Chinese Showbiz: The King of Screenwriters

Screenwriters are king? In the Greater China entertainment industry, aren't screenwriters just dogs? Anyone can kick them while they're down.

It's too wordy; half of the content is just filler. The starting point is too high—making billions so easily, what's the point of making movies? With a rich family and connections, making billions of dollars a breeze, what's the point? It's just the protagonist bragging; what's the point?

Yang Mi

In the Chinese entertainment industry, a simple screenwriter will never be king. Getting even a little status is good enough; dreaming of being king? Forget about it. You can write and direct, you can be a screenwriter and producer, you can be a screenwriter and investor—just don't be a simple screenwriter. Otherwise, how can you expect to have any status? You're dreaming.

Screenwriters are like a double-edged sword in the film industry; they're indispensable but not particularly important. Even the best script can be turned into a garbage by a bad director, while even the worst script can be transformed into something extraordinary by a director. For a screenwriter to rise to prominence, they have to be both writer and director, even if it's just holding the position of assistant director responsible for actual filming.

The romance lacks the youthful energy of an 18-year-old, only the affected sentimentality of one.

I'd love to see the author write another book like "When I'm Rich." The first half of the book was really enjoyable, but I stopped reading after the second half turned into a swooning over Korean female celebrities. Author, please write a pure "god-level rich" story! No need for those vague claims of tens or hundreds of billions; a down-to-earth, realistic display of wealth is much more appealing to me.

The protagonist's character is ridiculously overpowered. His family background and wealth only serve to highlight his incompetence. The professions of heirs to moderately wealthy and extremely wealthy families are vastly different, and the "son of a billionaire" trope doesn't align with common perception. Furthermore, the text repeatedly emphasizes the low status of screenwriters.

For screenwriters to gain status, they can only join the system, and there are so many scripts that others can't choose, making it difficult to work together and thus hard to change their status.

If you were a screenwriter in South Korea, your status would indeed be very high. In China? Just a complete idiot, okay?