The Deadline is Approaching! Asking Creative Award Winners and Their Editors: What are the Tips for Pushing Through to the End?

The deadline for the Creative Award 2024 is almost here. We invited Nanten Seyama and Toko Shimotsuki, who won the note Creative Award 2023 and had their works published as books, along with their respective editors, Honoka Kitsukuri (Asahi Shimbun Publications) and Yumiko Oshima (Shinchosha), to share creative tips and advice for the final stretch before the deadline.

If you are considering submitting, please use this as a reference during your final push.

About last year's winning works

"The House with the Cream-Yellow Sea and Spring Cabbage," a story I want to deliver to those working hard

──I would like to start by talking about the winning works. First, I would like to ask Nanten Seyama, who won the Asahi Shimbun Publications Award for "The House with the Cream-Yellow Sea and Spring Cabbage" (hereinafter referred to as "Curi-Kyabe"), which was published in April, to introduce the work.

Nanten Seyama (hereinafter referred to as Seyama) This work is a workplace novel based on the theme of "housekeeping services." The story begins when the protagonist, Tsumugi Nagai, who has three months of experience in housekeeping, heads to her new workplace: the Orino household, a single father with five children. Through her interactions with the five children and the single father, Tsumugi grows while facing issues related to housework, family, and work.

Seyama The inspiration for this work came from a time when I was raising two children while working, and I felt like I couldn't keep up with the housework. When I looked around, I realized that surprisingly many people were suffering in the same way. So, I decided to write a work that could at least lighten the feelings of those who are trying too hard.

──Did you originally have a plan to write a work like this?

Seyama I have dealt with the theme of housework through essays and other means in the past. I had always wanted to write a novel on this theme, but it was around June of last year that I felt a strong urge to write it. I finished the work in about a month. Looking back, I think I was able to write it with that sense of speed precisely because I had been nurturing the idea for so long.

──I would also like to ask your editor, Ms. Kitsukuri. How did Asahi Shimbun Publications handle the judging for the Creative Award last year?

Honoka Kitsukuri (hereinafter referred to as Kitsukuri) At our company, about 10 editors were involved in the judging. The editor-in-chief and deputy editor-in-chief read all the works selected by note, while other editorial staff members read works they were interested in based on titles and synopses. There were about five works I wanted to read, and "Curi-Kyabe" was among them.

──After Ms. Seyama's award was decided, Ms. Kitsukuri, you worked together as the editor in charge until the book was published. Could you tell us, Ms. Seyama, what points you brushed up from the original manuscript for publication?

Seyama When I first posted it on note, I focused on the protagonist Tsumugi solving the problems of the Orino family, the single-father household. However, since Tsumugi's own personality and past were not sufficiently explored, I focused on depicting her character more in the revision. Also, regarding the cooking scenes that many people said they liked, I was conscious of making them even more fulfilling so that readers could enjoy them even more.

"Kigan Joju," which I could imagine lining the shelves of a bookstore

──Next, I would like to ask Ms. Shimotsuki. Please introduce your work, "Kigan Joju," which was published in May.

Toko Shimotsuki (hereinafter referred to as Shimotsuki) "Kigan Joju" is a horror novel about five childhood friends who cast a spell in their secret base when they were in elementary school, and after they become adults, they face the worst possible situation because of the spell they once cast.

Actually, this was a work I had already written. Since I participated in the Creative Award for the first time last year, I was determined to submit everything I could, so it was one of the works I submitted to every category that met the application requirements.

──At Shinchosha's Shincho Bunko nex, where Ms. Shimotsuki won, what perspective did you use to decide on the winning work last year?

Yumiko Oshima (hereinafter referred to as Oshima) At first, the three judges, including myself, chose works that were genuinely interesting, personally liked, and considered to be of high quality. In the end, since note had asked us to keep book publication in mind, we decided by emphasizing the potential for book publication.

In particular, Shincho Bunko nex handles original works written specifically for paperback, so it is a crucial point that the work is well-suited for a paperback book. Ms. Shimotsuki's work was initially submitted to the romance novel category, but as you can see from the book cover, we marketed it as a horror novel.

Horror is also a very popular genre right now. 'Kigan Joju' was not only interesting, but it was also the easiest to imagine sitting on a bookstore shelf. This point was also a major factor in our selection process.

──What parts did you revise after winning the award?

Shimotsuki: Initially, the story unfolded from the perspectives of five characters, but it was pointed out that the protagonist didn't feel much like a protagonist. So, I worked on making the protagonist more central to the work and rewriting them into someone the reader could more easily empathize with.

Also, since the decision was made to make it a horror novel during the revision process, I focused on increasing the sense of dread in the work.

Just Before the Deadline! How to Make the Most of Your Remaining Time

──From here, I would like to ask for advice for those thinking of applying to this year's Creative Award. What were you both doing at this time last year (about a month before the deadline)?

Seyama: I remember being conscious of not wavering from the intended aftertaste and writing it through to the end. The aftertaste I was aiming for with this work was something bright and hopeful, meant to 'lighten the hearts of people who are working too hard at chores and such.'

However, if you become too conscious of the aftertaste and write something completely different from what you have built up so far, it will lack persuasiveness. I was very conscious of whether the ending took into account the overall flow, theme, and aftertaste.

Shimotsuki: Before applying, I checked for typos and omissions and did a light read-through. What I always keep in mind is that the author is the one who has read the work the most thoroughly. No matter how seriously a reader reads it, it's not a test, so I don't think they are reading it as thoroughly as the author. Therefore, I was conscious of whether the story could be understood even if read lightly, and I made corrections as necessary.

In my case, some time had passed since I wrote the work, so I feel I was able to reread it quite objectively when applying for the Creative Award.

──I think it's quite difficult for an author to read their own work from a reader's perspective. Do you have any techniques of your own, Ms. Shimotsuki?

Shimotsuki: It's literally like 'skimming.' I increase the speed at which I turn the pages and read diagonally. I'm the type of person who doesn't read by hearing the sound in my head, but rather perceives the text like a picture. For those who read while vocalizing in their heads, a different approach might be necessary.

──Could the two editors also give us some advice before the deadline?

Kizuki: You might be feeling anxious, but I recommend setting it aside for a day or two. While writing, it's easy to become biased toward the writer's perspective. As Ms. Shimotsuki said earlier, because you are the one who has read it the most thoroughly, you may have lost objectivity. If you take some time off and reread it from the reader's perspective, you might be able to finish it into a work that is even easier for readers to understand.

Oshima: I feel similarly to Mr. Kizuki; I find it extremely difficult to read one's own work objectively. In particular, the parts where the writer feels they are on a roll because they think it's the climax are often the parts where the reader is actually left behind.

Letting the work sit is certainly important, and if possible, I also recommend having friends or family read it and give you their impressions. Especially in the case of note, you are already in a state where many people can read it. When you don't have time, even just getting frank feedback like 'this part was hard to understand' or 'this part was difficult' should be useful for improving the work.

──Did the two winners revise their works last year based on feedback from readers?

Seyama: Actually, I couldn't really do that at the time. But there were parts where I thought, 'I would do it this way now.' For example, there were many comments saying, 'The cooking scenes were good.' That part is the charm of the novel and also a part I'm good at, so I think that was a point where I could have pushed myself even harder to see if I could make it even better.

In fact, when we were making it into a book, the editor told me from the beginning, 'The cooking scenes are good,' and that's exactly why they kept telling me until the very end, 'Can't you write even more?'

Even though I thought to myself, 'Is this enough?', I realized it wasn't quite enough. It's hard to change your weak points at the end, so I hope everyone will polish the parts they were praised for until the very end to make the work leave a lasting impression.

Shimotsuki: I also didn't really make any revisions based on feedback. And this is to encourage those applying this time, but 'Kigan Joju' wasn't really being read at the time of application. I had just started note when I applied last year, and I had almost no followers. At the time of the deadline, I think I only had about 20 'likes.' Even after passing the preliminary selection, the number of likes didn't increase (laughs).

Even so, there are times when your work gets discovered like this, so if there are people out there whose work isn't being read much, I truly hope you won't give up and will keep doing your best.

──Were there any specific points you were particular about regarding the title of your work?

Seyama After writing every day, I would think of a title for 'Kurikyabe' based on that day's content. For example, there was a period when I titled it 'Tsumugi's Housekeeping Diary'.

Ultimately, I struggled with whether or not to include 'housekeeping' in the title. If I included 'housekeeping,' it would be easier for those interested in that theme to pick it up. However, when I thought about the target audience I really wanted to reach with my novel, I worried that some people might find the word 'housekeeping' a bit intimidating. After much consideration, and taking into account the post-reading impression of the work and the target audience, I decided on the current title.

Shimotsuki When I start writing a novel, the first thing I decide is the title. For me, the title acts as a logline (a short summary of the story's content). The reason I chose the title 'Kigan Joju' (Prayer Fulfillment) this time was that I had decided before writing that the content would be horror, so I intentionally chose words that contrasted with the content. This is because a seemingly happy title can feel terrifying after reading the book.

Oshima I apologize to the authors, but it is rare for the title of an entry to remain the title of the published book. As Shimotsuki-san mentioned, 'Kigan Joju' was paradoxical and interesting, so we adopted it as is.

In the case of Shincho Bunko nex, the sales department provides advice based on bookstore trends, the promotion department suggests more accessible titles, and the design department offers opinions from the perspective of cover design. It is common to decide on the final title while consulting with the author about these opinions. Therefore, please feel free to give your entry any title you like at the time of submission.

Kizukuri I think it's better to avoid titles similar to bestselling novels. This is because it might become difficult for your work to be found when searching online. For example, 'Kurikyabe' is a title that appears at the top when you search for it, isn't it? As a final touch, I encourage everyone to search for your own titles.

Shimotsuki I also search online when I'm coming up with a title. I check to see if a work with the same title appears on the first page at a glance, and I also search for 'title name' + 'novel' to see if there are any other novels with the same title.

──What were you conscious of regarding the synopsis?

Seyama I thought about the structure of the synopsis by dividing it into three parts.

Seyama In the first section, I clearly described specific information such as the protagonist's details, what kind of place they go to, and what they see there. For the second part, I was conscious of showing what kind of conflict the protagonist faces in order to attract readers. I tried to make the protagonist's conflict visible in these two parts, and in the final section, I kept in mind to convey the overall atmosphere of the work.

When I read the synopses of other works, I found some that were supposed to be workplace novels but lacked specific descriptions of the profession, so I think it is important to clearly present the protagonist's information in the first part.

The kind of works and authors editors want to meet

──As an editor, what kind of works and authors would you like to meet in the ongoing Creative Award 2024?

Kizukuri Our company has a note account called 'web TRIPPER,' and we have set up a page for the Creative Award 2024 there, so please check that for details.

Also, personally, as I felt when I read Kurikyabe, I want to read works that have kindness toward the reader. This includes the ingenuity of the title and synopsis. I would love to read works that convey that the author is thinking about the reader, such as being considerate so that it is easy for the reader to understand and pick up.

──What kind of works and authors is Shincho Bunko nex looking for?

Oshima Shincho Bunko nex is mainly looking for novels with attractive characters and genre novels that take advantage of the characteristics of the 'bunko original' medium.

This time, Shimotsuki-san enjoyed working as a team during the process of making the book. When it comes to book production, many people are involved, including not only editors but also the sales department, promotion department, proofreading department, and design department. Thanks to Shimotsuki-san being happy with this kind of teamwork and willingly responding to our requests, we were able to create a very good work.

It is very grateful for us to meet creators who can enjoy working in a team in the future, and we are looking forward to meeting such creators.

Q&A

──If there is no demand for what you want to write or your favorite genre, should you pursue what you want to write, or should you choose something that seems likely to be read by many people and sell well? If you have any experience or advice, please let me know about this balance.

Shimotsuki I don't know what 'sells well,' so I just write what I want to write. There are few reactions to my work, so I sometimes think that my way of promoting is bad or that there is no demand... but since my work must be reaching someone, I keep writing what I want to write without giving up.

In the end, even if you aim to sell, I think there is a limit to how an individual can 'aim to sell' without the advice of professionals such as editors. Therefore, isn't it important to keep writing what you want to write?

Seyama I have only written about themes I wanted to write about until now. Otherwise, I wouldn't have the power to finish writing to the end, and I think works written with the passion of wanting to write have something that reaches the reader.

Oshima I agree that writing a work on a theme you want to write about leads to a good work. However, from an editor's perspective, if books don't sell, the publisher cannot survive, so we must create 'books that sell.'

When applying to gateways like newcomer awards, it is important to write what you like with your own enthusiasm, but as you build a career as a professional writer, it might become necessary to incorporate themes that fit the times or write while imagining the reader's preferences.

──You mentioned that you wrote your work in about a month, Seyama-san, how did you secure the time?

Seyama At that time, I wasn't working, so I wrote during the time before my child came home or after my child went to bed. Also, even when I was picking up or dropping off my child, if I thought of something, I would jot it down on my smartphone, and by using my time in small increments, I gradually increased the word count.

──You mentioned that when you are on a roll, you might leave the reader behind, but how should you adjust that balance?

Shimotsuki: When you're on a roll, it's best to just keep writing. It's a waste to stop while you're in the middle of it, and it feels good, too (laughs). In my case, I first write it out just as I feel, and then during the revision stage, I look at it objectively to delete any persistent or overly dense expressions, or to change the wording.

──Thank you for your time today.

Guest Profiles

Nanten Seyama / Novelist

Author and novelist. Won the Asahi Shimbun Publications Award at the Creative Award 2023 (hosted by note). The book version of the winning work, "The House with the Cream-Yellow Sea and Spring Cabbage," is now on sale.
note: https://note.com/s_yama_nanten
X: https://x.com/s_yamananten

Toko Shimotsuki / Novelist

Born in Kanagawa Prefecture. In 2023 (Reiwa 5), she won the Shinchosha Bunko nex Award at the Creative Award (hosted by note) for "Kigan Joju." She has contributed works to numerous anthologies, including "Yume Sanjuya" and the "Unexpected Ending in 5 Minutes" series, as well as the e-book "Capsule Story" series.
note: https://note.com/toko_shimotsuki
X: https://twitter.com/toko_shimotsuki

Honoka Kizuki (Asahi Shimbun Publications)

Joined Asahi Shimbun Publications in 2023. Nanten Seyama's "The House with the Cream-Yellow Sea and Spring Cabbage" is her first project as an editor. She documents the process of creating this work together with the author in the "Curi-Kyabe Editorial Diary."

Curi-Kyabe Editorial Diary

Yumiko Oshima (Shinchosha)

Joined Shinchosha in 2004. In addition to editing paperback editions for authors such as Miyuki Miyabe, Riku Onda, and Kanako Nishi for Shinchosha Bunko, she also works on series such as Ayano Takeda's "Kimi to Kogu" for Shinchosha Bunko nex.

Japan's largest creative contest, "Creative Award 2024," is now underway!

note is currently holding "Creative Award 2024," a contest seeking creative works in all genres. There are opportunities for book publication, film adaptation, and serialization from 21 media outlets! We are accepting entries across 12 categories, including novels, essays, manga, recipes, and business, until Tuesday, July 23.
Please see the special page for details.

▼ You can view the archives and articles of related events here.

text by Yuki Sugawara