with Monet Shiraishi.

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

One is the original version of Cinderella Tokyo, while the other is a version of Monet Shiraishi that blends his own creations.

"Fujiwara-sensei, I've revised the outline, take a look...... If you implement each episode, you can't finish it in two days, so I only changed the content 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 flipped through the revised script and found that Monet Shiraishi had given a new outline of the story and pointed out his own changes.

The first is the modified character of the male number three, the male number two in the play is the brother of the female protagonist, and does not participate in the relationship between men and women; The third male is a somewhat despicable subordinate, who was ordered by his father to spare no effort to break up and promote a marriage with a famous lady.

After Monet's modification by Shiraishi Monet, the role of the male number three increased sharply and became the male number two. And his method of breaking up has also changed from rough intimidation to seducing the heroine, but in the process of getting along, he gradually fell in love with the heroine......

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It's got a taste...... It's so flavorful......

Fujiwara Kei said in his heart while watching, and casually took a deep look at Monet Shiraishi.

Sure enough, women still understand women better......

Sima Guitai

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