After the couple left Century Culture, they drove straight to the Creative Literature of the Bright Era.

Parking the car at the entrance of the company, Liu Yifei did not hold an umbrella for the convenience of carrying things. She just put a black hoodie on her head. After getting out of the passenger seat, she opened the door of the back seat and took out the gifts for the teachers.

He rushed into the company.

"Teachers, we are back!" Liu Yifei came to the office of "My Love from the Star" with large and small bags.

Chu Xuan followed closely, putting down the gifts in his hands and saying, "Come and help carry the things."

Liu Yi, Huang Lei, Ning Hao and others saw that the couple had returned after half a month. Before they could say hello or complain, they saw that the couple had brought so many things to them in the heavy rain. The group of people got up and went to help.

The car outside the door brought back a lot of specialties and gifts.

"I wanted to complain about your irresponsibility, but forget it, I forgive you." Huang Lei joked and took the gift back to his desk.

"I forgive you too." Ning Hao echoed.

"Then I forgive you." Tang Jili also said.

Big and small bags of things were distributed to the teachers, and each teacher had one.

The couple was holding paper towels to wipe the water stains on their clothes and pants. Chu Xuan said: "I brought more things just to stop your mouths, so as not to say that we two juniors don't understand etiquette."

"What's this called?" Huang Lei looked at the teachers and commented: "Money can make the world go round."

"We are human beings, you have to deal with being a ghost alone," Liu Yi said.

Chu Xuan and Liu Yifei saw that the atmosphere was quite relaxed and harmonious. They thought that in the past half month, the teachers had developed a good understanding of each other's concepts and got along well.

Most of the people are acquaintances or friends, which is obviously very efficient in communication and creation.

"Teacher Fang, how are you doing here?" Chu Xuan greeted Fang Wenshan.

Zhou Jielun cannot come to Beijing often due to concerts. Fang Wenshan, representing Zhou Jielun as the artistic coordinator and resident director team, is in such an environment for the first time, so he should take more care and concern.

"Very good, I have learned a lot these days." Fang Wenshan was very satisfied with the experience of these days. Although the lines were separated by mountains, the artistic things reached the same goal through different paths. During this period, the discussions on the story and the various discussions of the teachers present were

He gained a lot from his creative ideas.

"Teacher Long, where are you?" Chu Xuan greeted Long Fei again.

Long Fei is the chief cameraman of Wen Mino's team. He and Chu Xuan have experienced the shooting of marriage proposal documentaries. Now he is the head of the camera crew of the crew. He and the team understand the story concept in the director's team in order to achieve a better composition of the camera.

The purpose is to better assist director Chu Xuan in handling the scenes.

"It's very good. I study with the teachers every day and gain a lot of experience." Long Fei and his team members are excited. As a camera team serving the crew, there is a distinction between which crew they serve. They can join the brilliant team.

The Times crew is working on the dramas of Chu Xuan and Liu Yi Fei. This qualification will definitely be a great addition to their careers.

Seeing that all the teachers were okay, the couple wiped their clothes and pants, threw the tissues into the trash can, and returned to the two empty seats in front of the big desk.

As soon as they sat down, Liu Yi picked up the thermos cup and took a sip of water and said: "We are almost here. The teachers all understand your general concept and are familiar with the entire story framework. I called the screenwriter team here

, you decide the personality? Set the direction of the detailed outline, the overall style, and then start the whole process."

"Okay." Chu Xuan agreed: "We are thinking that today is to set the tone. We have begun to prepare for investment promotion. The script creation and coordination stage will also begin. Otherwise, we will not be able to present anything at the investment conference.

It’s embarrassing.”

Huang Lei said: "It was time to set the tone a few days ago. You two talkers are having fun outside. Who can blame you? We almost talked about it four days ago. Look at the qualifications of everyone here. Four days plus

It costs a lot of money, so it’s a waste of money.”

Liu Yifei said playfully: "Then how can we make up for it, or..."

She said weirdly: "During the filming period, do you eat steamed buns three times a day?"

"Good guy." Chu Xuan said with a smile: "The fairy sister has become the queen of capital. Is this the collapse of the personality or the sublimation of the soul?"

"Hahaha..." There was a burst of laughter from the teachers present. Before they could complain about Liu Yifei, Chu Xuan himself complained about his fiancée. This was actually a very interesting scene.

Liu Yifei's eyes widened, she raised her hand and hit Chu Xuan three times with a "pinch and twist slap".

You and I were in the same trench, but you collapsed internally and really deserved a beating.

After a while of joking, the couple began to integrate into the entire directing team.

After a while, Liu Yi came in with the screenwriting members of the screenwriting team.

There are many screenwriters, fifteen in total, which is unimaginable among other crews. This is a screenwriter culture unique to the brilliant era.

Obviously, Liu Yi is going to use the industrial screenwriting method that he has been experimenting with for a year and a half to create the script for "My Love from the Star".

Chu Xuan and Liu Yifei are looking forward to this, and the teachers here are also curious and looking forward to it. During the creation process, they want to see what the current level of industrialization of screenwriting is.

The screenwriters each found their own seats to sit. Chu Xuan and Liu Yifei looked through the documents and sorted out their thoughts in order to face the next explanation of their creative ideas.

"My Love from the Star" currently only has a story structure framework, which is also an outline framework.

The frame, just like the foundation of a building, determines the basic scope and surface area of ​​the building, so that subsequent construction does not deviate from this scope.

For example, in "Journey to the West", at the beginning, Tang Monk wanted to obtain Buddhist scriptures, but the process was 9981 difficult, and in the end, Tang Monk returned east to the Tang Dynasty to obtain Buddhist scriptures.

This simple three-act formula is the outline framework.

No matter how you write within this framework, the direction of the story cannot be separated from the final result, which is equivalent to setting the basic foundation for the general direction of the story.

This chapter is not finished yet, please click on the next page to continue reading the exciting content! In script writing, it is called setting the general direction of the story.

But it is useless to have the general direction of the story. This is only the beginning of creative inspiration and creative basis. At this time, a complete detailed outline is needed to control the direction of the plot all the way to the results of the general direction of the outline framework.

For example, in "Journey to the West", when creating the outline framework, it only needs to be stated that Tang Monk experienced ninety-nine and eighty-one difficulties, and there is no need to explain what each difficulty is.

But when creating a detailed outline within the framework, each difficulty in Nine Nine and Eighty-One must have an outline, indicating what plot, story, and emotional style will probably occur in each difficulty.

In script writing, this is called setting the direction of the storyline and establishing the literary style.

With the general direction of the story in the outline, the plot direction and literary style in the detailed outline, these three elements combined are the complete story structure.

The story structure, character settings and detailed lines are added to form a complete script.

But now we only have the outline framework, and we will soon start working on the detailed outline. The screenwriters will then rely on the detailed outline to write the specific plot.

So before getting into the details, what is the direction of the storyline? Is it sweet all the way or sweet and sour? Is it pure sadism or sadistic sweetness? Is it literary or commercial?

What is the emotional style in the conflict? Is it an exaggerated style like Qiong Yao's, or is it a tragedy in suffering like Mr. Cha's? Is it like a bloody explosion that does not rely on logic in "Meteor Garden", or is it like in "Struggle"?

Based on reality but a little bit more fantasy?

Without understanding these things, screenwriters cannot create effectively.

Making these things clear is called setting the tone for the story.

"For the villain, it's like this." Chu Xuan turned sideways to face the screenwriters and said, "You have all seen the outline and framework, so I won't go into details."

"In the exquisite self-interest thought in Capital, there is a saying that I will destroy what I can't get."

"The villain in the play has this character, and he also regards the heroine who is unwilling to sign with the company as the target of destruction."

"This conflict continues from beginning to end. Do you have any doubts?"

Everyone present thought for a moment. They were all creative people. Chu Xuan didn't say much, but the words "I will destroy what I can't get" actually set the tone of the conflict.

Since we want to destroy it, we must use various means.

Black materials, cyber violence, set-ups, hidden rules... the screenwriters immediately thought of a series of words.

These words are associated with a concept: Chu Xuan wants to expose the darkness and negative things in the entertainment industry.

This was something they didn't expect because no idol drama has ever had these elements.

But they didn’t think much about it. Party A put forward ideas and requirements, and as Party B, they just had to complete them.

"Mr. Chu, is the villain a full structure or a single node loop?" a screenwriter asked.

The whole structure means that the villain lives from beginning to end.

A single node cycle means that the villain is at a plot point, and a new villain appears in the next plot, and so on to form a multi-conflict routine.

"It's full of structure." Chu Xuan said: "The capital I imagine, or the big capital in the entertainment industry, cannot be destroyed by just one actor or a group of fans."

"The heroine is an actress and the hero is a magician. Together, these two people can destroy a capital? Will the capital's company go bankrupt?"

"I'm not saying it's absolute, but it's hard to write down the logic clearly. If you can't write it down clearly, it's a bloody drama."

Everyone nodded slowly, understanding Chu Xuan's creative thinking that valued a certain logic in conflict plots.

"If this is the case, then the villain's ending will not be tragic. After all, the identities of the male and female protagonists are here. They have no power and power to kill the villain. It is difficult to write a logic." A screenwriter said.

"Why do you want to die?" Chu Xuan picked up the tea cup and drank some water, and said: "In my personal opinion, killing people who look down on me and suppress me is not my pleasure. When I grow up

Finally, I let them see that I am living a better life than them, and they have no choice but to ask for help from me. This is what makes me happy."

"This is also my pleasure." Tang Jili said with a smile.

When he was an assistant, many people in the Hong Kong entertainment industry looked down upon him. Later, when he entered Hollywood, all those people came to him to beg him or want to set up a relationship with him. It was really refreshing at that moment.

Slapping the enemy to death is far less satisfying than the protagonist's change of status when he grows up. This is also more in line with reality.

"Got it." A screenwriter came up with an idea: "You can set up a board of directors in the villain's company. In the end, the villain will be fired because he offended the heroine too much, so the villain asks the heroine for help."

"That's the idea." Chu Xuan put down the tea cup and said.

"Then the villain should be designed to be more irritating, so that it will be more satisfying in the end." A screenwriter said.
To be continued...