What are the tips and ways to let a worldview permeate in essays that Noyagi-san is conscious of? How to apply the 'sense of rhythm' cultivated through stage reading to essays

Popular noter Noyagi-san was the recipient of the Jury's Special Award and the Miku Mayutan Award at the contest 'The Moment a Life of Writing Began,' held on note from March 2 to March 31, 2026.

As a supplementary prize, we are delivering this interview article based on the 'Public Interview Space' held on May 8th from 20:00.

Initially, I was thinking of suggesting we do it over Zoom, but Noyagi-san suggested, 'Shall we do it on Space?', which led to the hosting of this public Space.

Because Noyagi-san has experience with reading aloud, her explanations are excellent. There was much to learn from our conversation, and I had the strange feeling of having attended a high-quality essay course from a front-row seat and through a back-door admission.

Please find the full interview text here!

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'The worldview of an essay exists at the tip of the reader's mind'

That is what office worker and noter Noyagi-san says. She started note when she began raising her children, and has been writing essays and novels ever since. There are many fans of the unique perspective woven from her writing and the worldview spun from her essays, and she has many readers.

In the past, she has won numerous awards in contests such as the 'freee #TriggeredByBenefits Contest PowerToSmallBusiness Award,' the 'What We Can Do for the Future Bungeishunju SDGs Essay Grand Prize Excellence Award,' and the 'Best Reviewer Award (Creative Grand Prize 2024/2025).

In the interview, Noyagi-san spoke about the tips she is conscious of when writing essays, stating, 'A worldview exists at the tip of the other person's brain.'

In addition to her note activities, she also participates in activities such as reading recitals. According to Noyagi-san, by reading aloud, she 'notices discrepancies in rhythm by speaking the words.'

In this interview, we asked Noyagi-san plenty about her 'tips for writing essays.'

■ The trigger for starting note was a senior actor

Miku: First of all, please tell us what prompted you to start note, Noyagi-san.

Noyagi: A senior actor I knew was writing paid notes, and I bought one as a gift, which was the start. That's when I registered. I like that note has solid platform management and doesn't try to 'purify' failures or successes. It's easy to write on.

Miku: I've always thought the name 'Noyagi' was unique. Did you come up with the name yourself?

It was given to me by personal editor Mizuno-san.

At the time, there were in-person events where we would brainstorm or have study sessions where we were told to 'find 10 seeds for an essay.' That was when people told me that the hook of the word 'Noyagi' was amazing, and that's why I decided on this pen name.

I was told that a profile is like a 'store sign,' so it's good to include something like 'I write X number of pieces a month,' and even now, I write that 'I write at a pace of about two pieces a month.'

■ When writing essays, I focus on 'I hear you' rather than empathy

Miku: Please tell us about what you keep in mind when writing, Noyagi-san.

Noyagi: When I want to grab the reader's heart early on, I feel like they are more likely to keep reading if I start with an experience that is easy for the reader to imagine.

Also, reading aloud is important. Reading aloud is metacognition. When you put it into voice, you can tell where the discrepancies are.

Miku: Indeed, reading aloud is important, isn't it? I also find it charming that your writing, Noyagi-san, has an atmosphere from the very beginning that makes the reader feel 'safe to read.'

Noyagi: I want to enjoy it together with the people who read it. So, if I can present something at the beginning that says, 'Doesn't this look interesting?' or 'You can relax,' the reader can enter without having their guard up.

I prefer the distance of 'I hear you' over the empathy of 'I totally get it!' If an essay is too empathetic, it feels like your soul gets taken away, so I think it's good to have things that aren't based on that axis.

Like it being pleasant to read, or having a smooth texture. But when you look back at it, there's a 'hangnail left behind.' I hope to be able to express things like that.

■ Where does Noyagi-san's 'world' exist?

Miku: Is there anything you are particular about when writing essays, Noyagi-san?

Noyagi: To choose words that convey meaning to the reader, I go through a process of 'deconstructing' the words that come into my head.

First, I write what I want to write. At that time, if there are 'words that are hard for the reader to understand or content that is too tied to a specific era,' it won't get across, so I deconstruct them into generalized words if necessary, and sometimes I just accept that 'this part is fine if it only reaches those who can understand it.'

Miku: Knowing when to let go is also important. Your essays, Noyagi-san, are impressive for how the scenery shifts in just two or three lines. It's like you show us many different worlds. Is there anything you are conscious of regarding how you create your worldview?

Noyagi: I've been thinking about the keyword 'worldview' for a while, but conversely, Miku-Mayu-san, where do you think the 'worldview of an essay' lies?

Miku: I think the real thrill of an essay is showing the world as seen through that person's eyes, even in casual daily life. Like, even when changing the same diaper, some people might see a snowman or a rice cake...

Noyagi:I believe that a worldview exists 'beyond the other person's brain.'I feel like the writing experience changes depending on 'where' the worldview is being reproduced.

I don't think it needs to reach the other person deeply, but I feel that by being conscious of that, the depth at which it reaches the reader also changes.

For example, there are times when you think something you did was 'ridiculous,' right? When writing about that, I break it down in my head, come up with a few patterns like 'that's similar to such-and-such,' and when I look back, I'm happy if the one I think is 'the best fit' matches what the reader imagined.

Miku: It's interesting that you think of it not as the writer 'creating a worldview,' but as it existing 'at the edge of the reader's brain.' Why did you come to think that way?

Noyagi: My experience with stage reading is a big factor. In stage reading, once you lose the audience, you can't get them back. The sound enters the ears, becomes words in the head, and imagination is born. Since I believe that the imagination can only be played back inside the reader's brain, I might not be thinking much about 'showing this world' to them.

■ How to create rhythm and 'breathing'

Miku: Noyagi-san's writing flows like a river without any snags, yet it hits hard at key points.

Noyagi: Because I have experience with reading aloud, I ultimately trim things down based on rhythm. I also change punctuation quite a bit. If I feel like I can't read it with a 'ta-ta-tan-tan' rhythm, I fix it. I pay attention to the 'sound' when read silently.

Miku: Do you have a favorite rhythm?

Noyagi: 'All-you-can-eat sushi and yakiniku.' Words with a good sense of sound can be read regardless of their content. If I'm stuck, I sometimes use a '5-7-5' structure.

Miku: Your line breaks and scene transitions are also exquisite.

Noyagi: I want there to be places where the reader can re-read, so I insert breathing points, such as changing scenes with onomatopoeia.

Where the perspective changes, I change the scene or insert 'breathing points' like line breaks or fillers. For example, 'guru-guru-guru' (round and round) is a description of a child spinning, but actually, I make sure it doesn't end with an 'a-row' vowel sound.

If you end with '~ta,' it ends with an 'a-row' vowel sound, right? If it ends with an 'a-row' sound and starts with an 'a-row' sound, the scene doesn't cut. That's why I create a breath with 'guru-guru-guru.' From there, I connect it with 'This is completely a side note, though...'

Miku: Is there a trigger that made you start thinking about rhythm when writing?

Noyagi: Yes. I feel that my experience with reading aloud is very useful. For example, I think about whether the 'to' in 'suru to' (when I do) should go up or down, and where it's heading. By thinking about that, I can control that world. I pay attention to the 'sound' when reading silently.

■ What are some tips and mindsets for continuing to write with peace of mind?

Miku: Noyagi, your essays and social media posts always have a sense of stability, so I feel like you write while being conscious of 'things I shouldn't write about.' Are there things you've decided not to write?

Noyagi: When I write novels, I decide 'not to kill people without meaning.'
Even if it's an event within a story, it's sad when someone dies, isn't it? That's precisely why I don't want to treat life lightly.

On the other hand, I also believe that the act of 'writing' itself has the potential to hurt someone, regardless of the content. That doesn't mean I draw a line and say 'I won't write it.'

However, if I am going to write it, I think it requires corresponding resolve and refinement.
Ultimately, it becomes the writer's responsibility.

Miku: I thought it was truly amazing how you calmly consider not just the reader's feelings, but also the 'what ifs' for yourself.

Writing becomes difficult if you make it negative. It's also important to create a place to protect yourself.

Miku: I think continuing to write essays is tough. Noyagi, are there times when writing is painful for you?

Noyagi: Basically, I think 'writing is fun.' But there are times when it doesn't continue just by being fun. That's why I have one 'place where I can write whatever I want' to protect myself. It's a paid magazine that no one reads. That's like an insurance policy.

There are people in the world who think, 'If you run away once, your escape route will be taken away.' But I think there are people who can do their best precisely because they have an escape route.

If writing becomes painful, you start taking it negatively, and you get cornered thinking, 'Maybe I should just quit...', it's better to have a way to keep going.

Deciding on a 'time to quit' for yourself is one method, and there are people who can hang in there precisely because they have insurance. It's better to have more options.

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From tips on how to keep writing, to word choice, perspective, and mindset...

I felt that the 'pleasant reading experience' of Noyagi's writing is born from thoughts cultivated through daily habits and experience, the sense of rhythm trained through reading aloud, and the consideration of 'wanting to enjoy it together with the reader.' I am sincerely rooting for Noyagi's future activities.

Interview/Text / Miku Mayutan