This title is too long!:Volume2 Chapter6

Chapter 6 - May 15, I was strangled by Her

I'm a High School Boy and a Bestselling Light Novel author, strangled by my female classmate who is my junior and a voice actress.

This is my current predicament.

I don't feel pain or unbearable, but I'm about to die.

"Save!"

The one yelling that was not me, but Nitadori, strangling me by the neck. This line is terse, yet it sounded so slow and long to me.

However, I can't comprehend what she meant at all.

It was probably 5 seconds since the moment when she choked me. And then, in another 2 seconds, I probably won't be able to think of anything else.

I think the ghost lights are just a self-defense system in the brain now? It probably can help me look for clues in my past experiences to save me, I guess.

I can clearly remember what Nitadori said, but I had no idea.

Anyway, why did Nitadori want to kill me?

I did not know.

I didn't know the reason.

 

Thursday, May 15th.

Time flew by fast, and it has been more than a month since the After Records and the new Semester started.

I was riding that usual Limited Express train, seated at my old seat, the left side seat on the last row in the free seating carriage.

The sky at home is really bright, but the weather report stated that it would be raining in Tokyo, so I had a foldable umbrella in the side pocket of my backpack.

The train departed on time.

After sitting on the same train ride for more than a month, I realized very well that the day got longer. When I stood on the platform on this day, I felt that the sun was rather high up.

There were 13 After Records in all, so tomorrow, it will be the 7th, halfway through.

During the first session, I probably did see Nitadori in the recording room, but I couldn't remember.

During the second session, I met Nitadori on this train for the first time.

From the third to sixth session, we went to Tokyo together for 4 consecutive trips, and I answered a lot of questions.

They included everything, from the delusions I had since young, till the intention I had to write novels.

The struggles before submitting the work to Dengeki Bunko.

The method of writing novels.

Publishing fees and taxes.

So, what will she be asking about today?

I guess I can say everything I can talk about now, right

Thinking about this, I continued to space out, and then, I saw swaying black hair.

 

"Hello, sensei, doing well?"

"I'm fine, thanks. What about you?"

"I'm fine too, thanks."

First, we started off with a conversation even an elementary school kid can translate into English.

"For you, enjoy."

Nitadori, who handed me the shopping bag, is not wearing a skirt, but jeans this time, with a green military jacket and a blue sweater.

Nitadori placed the bag behind her, and placed her jacket on it. Then, she ties her usual long her carefully behind her, letting the hair drape down her right shoulder to her chest before sitting down.

I accept the convenience store bag.

"I'm tucking in. Thanks."

With a rippling sound, I take out the sea salt flavored potato chips and the bottle of tea.

"Thinking about it, I'm seeing your back every day at school, so I know you're pretty lively. I'll probably be seeing the blackboard a little better if you're lethargic."

"I guess."

Nitadori's always sitting behind me every day during class. No matter whether it's the classroom, or anywhere in school, we'll definitely not talk to each other.

There are times when I pass by Nitadori on the corridor, but even after finding her, I won't talk to her.

Thinking about it, I do find this kind of relationship very strange. While I'm thinking about that, Nitadori said the same thing as she sat beside me.

"It's strange...we're seated in front and behind each other, so close together. During the After Record, there's a thick soundproof glass between us, and right now, we're côte à côte..."

She seemed to be rather incredulous too.

And it's a mystery as to why she wouldn't use the common term 'side by side' instead.

The train continues to move forward.

While I'm still chomping on the potato chips, the train conductor arrived early to check the tickets.

The conductor today is the woman I met several times before. She probably has an impression on us taking these sets every Thursday.

After checking the tickets, Miss Conductor proceeded to leave.

"You two are always together--what kind of relationship do you have?"

Miss Conductor never asked such questions. I wonder what should I do if she was to ask, but a conductor wouldn't ask anything regarding a passenger's privacy."

"Now then…"

And then, as before, Nitadori's questioning time was about to begin--

Or so I thought, but I was still hungry, so Nitadori started talking about some harmless weather issues.

According to the weather report, she said, Tokyo's weather was bad, and that when heading to the recording studio the next day, I should be careful not to fall down.

"Erm...can't I skip it?"

I asked as I rolled up the bag of potato chips.

"We're not going to school!"

Nitadori chuckled heartily.

Of course, both of us were merely joking. After Records was not fun and games. We were not having lessons at school, but doing work. We cannot skip work without unless it is a valid reason (some will ask if skipping classes is okay).

In the past, whenever a voice actor isn't around due to illness, the others would act it out and assume he was around. I do find such a scene really intriguing, I do find that it's not conducive.

And during the next week, the voice actor on leave would act alone with a pre-recording.

I do find it tough, and at the same time, I'm moved by their outstanding acting.

 

"Now then, I'll be using this notebook today."

Nitadori's holding the notebook that appeared last week.

I remember what I last talked about last week being about income and taxes. Nitadori didn't open her notebook at all during then.

"You got a lot of questions to ask, I guess?"

I asked.

"Yep. About a certain theme, or I'll say, all kinds of questions. If you want to explain more however, sensei, please go ahead. Also, please forgive me if a question offends you in any way. If it's a question you can't answer due to your work, please tell me straight away 'you shouldn't be asking this question'."

"Got it."

"Now then--"

This time, Nitadori actually opened the notebook.

However, she cautiously made sure not to let me see the words on it, pointing her finger on the pages.

"Erm…"

Does she really need to worry about having so many questions?

I was starting to worry what would have happened if I was to reject the first question? Would it ruin Nitadori's mood? Or would it cause the opposite effect and guilt trip her such that she will shrink back?

What exactly is the problem Nitadori is referring to--

"Erm, this--when publishing a book, you'll sign a contract with the publisher, right? If you have to do so, how will you do it?"

"Phew."

"Why are you relieved?"

"No, well, I'm wondering what should I do if I can't answer the question."

"Ahaha. I guess this question is fine, right?"

"No problems."

"The answer is?"

"Yes."

 

For my situation--I'll sign a 'publishing contract'.

There is a kind of publishing where 4 pieces of A4 size printed paper are stapled on the left side. Of course, this is the style Dengeki Bunko goes with. I don't know what style does the other companies or editorial branches go by.

I showed her a copy of the contract, saying,

"There are all kinds of clauses on it...I did spend all my effort to read them, barely, though I can no longer remember the specifics.--"

I did say during the previous week that 'the first 50 copies printed would be used for promotion, so it is not counted as publishing fee'. This clause itself is clearly written in the contract.

Interestingly, the contract also stated 'when the author buys a book, he gets to enjoy a 20% discount privilege'. Whenever a work was published, I would receive 10 copies, and for every reprint, I would receive another, so I did not use this clause to buy a book.

"Also, you need to fill in your address and name on the actual contract. In this situation, you need to write your actual name, put a stamp on it, and the contract is complete. Of course, the company's name and stamp are on it before then."

The contract included my work of the same series title, so I only did sign one contract.

Before 'Vice Versa' was published, I stamped at the editorial branch. There were 2 copies of the contract, and one of them is left for me to keep.

"I see...the publisher is very thorough in what they do."

Nitadori said, sounding impressed. Thus, I feel that I have to say something.

"Yeah. Also--nobody did sign a contract."

"What?"

"I did sign a contract before I published my work, but--"

 

It was something a senior of mine told me at the end of year party.

We were chatting on this back then, and once I said that I signed a contract before I published my book, that person simply told me.

"Ah, I did sign a contract for my debut work at this time too."

"Eh?"

The reason why I was shocked was that this person had been writing under the Dengeki Bunko brand for a few years.

He had been publishing books for more than 10 years, and that work had been adapted into an anime.

"Eh? In that case, erm...what did that author do over the past 10 years?"

Nitadori asked a sensible question.

"I asked a similar question."

"And then."

"He answered, 'oh, it's always been a verbal agreement'."

"..."

It's no wonder that Nitadori's stunned.

To be honest, I was stunned too, so shocked myself.

It's fine that there's no problems if the money was sent to me, but I really was shocked by such a strange thing done by the publisher since I assumed I had to sign a contract.

There's more to this.

After hearing our conversation, another senior near me agreed, saying,

"Ah, now that you mentioned it, I just signed it recently. I didn't know anything about a publishing contract before this."

And then, another senior author refuted,

"No, wait. I signed it before I debuted though?"

"Me too…"

In other words, there are those who 'signed before they debuted', and 'those that didn't get to sign'. Right when I was wondering why that was the case...I knew my answer.

Those that won prizes with Dengeki Bunko would have signed contracts.

Those that debuted without signing contracts were the ones who did not win prizes, and were nominated instead.

But anyway, since I did sign, I suppose everyone else would have signed as well.

"That's how it goes, I think."

I answered the first question, but I don't know if that is good enough for her reference.

"Now then, the next question is--"

Nitadori opened her notebook.

"What does an author 'confidentiality' include? Voice actors can't reveal things like the work, script and so on, so I guess authors are the same in this sense?"

"Hm."

Luckily, it's another question I can answer.

Perhaps Nitadori chose the easiest questions for me to answer.

Confidentiality--

Strictly put, it seems to refer to 'legal obligation', so I didn't know if there's such a law in the world of authorship.

I'll treat this term as 'until the work is officially published, nobody can reveal what they knower in work to those not involved'.

"The easiest way to understand this is the release date. For example, even when Dengeki Bunko decides on a publication date, nobody can talk about it until the official release. Dengeki Bunko's mail magazine will be the earliest to release the news, about 2 months before the official release date. There are some exceptions though, like an event announcement."

"Then, if you announce on your blog or twitter before then--"

"Of course not."

"Anything else?"

"Like events, signing meets information...ah, and there's something more important."

"What is it?"

"News like an anime or a cross-media work, especially the animation of the work. Most of the announcements will be made at such events, so there is a need for secrecy until then no matter what."

For myself, I had been handling the news of 'Vice Versa' getting animated cautiously. This is because the staff numbers and money involved in such a large planning is much more than the sales of the light novels. If I did not take leave from school, I suppose I would be terrified of letting slip of the news, to a point where I won't tell my mum either.

"I see...so it's kind of similar to being a voice actor too."

Nitadori said, but I feel that voice actors would always have it tougher than authors.

Once they hear the news for auditioning, they would know that the work was to be animated. They would know of it earlier, and also, there isn't just one work for them. Of course, they can't leak the news, so they'll be very cautious to avoid news of it leaking.

Leaving that aside, I continued,

"If I know of another person's information, I can't talk about it either. During the end-of-year party last year, I learned of some things when I was chatting with the senior authors...it's said that those authors with good contacts will know that a certain person's work is going to be animated."

"I see...they're of the same line of work after all."

"No matter whether it's news about others or oneself, we have to deal with it using the usual attitude. Leaving aside my own news, I can't leak anything about the plot of another author's latest volume."

This is also what I heard--

It's said that in the past, the author or illustrator could go to the editorial branch and obtain a new book from Dengeki Bunko before the official release.

The books are released on the 10th every month, but they would be sent to the editorial branch at the end of the previous month. The editorial branch will give 10 copies to the author. It depends on the holiday dates, but they typically send it out on the 29th or the 30th.

So during this time, from the beginning of the month to the 10th, one can see stacks of new books in the editorial branch. Anyone that shows up early for a meeting can pick it up to read.

In the past, as long as anyone requested for it, he can take the book back (it's not considered part of publishing fees, so it's kind of inconvenient for the author). We can't take them now though, as it's a measure to prevent the plot from being leaked.

 

"Personal information is like work information; there's a need to keep it a secret."

I added on.

"Amongst the authors I met at the end-of-year meetings, there's someone who completely hid his identity. There's one who openly revealed his personal information, but never revealed a photo of himself."

"Oh, they're just like you, sensei."

"They're like me. Thus, I have to use the information of others as my own and be thoroughly careful with it. I don't have much chance to reveal about myself, so I'm having it easy."

"You don't manage a blog, Facebook, Twitter or anything like that after all."

I nodded.

I couldn't possibly do such things when I have to keep my identity a secret. No, some people might be able to handle this well, but I can't. I'll definitely mess up somewhere.

Thinking about this, I asked Nitadori about something I was really curious about.

"Speaking of which...Nitadori, do you write a blog or something?"

"Ah, erm...I guess..."

Nitadori seemed a little off from her usual, stammering away.

"I did...think that I should open a blog. Especially since I'm taking the role of a named character for the first time."

"But you haven't?"

"Hm, well...I'm a little scared. But not that I'm scared of writing…it's that I'm scared of those hateful comments."

"Ah, I see."

I understood that feeling very well.

The internet is filled with kind and hateful comments.

And also, the hateful comments are the ones more likely to leave an impression.

"Sensei, will you actually care about the thoughts and ratings on the internet? --Actually, this is something I really want to ask."

"Yes, and no."

"In what sense?"

 

There isn't really any author who doesn't care about the readers' thoughts.

If there is, that person's rather strong.

Including me, authors with published works will care about the thoughts and criticism, very concerned with them, in fact. (Of course, they'll care about their sales volumes.)

In the past, feedback was practically through letters from the readers. Once the works are published, the readers will write to the authors and tell them how they feel.

Thanks to the internet, we're able to know about their thoughts faster than before.

I feel that with the internet community, from anonymous imageboards, personal blogs to Twitter, facebook and other prominent social websites, I'm able to know of the readers' thoughts on the day the books are released.

However, there are good and bad to this.

I never told Nitadori about this. The editorial branch will filter the reader letters, and those slandering letters that would affect an author's confidence will not be sent to the author.

It's different on the internet.

As long as an author looks for it, he'll be able to find unfiltered, belittling remarks.

"Sensei, have you looked at the thoughts regarding your own works?"

The answer is yes. Yeah, I answered briefly.

"Amongst all the works that were released till this point...has anyone said anything bad about your works?"

"Of course. I guess."

Huh? Nitdadori muttered as she tilted her head.

"'I guess'...what do you mean?"

I answered.

"I chose to forget about it."

 

As for who taught me this--

To be honest, I forgot.

Was this something I thought of? Or was it what the editor-in-charge or other editors taught me? Was it a suggestion from another author I met somewhere? Or did I learn it from a book.

But when I looked at the reviews on the internet, surely I would do this.

This was the Just read the good comments, forget the bad ones."

Method.

"So basically...how do you go about doing this?"

Nitadori asked as she brought her face closer.

I answered as I looked aside.

"It's not that hard. First--"

I read all the comments I found on the internet until the very end.

There is kindness on the internet.

No, I feel that there's a lot more cases of kindness compared to malice. This is what I think.

If I look for it, I can find,

"It's interesting."

"Looks fun."

"I want to continue reading."

"The characters are really amazing.."

And so on. These are the kind of comments that praise the work, 'nice work'.

And I'll earnestly accept such praises.

While looking, I would express my thanks, and use this praise as motivation.

Also, I would remember the title of that site.

 

If however,

"What's this? It's so boring."

"Refund me."

"Terrible novel."

Such criticism is written--

If I'm to read such thoughts--

"What will you do?"

"I'll go back immediately."

"Back? Where?"

"To the site praising me."

"Ah!"

Whenever I read the feedback on the internet, I'll always read the ones praising my work.

I'll use that moment to forget all about the comments that belittle and slander my work. I'll alway have the thought that someone is willing to praise my work, and end my collection of feedback.

Even if there are those who feel that I'm despicable, I don't intend to give up on this method.

"I see…"

"I did read this line in a book 'someone may belittle a work, but the author should never apologize'."

"Oh?"

"And on the other hand, I have to say without a care 'it is a pity that it doesn't fit your tastes'. When I first read these words, I really couldn't understand, until I became an author...where I really understood this thinking."

"In other words--"

Nitadori gave me a serious look as she told me,

"You cooked up a 'delicious meal', so you don't have to care about those who didn't like it?"

I nodded firmly.

"Right. That's because I had no choice other than to do that. When I write my work, I find it interesting. I don't intend to submit a meaningless work to the editor-in-charge. Also, I'll listen to the editor-in-charge, and edit the work to make it more interesting."

"Yeah."

"That's how a work is born...so no matter what kind of comments there are, I can't do anything about it. If everyone praises it and say that 'it's nice', I'll be happy. However, I know that things aren't going to be like that. I strongly believe that I can't ignore the thoughts of my supporters just because of the negative criticism. Thus, I won't care about it."

Of course, I do believe that there is 'harsh criticism born out of kindness'.

Like for example 'It'll be better if this part is changed like this'. 'This part isn't well written. Better to rewrite it'. I do feel a few times that 'yeah, this guy's right'.

But even so--

An author can't let himself be dragged along by the views of an outsider.

No matter what anyone else says (except for the editor-in-charge), I'll write based on my own thoughts.

If it sells well, it'll be my victory along with the editor-in-charge, and we'll work hard to create the next work.

If it doesn't sell well, it means that we lost. I'll work hard to make sure the next work sells.

"When seeing and hearing reviews about my work--I always think of the Aesop of 'The Miller, the Boy and the Donkey'."

When was the first time I read that story?

I couldn't recall when it was, but I probably won't ever forget about this in my entire life.

"Erm...what kind of a story is it? I think I heard of it somewhere."

Nitadori asked.

"Well, one day, a Miller and his son went out to sell a donkey--"

There was a passer-by who told them, wouldn't it be easier to ride on a donkey? So the Miller let his son sit on the donkey.

Another person they met then said, the son shouldn't relax, the father should ride on it. So, the father got the son off, and rode on the donkey instead.

And then, they met someone else, who said that the duo could ride. So, they did.

Then, they met another person, who told them the donkey was pitiful to have two people riding on it.

"Ah! Now I remember!-- They then carried the donkey to ease its burden, so they carried it. But the donkey started moving and fell into the river. That's how the story ends, right?"

"Yep yep."

"So it's an Aesop...I didn't know. This story is saying that without any objective viewpoint, you'll be toyed around by everyone, and end up with misfortune, right?"

"Yeah. Also, an author's predicament can be summarized as this story...there's no novel that can satisfy every reader, so as long as someone praises it, the author will stick to the formula--that's a lesson I can go with."

I saw this story somewhere before.

Whenever an author writes, there's a need for something, something other than a computer, pen and research materials.

That's 'self-confidence'.

The self-confidence to believe that I can write.

The self-confidence to believe that I can write interesting novels.

Thus, I'll borrow the power of my supporters.

In other words, I don't need the power of those who don't support me

"The saying goes that humans will improve as long as they're praised. This definitely goes too for authors."

"Not that 'authors are humans too'?"

"Ah...yeah, that too."

 

"I did think of how blessed I am as an author."

I suddenly mentioned something Nitadori never asked about.

And having said that, I thought she would be stunned.

"Well...why's that?"

But Nitadori asked. I answered,

"That's because when I write, I'm able to begin writing, and in writing, i can write novels. I don't have to think of myself as an author, but I was happy to learn that I was able to debut, happy that I was able to get a reprint. Once the work started to sell, and the editor-in-charge told me to write continuations, I was happy. The animation of the story also made me happy."

"...Sensei, looking at you, I understand very well that it's your real emotion, not faked, right?"

"Erm, yeah."

I had no acting skills.

"So tell me--sensei, do you think you're special in any sense?"

Unlike before, it was a sharp, piercing question.

I shook my head.

"No, I think I'm someone with a lot of experience, a rare thing in that."

"Then what kind of person do you think is special?"

"I don't know."

"..."

"I don't think such a person exists, right? Ah, if you say that there's a 'very special' person to anyone, I do know about that, like a lover, a family member, and something like that. In other words--"

Nitadori's giving me an intense stare. She looked serious, but it's a little different from the look she showed during the After Record. Then, she continued to ask, seemingly interrupting me,

"It goes by what that person think, is it?"

Overwhelmed by the pressure,

"Sorta...I guess."

I timidly answered.

 

I looked over at the flowing scenery outside the window, drinking my tea--

I felt that we were going off-topic. What was the question we were talking about anyway?

I wondered.

I capped the plastic bottle as I turned my head to the right, and found Nitadori pondering with a very serious look on her face.

I was worried if I did say something wrong, but in any case, I can't take back what I said. Even if she does ask a similar question again, that's the only way I can answer.

Nitadori turned her face towards me.

She gave a tender look, but the glare behind the glasses was sharp.

"For an author, for every sensei who made their debut till this point, have you encountered any difficulty?"

 

"Difficulty…"

I heard this question, and muttered to myself as I pondered. I had to think of it separately.

"I guess 'difficulties an author would face' is different from 'difficulties I encountered after becoming an author'."

"Then, sensei, please answer according to your decision."

"In that case...I'll first start with difficulties I encountered…"

"Right."

If it's this question, I'm confident enought to conclude.

I answer briefly, without any concern,

"None."

 

"Huh?"

"I didn't really have any particular difficulty."

"Erm...is that true?"

"Erm, well, I did say that I'm a fortunate author. Even if I have to mention any issues I faced, I can't think of any."

"..."

Nitadori remained silent, looking stunned.

"I'm really unfortunate to meet such a frivolous guy. Anyone would have met one or two difficulties at least. Hardships allow a person to grow. You won't grow if you don't face any."

I really hoped that she wouldn't have such thoughts.

But even so, I didn't have any. I got nothing.

"The biggest difficulty I had till this point was in Middle School, the tough process I had until I was able to write. I mentioned it before, and that was before I became an author. I did say that I never had a situation an author fears most, that 'the story isn't used at all'...and I did say that I restrain myself to ignore the harsh reviews on the internet...the volumes I had are selling well...and they're getting adapted into an anime…"

Maybe there are things I can find tough to deal with in such trivial stuff.

For example, like I was harassed by a mean-spirited drunkard on my way to the hotel, or that I spent some time last year focusing on writing novels, and I end up having hip pains at such a young age, and so on.

Even if I wasn't an author, I would be harassed by a drunkard. It'll be another story altogether if there's a special drunkard who specialized in harassing authors (looks like such a story is interesting too).

I adjusted by sitting posture to adapt to the waist pains, and did some sports as well. On mom's recommendation, I went for acupuncture, and for the time being, it's cured.

Thinking about it, I guess there's none.

"E-erm...what kind of difficulties do you think an author would have?"

Nitadori narrowed the focus of her question. This question is within my expectations however.

 

The biggest issue an author would face--

That would be, if I can't write, or that I don't want to write, my life as an author would die.

Without a job, I wouldn't have income, unable to maintain my lifestyle. It's common for an author to lose his job no matter what.

Authors are irreplaceable. Even if there are few exceptions, the works of that author is such that he's the only one capable of writing it.

This was something I saw in a certain essay, and I could already understand that feeling.

"Is that so...it's not strange to be out of a job at any given moment...I guess voice actors are the same in this sense. They're scared because 'there are as many as they want when it comes to replacing them'."

Nitadori lamented.

I once heard that there are many who aimed to be voice actors, and that it's difficult to actually debut, or break from the intense competition.

Compared to the authors who were able to survive, which one is harder?

I don't know, and of course, Nitadori doesn't. I guess nobody knows.

"So you came to high school to study because of this reason, sensei?"

I nodded.

Of course, this was partly due to the objection I had from the people around me, but in the end, I decided to go along with my will. I did once think that 'I might as well not study', but now, I felt great that I didn't give up on my studies.

'Vice Versa' is selling very well now, and I can continue to write, but I don't know when will it stop being a bestseller. Also, I don't know when I won't be able to write.

In that case, I don't think an experience of 'I wrote novels in my teens, and my work was adapted into an anime' would come in handy.

In comparison, I guess scholastic experience of graduating from high school and college, together with what I learned in school would probably be more useful.

Both looked similar, but in fact, they're different. The 'academic history' and 'life experience as a student' is different. If I could only choose one, it'd be the latter, but I wanted both.

"After graduating from high school, I want to study in college, and at the same time, continue writing...finally, I'll choose to work, try looking for other work."

"Then, assuming that your works become more popular, and you write a lot of them, and for example, you earn a few billion Yen, equivalent to the career earnings of a working adult...will you give up on writing?"

"If that...ends up being the case...I guess I won't be able to give up on writing. I'll be relieved that I won't have to worry about my life expenses, able to write the novels I like, so I'll feel really happy, just like I am now."

"I see."

Was it just me? Nitadori looked relieved when she answered. I really couldn't understand what others are thinking.

"I feel that it'll be an idealistic lifestyle for me to be able to live out my life just by writing--nobody knows what is in store in the future. I feel that I have to first seriously consider the situation when I can't write, or don't feel like writing. Because of this, I need to do what I can do right now, and I guess that will be writing and studying."

"I guess--I'll probably do that too."

Nitadori finally chimed in.

The atmosphere just feels depressing for some reason.

Normally, a 17 year old boy and a 16 year old girl wouldn't be talking about such matters, right?

Shouldn't we be talking about topics where we feel hope for the future, happily discussing our future dreams? Not brood over here, wondering what'll happen if we lose our jobs? How do we prepare for our lives? And stuff like that.

No matter good or bad, I do find that we aren't ordinary.

Of course, we aren't special either.

 

"Now then, I'm going to change the direction of the topic a little with regards to 'the next question I want to ask an author'!"

Nitadori spoke with a cheerful tone, probably intending to eliminate the depressing mood.

I was about to ask her what kind of question she would be asking, but she asked something really ordinary.

"Sensei, where do you live?"

This had nothing to do with being an author.

It's easy to answer this question.

"West side of the school. You're able to see a new white building opposite, right?"

"Eh? Is it over there?"

Nitadori blinked her eyes, and I nodded, "Yeah."

"It's near school…"

"That's why I chose to study there…"

 

There's a somewhat large building less than 100m away from our school. It's only 3 years old, somewhat new.

Mom and I moved there last December, and before that, we were living next to that library.

The reason why we chose to move houses was because this place was close to school. It would take me 5 minutes to get home from the school back gate.

"I see. The shorter the return time is--"

"The more time I'll be able to use to write, and mom's working time is a little shorter."

"Well, both aunty and you were able to make this decision without hesitation."

"It's a little far from the library, but we got no choice for that. I have enough money to buy my own books, and able to check information on the internet."

"Did you...buy the house?"

Nitadori's eyes below the glasses widened as she asked.

"Impossible, it's rented."

Besides, I don't earn that much.

But even so, renting a house was expensive. The real estate agent told me when we rented the house that it was probably the most expensive in the area.

Mom was aghast by the high rental, but was against me paying for the rent until the very end. However, I insisted that this was a 'must'.

"The reason for that...well...there's 4--no, 3 of them."

I nearly blurted out my true thoughts, and corrected myself.

Nitadori did not appear to mind about such a mistake, and instead, asked me.

"Assuming that the most important reason is that it's very close to school...the other reason is that the rent's considered as your expense?"

I nodded.

We rented a 4LDK in the building. The 4 rooms include my mom's room, mine, and a storage room used to put a library of bookcases. The last room is for standby just in case something happens, and currently used as a standby storage for books, since I don't know when I'll be using it.

Amongst them, I classified my room and the two storerooms as 'workroom'. They take up about 40% of the place, so I can classify 40% of the rent and utilities bill within my expenses.

The expenses is a lot, but the tax rebate is also rather big.

Also, I'll be staying here for at least two years in high school until I graduate. Luckily for me, I have enough to pay it it.

"And after that?"

"For college, I want to aim for Tokyo."

I answered.

"Oh! You decided on it already?"

Nitadori asked happily.

"Right now, I only decided on 'Tokyo with its literature branch'. Also, the thing about the location is that it's about an hours ride from the editorial branch."

"I see! You want to write and study at the same time? I'm thinking of going to college too if I'm not too busy with my work! I'll choose a school near Tokyo."

"We're going to be entrance students next year...but let's hope we can get in."

"Yep. But let's start working hard from now on!"

Ah, this really feels like a conversation any ordinary high school student will talk about. I'm happy about this.

Nitadori asked,

"So, two years later, if you decide to move to Tokyo, sensei, what about your mother?"

I replied that it that was the case, mom said that she would move to an apartment near the hospital, one with enough space just for herself.

"I see--so, what's the last of the three reasons?"

Nitadori managed to guess two of the reasons, and asked me the final one.

"Because I wanted mom to stay in a better house. When I lived in that old apartment, I would hear noises from my neighbors. Mom moved houses next to the library for my sake initially, so I wish to use this opportunity now to repay her. Go to be prompt with it."

Once she heard my answer,

"Ah! I see… sorry…"

Nitadori frowned once she heard my reply. She looked disappointed in herself, and seemed to be telling herself, "I shouldn't have done that!". There isn't a need for her to do that.

"A-Also, I want to live in a fancy rich house too! That makes it four reasons!"

"Ahaha. Thanks."

My concern was so obvious, and since she thanked me again, I really can't calm down.

"E-erm...I chose the highest floor so that I get a nice view! Well, you see, when writing, I need to rest my eyes, and it'll be great if I can see the hills outside the window!"

"You can see a rather pretty view from the school, but I guess you'll be able to see something better from the roof of that building."

Nitadori seemingly recovered a little as she said so. Thank goodness. We continued our conversation.

"Yeah. The view's really amazing when it's bright out there. My house is very near school. You can visit whenever you want to."

"Eh--!? Really?"

Nitadori looked rather surprised, and I answered,

"It's fine. I don't have anything to hide anyway."

In any case, this probably is the first time in my life that I invited someone to my house; it's a good thing that I rented out an apartment. Also, even though it's not something I may say, but the apartment my mom rented was really old."

"R-really? Ca-ca-can I really g-go-go look at a professional author's workplace? R-really?"

I saw Nitadori's delighted face, and in my heart, I was feeling confused.

Was there really a need to be so frantic and affirm this over and over again?

My room isn't located in some famous theme park located on the Tokyo Bay anyway.

It's definitely a new, pretty room with a nice view--

Nitadori herself appeared to be some rich person.

I gave up on thinking on whatever I didn't know, and intended to tell her the main points,

"But I can't allow it when mom's sleeping, especially when she's working on night shift...I guess the best time will be...on days when she's working?"

"Wh-when she's not at home! R-ri-right! I-I get it!"

"...?"

I looked away from her, thinking carelessly. Mom's duty schedule changes rather often, so I need to be sure first.

"Ra…"

Suddenly, there was a trail of raindrop appearing outside the glass window, and it multipled quickly.

"Is that the rain..."?"

The rain instantly got heavy, and the train continued to race through the rain.

There was still some time until sunset, but it was dark outside the window,probably because the thick clouds covered the sky. There were times when rumblings could be heard, and the rain drenched the windows.

The weather forecast was accurate. If the rain is so big now, what about when we reached Tokyo?

I had to travel a bit from the Iidabashi to the hotel, and my legs might be drenched as a result. However, it's not too far away, and I can call for a taxi.

I felt that it would be easier for me to take this train until the very end and ride on a taxi afterwards, but I decided. 'As long as this train can get me to wherver I need to, I won't need a taxi', so I thought.

I am earning some money, and after deducting some of my life expenses, I will be left with some money. Even if I do occasionally take a taxi in Tokyo itself, I won't end up spending all my money.

However, I won't say 'scrimping is a scourge', but I do try to save wheneve I can. It's only when I'm feeling unwell that I take a taxi.

 

The train passed a few stops, and the carriage was not as packed as before. I had been to Tokyo a few times till this point, but I guess this should be the fewest number of passengers on board.

There's still an hour and a hour to the terminal.

I was wondering what she would be asking next. That interviewer was currently in the washroom.

While spacing out, I found this time to be really boring.

And so, I tood up, and took out the 'Vice Versa' draft I printed from my backpack.

If this is printed as a book, this will become the 11th volume. The 6th chapter of Side 'Shin' is planned to be released on September.

It's already written, but as long as I have the time, I'll read through it again, checking through the chapters and thinking of potential plot developments.

With the increase in number of volumes, the plot of 'Vice Versa' began to change drastically.

In Side Shin, many countries ended up being subjugated or allies of Sin as he aimed to conquer Reputation. The 7th volume had the Country of Movement providing resources and weapons to Sin as thanks for him saving them.

Of course, Yui, who had a crush on Shin in Side Sin, started to have feelings for the serious yet kind Sin, started to falter.

Pluto and Sin crossed swords again in volume 9. However, the country that betrayed Pluto sent an assassin onto the battlefield, hoping to kill them. With Sin and Meek's huge contributions, the assassination plot never happened.

Pluto decided to ally herself with Sin and work together. The war expanded on a larger scale in volume 11, and the two countries fought together.

And so, in this volume, Meek died.

 

I had planned on Meek's death for a long time.

Speaking of which, in the plot I thought of, basically almost all the homunculus would die.

Some of these homunculus would obediently follow their masters and die in battlefield. Some were executed by their Masters for partaking in treacherous acts and assisting rebel leaders.

I too felt that the plot was too dark, but I really created these artificially created beings based on this concept, so I got no choice with this. In contrast, I'll try my best to avoid letting the other characters die.

After seeing that Meek would die in the draft, the editor-in-charge said,

"Meek and Doska are pretty and popular homunculus. Isn't it better not to let them die?"

I had the opposite thinking though. I feel that since they're pretty and popular, their deaths will cause an impactful, tragic element to the plot, cooking up the atmosphere of the story.

I guess if fans of Meek and the others are to hear of this, they'll be enraged.

"Who died and made you king?"

They might even say this.

But in my novel--I'm the God.

I created the world, the characters and their fates. The voice actors inject life into them, but the author can kill them.

If I hear that,

"I'm God, so what?"

I guess I might try replying that.

But currently, I don't have the chance to do that.

 

I checked through the part in the draft where Meek was to die.

At the end of this volume, there would be a massive battle on a wide grassy field between armies of many countries. It would end with Sin, Shin and Pluto's camps winning.

After they returned to the main camp, Pluto said to Sin, who lost many of his subordinates and two family aides,

"My side lost Meek."

And upon hearing that, Shin responded,

"I see."

Shin in turn,

"..."

Stood there without a word (it wasn't winter, so he didn't have his usual muffler on)

Pluto never did mention of Meek's final moments.

 

When we discussed this volume,

"Is this really okay?"

The editor-in-charge noted; it seemed he was more taken aback then he was during the plot.

Shouldn't an important character's death be more vividly described? In a certain sense, this was an expected response.

Then, I mentioned what was in my mind.

Of course, I did think of a valiant, beautiful death, like shielding her master from an arrow, and dying while standing straight up like Musashibo Benkei.

However, I depicted such a death scene for another homunculus.

That was how Dasko would die in the plot later of. When the master was pursued to a narrow corridor, Dasko blocked the enemy's thrown spear with his abdomen, and laid by the side, blocking the enemy's pursuit. He continued to fight on until the very end.

Meek's dead was the complete opposite.

Anyone who read war biographies would know that the deaths on a real battlefield is so merciless, so brief.

Turn a head around, and a comrade's head was gone. Moving forward, the fellow soldiers begin to disappear. Fly in the air, after the military plans pass through the clouds, one is gone. Think that a buddy's not hurt externally, and the next day, he's lying icy cold on the bed.

I feel like I'm writing 'I dropped quite a bit of pocket change, and I tried to pick it up, but I found that there's several thousand yen gone, not just a thousand or two.' What I'm trying to depict is a battlefield where human lives are easily lost.

"Ah, if that's the case…"

The editor-in-charge agreed with this begrudgingly, and then said,

"But it's fine if you rewrite that entire part now. Yep, no problems at all."

I knew very well that he was implying "can you please rewrite this part~?"

But as long as nothing special actually happens, I won't change it.

As for what that 'special' is--

I didn't know at all.

 

Nitadori returned, and I finished checking through my script.

I put the draft into the large brown draft bag with the words ASCII Media Works, and slipped that bag into my backpack. Before Nitadori sat down, I put the backpack onto the rack.

Nitadori continued to tidy her hair for a while, before sitting down, and said,

"What that...the draft?"

"Yeah. That's the draft of the 11th volume to be sold in September."

"Wow! I want to read it!"

Nitadori lifted her head to look at the rack.

"No can do. Not when I'm watching."

"This means...it's fine as long as you aren't around, right? Hey, sensei, there's a trillion Yen at the washroom."

Of course, I knew that she was joking.

"I see. It'll take you a long time to hand it over to the police, is it? If you take 10% of that money--please treat me to a beef bowl."

"I really have to hand it to you--well, I won't just go around peeking into your stuff, sensei. But if the draft's stolen before the work's published, that will be really troublesome, right…"

Nitadori said, and drank the tea.

She's right I thought.

If the bag itself was stolen or snatched away, the situation would be serious.

A laptop contained data, but at the very least, it contained a password. This isn't the case for a draft though.

If someone with ill intent is to pick up a draft of the 'Vice Versa' continuation, what would happen?

"I tried writing a sequel. Everyone, please look at my second work!"

That person would probably post something like this on the internet, I guess?

In that case, what'll happen to the real draft of mine.

If I release the light novel without changing the work--

"A professional author just copied a work from the internet!"

The readers would probably think this way.

If that's the case, I'll probably show the date of the file and sue him in court, maybe? Shall I fill in the report form first? How do I report? With which agency?

"Sensei?"

If I have to go for a court case, ASCII Media Works will probably do something, right? The company will pay for what seems to be some extremely expensive lawyer fees, right?

I'll appear in court in a suit, right? I really want the judge's gavel that's used whenever he hits it and shouts 'silence!'. But Japanese judges don't actually use gavels, so I don't know where to get one.

Or maybe the editorial branch won't want to context (what they think is) a very troublesome court case, and have a change of attitude, and told me 'too troublesome to fight a court case! Rewrite this! It's a chance to make the story more interesting', I guess?

"Sensei?"

However, a plot I had been writing for quite a while isn't something that's easy to change, right? Won't I lose the direction if I change it drastically? If the series is to be ruined because of this, what'll happen to all the hard work I put in till this point?

"Hey, sensei?"

But in that case, I might as well change directions and write 'Side Sin' into one endless barrage of comedy, and continue to quietly write 5 volumes of developments that'll shock the readers. After a while, I'll switch back to 'Side Shin' and continue writing one serious story after another--

"Hey!"

Twack! I felt a light hit on my shoulder.

"Hm?"

I turn to the rest, and saw Nitadori seated there, rubbing her right hand with her left. She then muttered,

"Your shoulders...are stiff…"

"Beef?"

"I'm saying that your shoulders are stiff! I've called you a few times!"

Ah, I see. I guess my thoughts went far away because of my delusions. For a moment, I didn't know what to say.

"I'm an author…"

I'm getting a little confused.

"You're not recovered yet?"

"No, I'm fine, yep."

"Great! I guess your shoulders are different from a girl's!"

"Eh? Erm, yeah--no, that's not it."

I don't know how soft are a girl's shoulders, so I corrected myself.

And then, I said,

"Erm, where were we at?"

"We talked about the part where 'what if the draft's stolen'--forget about this part. Let's talk about the next question!"

Nitadori said as she regained her smile,

"Sensei, what do you think 'is important for an author to do'? I think it's difficult to ask 'what's the thing 'you pay attention to most'. You can say anything you want, as long as you find it important."

Luckily, she didn't ask me what's the most important thing, or else I would have spent a long time thinking about it.

But if it's 'important', I can think of a few.

"First--"

"First?"

"I think I should be studious and make notes. Jot down everything I think of."

The job of an author is to put everything together, and write it all down into a story. Any point always start with a moment of inspiration.

"When do you get an inspiration?"

"Hm, the answer to that is…'I don't know'."

I answered honestly,

"Hm?"

Nitadori tilted her head.

"To be honest, I really don't know. There's always a random moment when I have an inspiration, and when I think about it, that's the moment of inspiration."

"I see--so what about when you say 'right, let's get down to writing' and sit in front of the computer?"

"Of course I do...in fact, it's tougher for me to think of sentences and plot. I feel that most of my inspiration don't show up at those times though. When an inspiration shows itself, that's the time to take notes."

"Then, up till now, when do you start to have 'inspiration'?"

I can answer that question.

"For example--"

The easiest example would be when I'm enjoying other works. As long as I'm moved by something, I'll have the desire to directly connect that inspiration with my delusions. This can be said to be my act of 'taking books as toys' which I had been doing since young. Right now, I can also turn manga and anime into toys, though recently, I do feel that it's an act of 'taking inspirations'.

At the same time, when I'm listening to music, whenever the lyrics or melody gets me excited, my mind will suddenly think of images. I'll use it as the background music, develop all kinds of delusions, and gain inspiration from it.

Another situation is the complete opposite to this, when I'm spacing out. Like when I'm having a shower, using the bathroom, and, though it's not a good thing, even during lessons. When I relax, my mind will suddenly come up with ideas. In the past, I would often end up in plot lines where I don't know how to write, and I'm troubled by it. Most of the inspiration for such plot lines would suddenly appear in my mind when it's emptied.

Also, it happens when I'm focused on doing other things. For me, I do often come up with inspirations when I'm riding a bicycle steadily on a flat road.

"I see...there really is a variety of them."

"Hm, so as long as I have an inspiration, I'll definitely jot it down. I won't note it down with a pen unless it's during class; I'll use my computer or my smartphone and record my inspiration as words. I'll always tell myself 'I can't complain about it being a hassle'."

"So I guess you'll forget after all?"

I nodded firmly in response to that.

"Right, because I'll forget--man's memory really is unreliable, and everything we think of, we'll forget. We'll even forget the points we thought of. The proof of that is that for a certain scene in a certain story, I thought of it 3 times in all."

"Eh? Why's that?"

"Back then, I had the idea 'I thought of a very touching scene! This character had such an experience, so let's use this!' and then, I'll record it in my smartphone. When I'm in my room, ready to enter the same scene into my Word file on the computer, when i open the file--"

"You find that the same scene is there?"

"Yes. That scene exists already. And then, I also mentioned in the file 'this is the second time I thought of this iea'."

 

Ideas do appear suddenly.

And then, they'll vanish immediately.

It'll be a waste if I don't record it down properly.

As I said, I might repeat the same plot point a few times--and there are probably quite a few points I forgot.

Thus, whenever I have an inspiration, no matter how stupid it is, I'll record it down. I'll record it completely, and keep it safe somewhere so that I can use it in the future.

The senior authors too did say the same thing.

I heard that one senior author would often have ideas whenever he's driving. He'll then record it down through voice. He'll often bring a voice recorder into his car, and have it placed right next to the driver's seat. It's said that even without looking, he can tap the record button with one hand.

And as I heard, whenever he's driving at night or on long distance, listening to music he likes, the moments of inspiration appear more often. This is similar to me riding on my bicycle.

It appears that person does drive around often to change his mood. He would race however he wanted to on a nearby highway in the middle of the night.

I do think it's kind of cool to drive on the highway in the middle of the night looking for inspiration.

When I'm at the age where I can obtain a license, I do plan to go for driving classes. Thus, I set as expenses for that part.

 

"I see...taking notes…"

Nitadori muttered as she wrote down something on the opened notebook with a little pen she took out. She's taking notes.

I'm just staring at her, not leaning over to peek.

"Oops."

But she covered the notebook, and glared at me from beneath the glasses.

She slammed the notebook shut, and asked,

"Anything else? Is there anything that's important?"

"Well...hm, there is."

"What is it?'

"It's a little repeat on what I said before 'it's important to be confident in myself'--don't look down on myself, and whatever I'm writing."

 

This was when I was editing the draft of 'Vice Versa'.

Back then, I was a first year in high school, 15 years old.

When I was working so hard to edit the draft, I suddenly had a thought.

Was this novel really worth publishing?

 

"So...it's something like being uneasy?"

Nitadori asked. Looking at her expression, I seemed to see a doctor who's very worried for her patient.

"Right. I really had a thought in my head, whether the novel that appears in my eyes is really suited for selling and earning money. The life experiences I gained in life isn't enough, so can I really release this novel I wrote based on my reading experiences as a commercial product? Thoughts like that."

"But...the one who decides on that is the editor-in-charge, right?"

"Yes. But back then, I was so scared that I couldn't think calmly. Thus, I gave the editor-in-charge a call, begging him tearfully."

I find it embarrassing, but it was a fact, so I was left with no choice on this matter. Also, when explain this, there's something else regarding the past I have to mention.

"In the end?"

"In the end--"

 

The editor-in-charge,

"In other words, you're wondering if your novel is shallow?"

Right right. I said this while holding onto the receiver firmly.

"It's fine to think that way. Just write a novel only you can write at this moment."

The editor-in-charge was blunt in his response.

 

For an author, life experiences are very important. I feel that many creative works are born as a result for that.

However, the saying that 'I can't write because I never experienced it' does not necessarily hold true.

No author would create a murder experience for the sake of narrating a killer's mental state (that's what I think, and I hope to be the case).

So don't look down on yourself, and write your own work.

 

I understood very well the meaning of those words said to me as I continued with my work.

Soon after, when I become an adult and read through 'Vice Versa' again, I might think,

"So this is the novel I wrote when I was younger."

But as long as I could think,

"This is a novel I could only write when I was younger."

It'll be fine,

"This is an entertainment novel, so if you find it interesting, anything goes. If it's interesting, the readers will be happy. You're young, but you're able to write a fun story--so no matter what, you have to abandon your troubles and continue writing. That will bear fruit."

The editor-in-charge mentioned this over the phone.

And I too repeated the same words to Nitadori.

 

"I see...it's really amazing, I feel. For example, if 10 years passed since you started, when you're 27, sensei, what kind of novel will you write?"

I started to imagine my future in response to Nitadori's question, an ideal future where I'm successful in anything I do.

My dream is to continue writing 'Vice Versa' and focus on the series as much as possible. Based on the current plan, I feel that it'll end at 20 volumes or so.

I had already decided on the final developments. When I wrote the first volume, I had a vague idea on what I was going to write for the ending, and after discussing it with the editor-in-charge, the ending was decided.

I don't know how fast I can continue to maintain my volume releases this year as I repeat it, and next year when I take the Entrance Exams, but in these 3-4 years, I simply want to continue focus on writing 'Vice Versa'.

If the anime sells out well, I'll be delighted. If there's a second season, or even a continuation thereafter, I'll be even more delighted.

I want to enter college, and study while writing a new series. Right now, I still don't know which of the inspirations I have that I should suse.

And then, after I graduate, I'll find work--

This is the ideal future I can think of, but of course, the future may not be be that successful for me.

I may end up failing my exams, and if the anime doesn't gain much discussion, the discs not selling well, and the popularity of 'Vice Versa' declining heavily, the series gets aborted before it reaches volume 20, I felt dejected, unable to write the next work.

Or I may end up with some mental or physical disease that made me unable to continue writing or attend school. Worse, I might end up in a fatal accident. I can't be sure that such things won't happen to me.

Thinking about this, I don't want to continue thinking.

What kind of novel? I thought of what Nitadori asked me again, and answered,

"Well...I'll probably use my past experiences and write a story about college students? Or a story about people working in society? A novel about authors?"

"What about a story about voice actors?"

I saw Nitadori say this with a somewhat expectant look on her face, and I had an idea,

"Not bad. The protagonist is a high school girl who works as a voice actress, with long hair, bespectacled--"

"Yeah yeah."

Nitadori chimed in happily,

"When she brought her dog out for a walk, she picked up a mysterious mushroom, and became a giant. She went around destroying cities while looking for horse sashimi. A giant machine of the JSDF went over--"

"Right right! I'll take half of that model appearance fee. Get down to work1'

Nitadori threatened me happily,

"I-I'll try writing this soon…"

Saying that, I reached my hand out for my smartphone, intending to record this idea.

 

"Also, is there anything else important for an author?"

"Yep."

"And that is?"

"'Stick to the deadline"

"It's here! The 'deadline'--speaking of which, I never exactly asked about the deadline before."

I nodded. Now that she mentioned it, I didn't explain it properly either.

"Now then, let's explain about the deadline."

"Please do!"

 

Deadlines--

Of course, it refers to the latest day the novel has to be completed.

Magazines have deadlines. Books have deadlines.

In my case of writing a pocket book--when publishing a book under Dengeki Bunko, when exactly is the deadline?

Most likely, only those involved would know. At that moment, I was frustrated as to whether I should tell Nitadori.

But though I was frustrated, as before, she was someone 'involved with this work',

"Please keep whatever I say now as a secret."

"Got it."

I believed her, and continued on,

"The deadline for Dengeki Bunko works would be typically set as '4 months before the official release'."

"Hm...in that case, if the volume is to be released on the 10th next month--"

"In June, that means that I have to finish my manuscript at the end of February."

"That's rather early…"

Nitadori muttered.

I too felt this way when I first heard of this. Assuming that the books are to be printed at the end of May, what will they be doing for 3 months?

I only knew of the entire process in the end, so I told Nitadori.

"Well, assuming that I finish the work at the end of February, finish my manuscript."

"Yes?"

Nitadori opened the notebook, and began to write something. She probably intends to convert the process into a flow chart or something.

"The original draft will become the first manuscript, and as mentioned before, it'll be sent to the reviewers. They will take about 2 weeks to do that before sending it back to the editorial branch."

"Oh--that's long."

"Yes, it's very long. A certain author once said that he would plan a very long vacation during that time. If there's no other work during that time, he'll be really free."

"I see. So after 2 weeks...you'll receive the draft from the reviewers...then your own checks…"

"Author review."

"Right. You'll send the author review back to the editorial branch for the second manuscript review, right? How long will it take until it returns to the editorial branch?"

"Typically about a week and a half until 2 weeks. Once the second manuscript is settled, the original will be sent to the printers along with the illustrations. There's still another 2 months left, so I suppose they could easily print the books with much ease."

"I see…"

The sound of Nitadori's pen reaching stopped.

And this would be the end of the explanation about the deadline--as if.

 

"Now that'll be the schedule for the abnormally 'obedient kid'."

"Huh?"

Nitadori's glasses turned to me.

"This thing that's commonly called the 'obedient kid schedule'."

I said.

Of course, this term wasn't coined by me. I heard a senior author say it before, and this is a term that somehow popped up between authors and editors.

"..."

Nitadori thought for a few seconds.

"In other words...4 months before the release is basically the ideal deadline?"

I nodded.

"That's the case. And there are quite a lot of authors who won't follow that deadline. They'll do what we call 'delaying the deadline'."

"In that case...how does the schedule go?"

Nitadori flipped the notebook open, and it appeared she intended to take notes again, but I feel that it's a little waste of effort.

"I can't really explain in detail. The schedule will differ according to the author's progress at that point."

"..."

Nitadori tucked the pen into her notebook, and slammed it shut.

I continued to explain.

 

I said that the deadline was 4 months before the release.

Those that could abide were obedient kids.

There were really a lot of people who wouldn't abide by it. If I have to ask which one is more common--according to what I hear, it's undoubtedly the latter.

I hear that Dengeki Bunko would first decide on the release schedules within the next half year to one year.

Of course, the plan isn't really set in stone, but during this time, the editors and authors would have conversations like 'which volume will be released this month'.

The release schedules is made, partially based on the decision to make promotions, like,

"It's going to be animated, so let's publish this book on this month".

"This series has been providing releases every March, so again, let's set it to March."

"There'll be works of awardees published in February, so we'll release the works of those that won awards in the past"

(Because of this, in every February, the new books would be put together with the winners of that year, and the book collar on it would have the works 'UU Winner of the XXth OO Awards." also, there won't be works of authors like me who did not win any award.)

"In this promotion fair, we shall bundle all the popular works together."

 

Of course, authors know of the 'obedient kid deadline'--

But though they knew, they might not be able to do it.

Sometimes, there was absolutely no chance to make it based on the writer's speed and the other work at hand. Or I should say, it's very common.

Amongst them, there's those that finish the 'previous work' on the day before. In other words, they were warriors who would begin writing after the obedient kid deadline.

"Can they make it?"

"Those are the ones who would 'make sure to make it'. Because they're able to make sure the manuscript makes it, even if they don't rush it, the authors and editors are rather calm, I think."

 

Every author's writing speed to complete a light novel volume will differ. Some require 3 months, some require 3 weeks.

However, the common point between most authors is that 'the closer it is to the deadline, the faster the writing speed'.

A senior author I met at the end-of-year party said before,

"Right! The energy hidden within the body will be released. I can feel the burning flames within my body. I want to pass on this passion to the readers."

It sounded cool, but I just felt that it was fire lit on his bum. Of course, I did not say that though.

 

"Even if they do delay, I guess...there's still a limit to it, right?"

What Nitadori asked really made sense.

"Of course there is. In other words, I think that's the real deadline."

"So...when exactly is that?"

Nitadori leaned over to me, probing as she asked.

"I don't know...till now, I never had a problem with the deadlines."

I never tried to test the limits, so I didn't know.

"You're a good kid!"

"Th-thanks."

"Want me to pat your head?"

Nitadori chirped happily, quickly raising the left hand that's near me.

"No-no need for that."

I panicked, and refused her.

It'll be awkward for me if my hair's oily. It's embarrassing to let a girl pat my head after all.

"Really?"

Nitadori looked a little displeased as she moved her hand back to her thighs.

I continued to explain the deadlines.

"According to what I heard at the end-of-year party, it is very common to see authors who are late by two weeks."

"Are there later ones?"

"There are those cases of dragging on by a month or longer."

"So in other words, a book that's to be published in June--"

"It's not done at the end of February, March passed, still writing in April, that kind of feeling."

"And they can still make it…"

"To be precise, I think it's the hard work of the editors that allowed for the books to make it on time."

"I see."

"But if in the meantime, there's the end of year or the Golden Week, there wouldn't be enough time, so we got to be careful. Many companies will take leaves. This period is commonly called the 'end of year catchup' or the 'Golden Week catchup'."

 

When an author abides by the obedient kid's deadline, the editorial branch will have more than enough time to go through first reviews and second reviews--

The longer an author's manuscript drags on, the more pressing the situation will be. The illustrator, checkers, printers and editorial branch would all be affected.

What I'm going to say next is what I heard from the editorial branch and other authors. Currently, I haven't done so, and I don't ever intend to do it.

"It's said that if the draft drags on for too long...they'll have no choice but to cut off the second review to make it in time for the progress. Of course, there'll be a higher chance of errors."

"What's supposed to be two checks ended up becoming one check anyway."

"Yeah. If it drags on so long until it gets serious, they'll pick up the method of 'submitting in parts'.

Submitting in parts would refer to a relay of submitting the manuscript.

After an author is done with the draft, he'll send it to the editorial branch, which is the submitting part. The editorial branch would also hand the files over to the checkers and the printers, and that act itself is also submitting.

Thus, partial submission to refer to,

"It refers to sending over the completed parts because the manuscript is not fully completed (because that bastard of an author just wouldn't finish it)."

That would be the last resort.

"I see...in other words, try to make sure the manuscript makes it on time, right?"

"If they don't do it, the volume really won't be able to be published...but I don't want you to misunderstand. When they really can't make it, a professional author will inform the editor-in-charge before hand, asking him to delay the projected release date. Thus, for those that don't do that, they'll definitely finish the draft even if they have to stay up for a few days."

"Oh, just like an author."

"I'm an author."

So it's used in this particular part this week, though it's a little different somewhere.

Feeling somewhat strange, I continued on,

"I feel that since the editor-in-charge understands this logic, he'll trust the author. All the matters is that there's an interesting work written at the end."

"Phew, hearing that makes me really tense! It's like 'there's still three days! No time to sleep!' that kind of feeling."

Nitadori smiled as though she had nothing to do with this,

"I'll...definitely make sure not to end up in such a situation…"

I muttered.

I don't want to stay up late to work, and I have no confidence that I can complete my work while staying up all night.

If someone asks me to finish writing a hundred pages in the next 3 days, I'll probably be crushed by the pressure rising up my head. I'll think of running away.

And thus, this is one place that shows an author's actual personality.

Some would stick to the obedient kid's deadline as a target and abide by it.

Some would give up on abiding by the deadline right from the beginning, and would often delay their work by 2-3 weeks.

Some would delay the manuscript such that they'll submit it a month later.

There is also the possibility of those who would start writing after the obedient kid's deadline, engage in a skirmish with the editorial branch, and barely manage to make it until 2 months later.

 

I drank my tea, and realized something.

And thus, I capped the bottle, asking Nitadori,

"This deadline thing reminds me of something...I never told you anything about the illustrators, right?"

"No! Sorry--I mean yes, you haven't."

And while Nitadori blurted out this strange mistake, I said,

"Alright, how about we talk about this?"

"Please do!"

 

The reason why I would link from the deadlines to the illustrators is that there is also a deadline of an illustrator's work. If it passes the deadline, the book won't be released.

I heard that there are cases of the author finishing the work early, but the book was unable to be published because of the illustrator--

Such cases are quite common. When that happens, even authors can't do anything about it.

This isn't my personal experience, so let's leave that aside for now.

The illustrator for 'Vice Versa' is someone with outstanding art skills, and works really fast.

That illustrator's able to match the release dates of mine that are considered quite fast, and whenever it is done, the illustrator would read through the story before providing illustrations of high quality.

That illustrator really helped me out greatly--my heartfelt thanks truly are hard to express.

In light novels, illustrations are important.

It is said that,

"For a work to sell out very well from the beginning, illustrations are key. For a work to sell for a long time, story is key."

When someone enters a bookstore and sees the cover, assuming that the cover illustrations are really attractive, 'how active will this character be?' they'll be curious and start to read.

But after almost two years as a light novel author, I have a slightly different thinking to this.

"For a work to sell out very well from the beginning, illustrations are key. For a work to sell for a long time, story is key, but the influence of illustrations are also very important."

That is what I think.

"I see...speaking of which, how do you choose an illustrator? Do they go by an author's wishes and choose one?"

Nitadori asked.

That was also one thing I wanted to know about before I became an author.

"Sometimes, they will go by the author's wishes. I do know of some authors who are like that. Those authors noticed a certain illustrator on some doujinshi or website, and requested to work with that illustrator, and the editorial branch agreed to it. However, typically--"

"Typically?"

"The editor-in-charge would choose one, and that's the case for me."

"I see. So how was it chosen for you case, sensei?"

 

That was during Spring Break two years ago, before I entered high school.

I was desperately correcting the manuscript for the 1st volume of 'Vice Versa', and writing the draft for the 2nd volume--

"I think this one's suitable. What do you think?"

The editor-in-charge sent me some doujinshi released by a certain illustrator, and the web address.

I had a look at the doujins immediately, and back then, I didn't have internet at home, so i went to look at the website from a cafe.

The first thoughts I had back then was--

"Your thoughts were?"

"To be honest...I didn't really have much feeling about it."

Nitadori widened her eyes beneath the glasses, and leaned forward enthusiastically.

"Is that so? --I really like the illustrations of 'Vice Versa'. I feel that the visuals of the anime are pretty, and has the key features pat down, but I prefer the illustrations in the novel. Ah...please keep this a secret from the anime personnel…"

"Ahaha, I know--now that I think back about it, I'm able to feel that, yeah, it's great."

"Erm...when you saw the illustrations for the first time, how did you answer the editor-in-charge?"

"I honestly told what I was thinking to the editor-in-charge, and then I said, 'but about the illustrations, I don't really know. Please decide'."

"Then...maybe you wanted to say 'this person can't do, please switch to someone else', right?"

"Well, the chances of that isn't zero."

And Nitadori said,

"Huh...I'm surprised."

She leaned her back on the backrest.

"But back then, I didn't have the time to propose an alternative."

Back then, I was correcting the manuscript. I ended up correcting the first volume until the 6th manuscript, and after doing so until the end, I was thinking, How is it possible to have so many changes?

"Finally, the editor-in-charge chose that person. That person did provide some illustrations for some single volume financial magazines, but never had experience drawing light novel characters. However, I heard that the illustrator was really enthusiastic, and according to what I heard, the reply to the editor-in-charge was 'please let me do this!'""

"Ohh!"

"And so, we met once."

That was in the middle of April, when I was in my first year. Back then, I was finally done editing 'Vice Versa'.

This illustrator read through the draft of the first volume that was yet to be completed carefully.

And then, the illustrator brought a few rough sketches of the main characters, and basically all the appearing characters too, drawing them to fine detail.

Looking at the illustrations, I thought.

Ah, so Shin and Sin look like this.

 

"Was it perfect?"

"It was a little different--for me, perfect would mean that the illustration fits the imagination in my mind completely."

"Then…?"

Nitadori looked surprised. Well, I can't fault her for this. I should have explained beforehand."

"I didn't have any character visualization in my mind. All my mind could see were 'Shin', 'Sin' and words, no clear image."

"Then...is it the same now? Is it the same now that you're writing with available illustrations?"

I nodded firmly.

"It's the same now too. While I'm writing, Shin is Shin'--in kanji, it can be written as makoto. In my mind, Shin isn't converted into an image, but directly extracted as a word. It has been the case ever since I started writing light novels."

"Ah…"

Nitadori let out a voice with a stunned look.

It was to be expected. Even I didn't know why I didn't have an image of the characters in my mind.