How to Write a Novel? The Basics of Novel Writing Learned from Natsuya Semikawa, Author of "Isekai Izakaya 'Nobu'"
Creative Awards 2024. I want to participate. I want to publish a novel, but I don't know how to write one. For those people, we held a lecture on note where Natsuya Semikawa, the novelist behind the masterpiece "Isekai Izakaya 'Nobu'," taught the basic know-how of novel writing.
Natsuya Semikawa debuted from a novel submission site. "Isekai Izakaya 'Nobu'" won the 2nd "Narou-con Grand Prize" (now the Net Novel Grand Prize). The work has since become a massive hit, with various media mixes including manga, anime, and live-action drama adaptations.
In this article, based on what Mr. Semikawa talked about in the lecture, we will introduce how to find plans and ideas, how to create plots and characters, and how to approach writing.
The basics of novel writing. First, write what you want to write
——We live in an era where anyone can easily read and write novels. In such a time, how do you, Mr. Semikawa, feel about "writing a novel" again?
Natsuya Semikawa (hereinafter referred to as Semikawa)In the history of humanity, I truly feel that the 2020s is the era where the most people can "write and publish." Because anyone can write a novel if they just string words together. However, at the same time, it is a fact that the number of people reading novels is decreasing due to the declining birthrate and aging population. It could be said that it is a difficult era if the goal is to be read. I think those who have written articles on note know well that "it is hard to be read."
Precisely because we are in such an era, I think it is fine to focus on "writing what you want to write" with a reverse perspective. First, write what you want to write. Then, explore ways to get it read. I feel that this method is also one way to go.
Ideas are like collecting fine particles
——When writing a novel, I think there are those who have concrete ideas and those who don't. Mr. Semikawa, please tell us about "how you find what you want to write."
Semikawa A famous Chinese literary figure named Ouyang Xiu advocated for the "Three Tops" as the best places for ideas to flash. Specifically, he pointed to "on horseback" (ma-jo), "on the pillow" (chin-jo) before sleeping, and "on the toilet" (shi-jo). To rephrase it in modern terms, "on horseback" would be while moving in a vehicle (a horse at the time).
From this, it is definitely a fact that "ideas are rolling around in daily life," and the problem depends on how much you can find, remember, and record them. It is important to collect ideas in as fine particles as possible.
——The smaller the idea, the easier it is to use in various situations, right?
Semikawa I think so too. Another recommendation is memo software like an outliner. An outliner can record various contents by dividing them into hierarchies like a tree. You can use it for writing, such as building a plot and writing boxes for each scene, but it is also suitable for taking notes by genre.
The biggest advantage is that you can access it from both your smartphone and computer. You can take notes on small things you find while out and about on your smartphone, and organize them on your computer when you have time. I also recommend saving interesting sites by copying and pasting the content rather than just the URL. Because websites often disappear... However, when copying, it is important to always note which site you copied from and when, and to record the source. You can also paste photos and audio files, so let's expand your own personal idea notebook. While making full use of such recording methods, it is important to "increase the resolution of seeing reality."
After that, try thinking about the "defamiliarization effect" by asking, "What if this were..." For example, "What kind of reaction would there be if there were izakaya dishes in a fantasy world?"
It is also important to note down "what you like" about your favorite movies, dramas, anime, manga, and novels. Surprisingly, many people don't know what they "like," and conversely, they don't know what is "Not for me." And, dig deep into why you like or don't like something. Then, what you want to write will vaguely appear.
Please try to think about "what you can write (CAN)," "what you want to write (WANT)," and "what you are asked to write (NEED)." In commercial work, you are often asked for the intersection of "what you can write" and "what you are asked to write," but if you are writing for yourself, choose the intersection of "what you can write" and "what you want to write." Also, there are things you must write for your own growth. If there is a work you want to write in 10 years, you have to learn the tricks of writing. So, there is also the way of thinking that you are writing it now.
The theme resides in the moment a character lies to themselves
——Next, do you think about characters or do you think about the plot? I think it differs from person to person, but can I ask you about characters first?
Semikawa Yes. In the 2020s, I feel that the weight of characters in entertainment novels is greater than ever before. From the context of current entertainment novels, I think it can be defined that a story is the change of characters and the change of relationships between characters. A story without an attractive development can be established as a work if the characters are attractive, but the opposite is extremely unlikely to sell or be evaluated in modern times. Therefore, I think it is better to think about characters properly.
If you have something you want to convey or a theme, I think you need to deliver it to the reader by entrusting it to the character's inner self or circumstances. It is best to convey it through the character's way of life. Some people often try to convey it through dialogue, but in reality, I think the theme resides in the moment when the character's actions and words are completely opposite, that is, when the character is lying to themselves. If you can add such things, I think you will move up a level as a writer.
However, just because characters are important doesn't mean you should only think from the characters. Think about everything: characters, story structure, themes, and concepts, and then think about the characters again. By going back and forth like this, you give depth to the characters.
Also, there is a method of thinking from two characters rather than one. If you set up relationships such as couples, spouses, buddies, parents and children, siblings, or master and disciple, and think about what state this pair is in, how they change, and what happens as a result, the characters will become more three-dimensional.
——There is often a debate about whether or not to create a character sheet. I have many opportunities to look at project proposals, but there are people whose goal is just to fill out the sheet. A sheet is just something to write specs on. It doesn't mean that all the charm of the character is written there, right?
A plot is a blueprint. Determine what type of writer you are
——Next, I would like to ask about the plot, that is, the construction of the story. Mr. Semikawa, could you tell us what stance you have regarding plots?
Semikawa In my case, I didn't write much of a plot until I debuted. However, after debuting, while interacting with publishers, I realized that it is better to have a plot. A plot is, so to speak, a blueprint. There are genius types who can write without a plot, but if you have a plot, you can discuss it with your editor in charge while looking at it.
However, there are writers who say, "If I write a plot and know the ending, the fun will be gone, so I don't need to write any more." It is true that writing happily is important, and it is also a fact that a sparkle like a jewel resides in the works written by such people. Therefore, it is good to judge whether or not to write a plot after determining "what type of writer you are."
——I see. For those who say, "I will write a plot to do commercial work!", how should they learn how to write a plot?
Semikawa: The structure of a story is often referred to as 'Ki-Sho-Ten-Ketsu' (Introduction, Development, Twist, Conclusion) or the 'Three-Act Structure,' and many books on these topics are published by companies like Film Art Inc.. Why not buy one of those books? However, most of these books are about how to write screenplays, not novels. Visual media is meant to be shown, while novels are meant to help the reader form images in their mind. I hope you keep this difference in mind.
If you are thinking primarily about characters, deciding on the beginning and the final outcome—'who is in what state' and 'what they became'—and then thinking about the 'difficult obstacles to overcome' in between is one of the tricks to building a plot. As for the content, you can change it as much as you like whenever you come up with something interesting. The initial plot is merely a foundation for your thinking. Find a way of plotting that suits your style and enjoy completing your work.
Do not edit while writing; revise only after you have finished writing
——Next, I would like to ask about tips for writing.
Semikawa: First of all, the thing I want to convey most is 'do not be stingy with your writing.' It is very important to write every day, and if possible, it is amazing if you can write 1,000 characters or more, ideally 3,000 to 5,000 characters or more. This 'must write' refers to the number of characters you can absolutely write, whether you have a cold or a hangover. Even 400 characters is fine. By knowing the amount you can absolutely write, you will know if the deadline you have set for yourself is appropriate.
Next, do not edit while writing; revise only after you have finished writing once. Only a genius can write a perfect manuscript in the first draft. The strength of the modern era is that you can rewrite as many times as you want, and no matter how poor the writing is, once it is completed, you can fix it as much as you like. If you don't write anything, it remains a blank sheet of paper, so please keep writing with the intention of fixing it later.
——Many people might be thinking, 'I won't be stingy with my writing, I'll write every day!' Are there any techniques for putting this into practice?
Semikawa: As many of you may know, I also recommend using the 'Pomodoro Technique.' The Pomodoro Technique is a time management method where you work for 25 minutes and then take a 5-minute break. It doesn't have to be 25 minutes; for example, by cycling through 45 minutes of writing and 15 minutes of rest, you can create a rhythm within yourself. If you set a rule for yourself not to look at your smartphone at all until 45 minutes have passed, the number of characters you write will naturally increase.
Also, at the end of the day, it is a good method not to finish writing a sentence perfectly, but to leave one line unfinished for the next day. It is difficult for anyone to face a blank manuscript. If you have overcome one hurdle the day before, even if you think 'this isn't quite right' the next day and delete the text, you can start from the task of deleting it. Once you enter the task, you can surprisingly switch your thinking into writing mode.
——Thank you. Finally, could you please give a message to everyone watching today?
Semikawa: I would like to introduce a phrase that is familiar in the business world: 'Done is better than perfect.' Please think of this as meaning 'executing quickly is better than being perfect.'
I was once told by an editor, 'Isn't the difference between a writer and an editor whether or not they can put a period?' When creating a novel, an editor might be able to suggest infinite choices, but it is the writer's role and right to choose from them and put a period.
I hope all you writers will keep in mind to complete things quickly, even if it is just one section or one chapter, and enjoy your writing.
Q&A
Some questions have been excerpted from those raised on the day. If you would like to know the full content, please watch the archive video below.
Q1. Sometimes I get stuck while writing. Do you have any countermeasures?
Semikawa: I recommend creating a routine for yourself. For example, decide that when you go to a specific coffee shop, you will always use the Pomodoro Technique to focus and write. Also, if you cannot write because your inner state is in disarray, it is good to decide on a 'work to sharpen your own writing.' By reading that work and incorporating the rhythm of your favorite writing style into yourself, you can return to a neutral state and make it easier to face your writing. If you always keep that work next to your desk, you can pick it up whenever you feel like your writing is about to stop.
Q2. 'Isekai Izakaya Nobu,' which you write, features a very large number of characters, doesn't it? Do you organize them in any way to keep track of so many characters without confusion and to keep them moving within the story?
Semikawa: Actually, I was organizing the characters in a Google Spreadsheet that I could edit together with my editor. That sheet contains all the character names, ages, characteristics, current status, and so on. My writing method is to organize what state each character will be in by comparing the sheet and the plot while I am building the plot.
However, I think this method is only possible because I am a person who likes ensemble dramas. Therefore, I think it would be better for others to find a method that they are good at.
Q3. Scenarios and characters that I have scrapped remain in my heart for a long time. Is there a way to lay them to rest?
Semikawa: I think it is good to write a work using that character again. Let's write another scenario as well. As I said earlier, being stingy with your writing is not good. Let's write a lot, even if they are short stories. You can write it as a short story first, and if you think it is good, you can make it a long story later. Actually, you can write about the same character as many times as you want.
▼ If you are interested in the detailed content of the lecture, please watch the video archive.
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Natsuya Semikawa (Novelist)
Born in Osaka Prefecture in 1983. Graduated from the Faculty of Letters, Osaka City University. Won the 2nd Narou-Con Grand Prize for 'Isekai Izakaya Nobu.' Other books include 'Jashin ni Tensei Shitara Haika no Maougun ga Sassoku Metsubou Shisou Nanda ga, Dou Sureba Ii Ndarou ka' (published by AlphaPolis).
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Takeshi Hagiwara (note Director/Editor)
After serving as Deputy Editor-in-Chief of Fantasia Bunko, Editor-in-Chief of Fujimi L Bunko, Editor-in-Chief of Kadokawa BOOKS, and Editor-in-Chief of Kakuyomu, he became independent. Currently, in addition to writing novels, he is involved in planning and original work production for anime, games, and manga.
Twitter: @yajin
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