Based on his recollections, Shang Yechu suggested that Qingping Entertainment should not create original scripts, but instead directly acquire novels and then collaborate with the people from Little Monster Pictures to adapt them.

In 2019, when novel copyright prices were skyrocketing, millions were commonplace and tens of millions were everywhere. When Ji Juntao first heard this suggestion, he thought Shang Yechu had lost her mind or had suddenly won the lottery for two billion.

It wasn't until Shang Yechu explained it in detail that Ji Juntao understood what she meant.

In any industry, the highest-paid positions are always at the top. Those in the middle and lower ranks don't actually get as much of the profits.

Online novels have been around for twenty years since the 1990s. New talents emerge every year, and every year some online novels are eliminated because they become outdated, either ceasing updates or being abandoned, or gradually fading into obscurity. Similarly, many new works each year also fail to gain traction and are largely ignored. The copyright prices of these mid-tier and lower-tier works are not as high as those of top-tier works.

George Prodi categorized all stories into 36 dramatic patterns, and all stories are merely variations of these 36 patterns. Yes, some online articles are outdated; looking at them after many years, they seem exceptionally awkward and clichéd. But as long as you grasp their core dramatic patterns and then modify, polish, and vary them, you can put old wine in new bottles.

From its inception, short dramas were all about creating an explosion of excitement, grabbing attention, and captivating the audience. Many early online novels achieved this. Even relatively bland novels could be adapted to have more intense conflicts. Coupled with current events and trending topics, they were guaranteed to keep viewers engaged.

The collaboration between Little Monster Pictures and Qingping Entertainment has officially begun. The "idiots" of Qingping Entertainment (as described by Ji Juntao) and the "oddballs" of Little Monster Pictures (as described by Ji Juntao) are learning from each other in the "Rapid Growth Plan," combining their strengths to make up for their own weaknesses.

In the original timeline, short dramas were mostly produced rather crudely in their early days. Some actors were not formally trained, and their acting was frighteningly awkward. The production team lacked funds, and the set design was even worse than shoddy work.

Shang Yechu brought this up during the meeting, believing that Qingping Entertainment shouldn't produce such shoddy work. Short dramas are still a blue ocean market, and Qingping Entertainment, being among the first to enter the market, will inevitably attract the largest audience. But simply attracting viewers isn't enough; they also need to retain them.

If short dramas are of too cheap quality, too rough, and easily copied, then this audience will easily be lured away once new competitors emerge. Before new competitors appear, Qingping Entertainment should establish its own unique characteristics and retain its audience.

Thematic segmentation, plot design, internal rating systems, invitation mechanisms, character development systems, ranking systems, upgrade systems, and community interaction are all points that can help retain viewers. Furthermore, production quality should be high; this way, even if competitors want to imitate, it will be difficult to mass-produce works of the same quality in a short period. If the production is shoddy, it will be difficult to attract viewers who have already enjoyed high-quality content.

In addition, the countless amateur entertainers in Qingping Entertainment finally have a place to work.

The entertainment industry is characterized by a surplus of actors and a shortage of roles, with every company having a large number of unemployed performers. According to a statistical report, in 2019, over 65% of actors had no work; of these, more than 60% had been out of work for two years. Despite Qingping Entertainment's aggressive recruitment efforts, the company is still struggling to fill its vacant pool of unemployed artists.

Now that short dramas are out, although their quality, prospects, and popularity are all shrouded in mystery, the low cost and low pay at least allow these long-unemployed artists to go out and work. Being able to work improves their condition, and it's better than just sitting around doing nothing.

There's another advantage that no one seems to realize: while the artists under Qingping Entertainment are all unemployed, they're still more presentable than complete novices who've never been on camera, and their acting skills are also more presentable. This gives them an advantage over the short dramas from the early days of their previous life.

Shang Yechu's short drama project, though rushed and flawed, hasn't yet shown any profit. However, overall, it has revitalized Qingping Entertainment's almost stagnant mid-to-lower-level artists, making the company's progress not just for a few, but for the majority. The benefits to Qingping Entertainment far outweigh the drawbacks.

The screenwriting project is called the "Raging Wave Project," a name derived from the idea of ​​sweeping away the old system and bringing in new blood. Shang Yechu's short drama project, on the other hand, injects fresh blood into the old group.

Moved by this, Ms. Hu Shuizhi, upon learning of the matter, personally bestowed upon it a piece of calligraphy. The new project was named:

The Green Sprout Project.