This article is transferred from WeChat public account: Entertainment Capital (ID: yulezibenlun) , Author: Deng. Head image source: Still from “I’m not the medicine god”
Noon Story, a non-fiction platform under Interface News, was announced today that the team has been dissolved. The editor-in-chief of Ye San stated on Weibo that all accounts have been handed over to the interface company.
A lot of media practitioners sighed on social platforms for this.
This is another well-known non-fiction team that has been dissolved since the dissolution of the ONE Lab, a non-fiction writing star team under the Han Hanting East Pictures and led by special reporter Li Haipeng in October 2017.
At the same time, an article is still circulating on the Internet today about the author of a non-fiction work complaining that the film and television company has skipped buying the copyright directly from the real hero of the article. The main business model of non-fiction works is exposed, that is, Copyright issues in the process of film and television .
Non-fiction writing (hereinafter referred to as the feature team) Is it a bad business or not?
The concept of “non-fiction” was once heated up. As early as 2016, there were independent teams such as ONE Lab, Moshou (preferred to semi-fiction writing) , and real story plans Behind this, there are not only fictional literary works such as the WeChat account’s traffic bonus in the past, but also the “Pacific Escape”, “Chinese version flying over the asylum: plotting 17 years of fugitives”, “The Gangster’s Last Enemy” and other non-fiction literary works have been successively being film and television companies. Commercial potential for high prices.
But now it seems that the business model of non-fiction platforms is stuck in some kind of dilemma. Their business model is nothing more than two, one is to sell works copyright to film and television companies, and the other is brand cooperation manuscript.
Both of these business models are showing disadvantages. First, the film and television company ’s capital chain is becoming increasingly tight, and it is no longer easy to spend large amounts of money to buy IP. Moreover, because non-fiction works are created based on real characters, in There are many ambiguities in the sale of copyright in works. Secondly, non-fiction manuscripts are difficult to integrate with the commercial cooperation of brand owners. After all, as a platform with a strong story, if it is too soft, the image of the non-fiction platform will be damaged. Too hard, it is easy to reduce the willingness of brand owners to cooperate.
Fortunately, during the interview with screenwriters and producers in the industry, Xiao Yu found that the current attitude towards non-fiction works in the film and television industry is still welcome. Get out of here! Success stories such as Oncology King come first, but indeed the copyright price of works has rarely reached millions, and it is still difficult to achieve large-scale profit on non-fictional platforms.
The living environment of “Noon Story” is still not optimistic.
Is non-fiction writing a bad business?
Actually, “non-fiction writing” first entered the public eye, especially the film and television industry, in 2016. That year, a manuscript titled “The Pacific Escape” was issued by ONE Lab, a non-fictional platform affiliated with Han Hanting East Pictures, led by “New Feature Godfather” Li Haipeng, and was subsequently awarded millions of copies by LeTV Pictures. Buy copyright at a high price.
Since then, non-fiction works such as “1986, Life and Death Drift”, “Chinese Edition Flying Over the Asylum: Seventeen Years of Conspiracy” and “The Last Enemy of the Gangster” were sold to film and television companies for more than a million dollars for film and television Adapted to make copyright sales the best business model for non-fictional platforms.
In foreign countries, non-fiction writing can be traced back to the wave of non-fiction writing in the United States in the 1960s. Its rich story and authenticity make film and television become one of their monetization models. “Magic Ball: Wisdom of Adversity in Adversity” written by Michael Lewis was adapted into “Penalty into Gold” and won six awards at the 84th Academy Awards.
In China, non-fiction writing is first known as special features. These types of manuscripts are more literary and authentic than the old-fashioned news manuscripts. They are respected by newcomers in the press and attract more people. attention. “Southern Weekend” and “China Youth Daily” “Freezing Point Weekly” became the leader of the special feature, and later it was carried forward by “GQ” and “People” which belong to the big media group.
Four or five years ago, the film and television industry was still in the capital’s air, holding a large amount of money