The Melancholy Screenwriter

What is the original wish of a scumbag? Are you serious? This thing is 💩

This kind of copy-type novel will be very uncomfortable if there are no updates or updates, because the content is ready-made, and many readers have read it. Even if some people have not read it, if they are interested, they will finish it in a day or two. So in fact, the main pleasure of this type of novel is to watch the protagonist pretend to be slapping people in the face, and shock others. The content is ready-made, but the novel is still updated twice a day, little by little. This is very uncomfortable. Can you add updates occasionally?

In the middle and later stages, I will probably copy and paste my own books again.

It's a pure routine book. It's good to pass the time. After a hundred chapters, it will gradually grow back and then I won't be able to read it anymore. Why? Because this book is slowly following the routine of Lao Baiwen, people who read it will consciously use their brains, and then it will be the classic "selecting readers" routine - those who are willing to read will continue to read, and those who are not willing to read will leave immediately. It is a cycle of the protagonist copying → taking the abilities in the work (realizing them) → preparing for filming → the protagonist uses his abilities to participate in other aspects of the crew and also performs in person → broadcast → comment → get the new work of the "emotion" lottery → decide the next victim → prepare - this cycle, then the question is, are there such awesome geniuses in reality? Yes, but their growth trajectory is obvious, logical and self-consistent, and can withstand investigation. Who is the protagonist? There is no "epiphany", no learning experience, unclear training history, and no need to ask about new abilities. The protagonist has done it himself. Even if they have enough money, they are not willing to discover new people/invite new roles. From the beginning of the first hundred chapters, there are at most two women and one man on the stage. The protagonists not only play music, write new scripts, and run on stage and behind the scenes, but also Worry about the pressure of review, the simple business war, the nature of the work itself and the foreshadowing of the previous works. As long as a new work is released, there will be no problem. As this story begins to mature, you play "Three Persons" for me. Well, at this time, there are no less than ten characters on the stage who can be named in other stories. Even if there are prototypes, people can cooperate for several waves. It is really good to make the background of the world blank and blurred, and there is room for flexibility, but you can't make a new work that is the founder of the mountain! Why, you assume that the audience in this world are all puppets, only worthy of cheering for the protagonist? The routine is too serious. As long as the protagonist creates, he is successful. Not only does he succeed, but he does not let others succeed. From difficult conditions to conditions permitting, no actor can be in the male role of the protagonist's script - in other words, the protagonist has never stepped down. To give an example, there are so many film-based narrative games, but if you have to choose a branch line called Life is Strange and condense it into a ten-episode TV series, how come "Escape" and "Detroit: Become Human", which are also film narratives, are not tragedies? Isn't the cost of understanding lower than "Life is Strange"? You don't even need to start three works at the same time. Just do one and do it well. Wouldn't it attract readers? Even "Red Dead Redemption" can be slowly produced on a quarterly basis. Which one of these is not more famous than "Life is Strange", which has to compress a bunch of branches. It doesn't explain who the protagonist is, and it doesn't talk about the perfect film and television rating system. It imitates real life and blurs it. The opponent is more like a personal machine. Every time, they only know how to recruit some navy to set the pace and compete with hard power, and then lose in a mess every time... Okay, your [world], I quit.

The protagonist has never studied acting systematically, so he insists on acting. It's so embarrassing. Can't he just be a good screenwriter? The author doesn't think this is cool 😒

In fact, it is not recommended that the protagonist always participates in the role by himself, because some readers will find it awkward, and some readers will find it the same, and it also shows that you are not confident in your ability to construct multiple story characters.

Two dramas in a row have been suppressed. If the protagonist doesn't leave after the second drama, it can only be said to be a poison. I also read the analysis of a post, and it makes sense, but I just feel unhappy.

Don't make it all depressive, raise the threshold, and have any emotional changes. In the middle, you will participate in some sugar-sweet dramas, and the next one will continue to make you depressed. The protagonist has no life, and he goes wherever he goes every day.

I don't quite understand. The protagonist contributes most of the money + the script + the starring role + half of the director. Is this producer worthy of these shares?

Don't let the protagonist get old, and is there no one else in the protagonist's company? As for him, he is creating and making films. I have been reading your books for a long time from the beginning to the latest. Basically, all the books have pig trotters in them, and they say there will be fewer of them. Then the later ones are also more modular, and it is okay to develop and run companies.