Packed with Creative Tips! Event Report: Fumiaki Maruto's Direct Guide on "How to Create Entertainment Originals"

What kind of thinking process do professional writers use to conceive their works? Have you ever wanted to peek into that process or learn some tips?

In this event, for those applying to the newly established "Entertainment Original Category" in the "Creative Awards 2025", we welcomed scenario writer and novelist Fumiaki Maruto, known for works such as "Saekano: How to Raise a Boring Girlfriend" and "I Know I'm Late, But I've Fallen in Love with My Childhood Friend," to share practical advice on creating entertainment originals. The second half summarizes a public editorial meeting held by Mr. Maruto and Tales Editor-in-Chief Hagiwara, where they reviewed actual project proposals.

If you couldn't attend the event or want to review the content, please use this report as a reference.

How to Create Entertainment Originals

Conceiving Projects from the Universal and the Unique

Mr. Maruto (hereinafter, Maruto): To start, how do you usually expand your ideas?

Basically, most people probably think by themselves or brainstorm with someone else. In these cases, many people likely keep in mind "not to deny ideas" or "not to narrow them down" while expanding their thoughts. That is certainly correct, so please do that. However, what I am introducing today is a method of "breaking the thorns of an idea to narrow it down, and finally expanding it." Before moving on to specific examples, I will introduce two approaches to thinking about entertainment originals.

1. Creating from the Universal

2. Creating from the Unique

The first, "Creating from the Universal," is a method of building up your own ideas based on existing stories or projects. Most existing works already have a "logical thread" in the story and are established as projects. However, since this can easily lead to a rehash, the point becomes, while using existing things as a foundation, "How can you surprise the reader?" In contrast, the second, "Creating from the Unique," is the exact opposite approach. It starts from

the writer's own unique ideas, such as "I just want to do this!" or "This is why I became a writer!" Projects of this type are often "illogical, strange projects" at the initial stage and tend to become things only the author can understand. Therefore, it is necessary to create a thread that the reader can understand. By giving a solid structure and context to the thorny idea conceived by the writer, you make it a work that reaches the reader. To summarize the above, it looks like this.

1. Things created from the universal → A logical (reader's) surprise

2. Things created from the unique → A logical surprise

This phrase "a logical surprise" is something I finally came up with about six months after I started being in the position of giving seminars. If a work does not have a

"thread", the reader cannot understand it. Also, if there is no "surprise", the reader will not be amazed or attracted. Therefore, whether you are creating a project from the universal or the unique, it is required to be a work that "provides a logical surprise." However, the parts you need to be conscious of change depending on whether you start from the universal or the unique. If it is universal, try to thoroughly "surprise"; if it is unique, try to thoroughly "create a logical thread."

Repeat "why" to create a work that provides a logical surprise

Maruto So, how can you create a work that is logical yet surprising at the same time? The answer is to keep asking 'why'.

Maruto I was a corporate employee in the manufacturing industry until a few years ago, and we had management training and various seminars. There, we would be given assignments like 'write a problem-solving report.' For example, when a problem occurs, you first think about the cause. But the first things that come to mind are superficial causes at the level of a hunch. So, you dig deeper, asking, 'This isn't the real cause, is it?' or 'It's not just this, right?' At that time, you use a method of drawing arrows and stacking 'whys.' It's a thought experiment where you expand the causes into a tree structure. In that process, things like 'this is the real cause' or 'this is what I really wanted to do' emerge. This 'process of finding the essence' and 'process of combining multiple factors' leads to one methodology for creating projects this time.

Hagiwara Digging into the 'why' is something you do when thinking alone, but also when thinking together with someone else, right?

Maruto That's right. Because there are many things you can't easily notice on your own when it comes to 'why.' So when you show it to others, they point out, 'Wait a minute, why is that?' Some people stop thinking there. But it's important to keep thinking, 'I see, then...' without stopping. And when you get an answer, you repeat the 'why' again. Through that act, what you really should create and what you wanted to do becomes clear.

Hagiwara When you dig into the 'why,' the character design becomes concrete, and the worldview gains depth, doesn't it? Even with the story, if you keep repeating 'why is this development happening?', you start to notice for yourself, 'Maybe I should change the development' or 'This contradicts what came before.' I think authors who are active on the front lines are naturally repeating this kind of thinking over and over. After verbalizing it this time, I also noticed that 'that author was also doing this normally in meetings.'

Maruto That's right. Some people do it naturally in their heads without making diagrams. But I thought that if it could be verbalized like this and made into a procedure that anyone could reproduce, it would be a shortcut to achieving similar results.

Creating from the Universal: The Case of 'Saekano: How to Raise a Boring Girlfriend'

Hagiwara From here, we will take 'Saekano: How to Raise a Boring Girlfriend' as a concrete example of a project created from the universal. This work is also Maruto-san's debut as a novelist. This work is a school romantic comedy woven by a protagonist who is obsessed with making games and the heroines who surround him. I was the one who proposed, 'Let's do a school story.' At the time, there were many isekai fantasy and battle-type light novels, and the number of school stories was decreasing. However, I believed that the school genre was the royal road of light novels and would never go out of style. Rather, I thought the timing for it to become popular again would come. That's why, if I were to team up with someone with a track record in the game field like Maruto-san, I had the ambition to aim for a contrarian approach and do a 'school story.'

Maruto Following that conversation, we moved toward creating a school story. However, even if it's a school story, you can't show its characteristics as it is. That's why I was conscious of growing my own thorns (ideas). In other words, I steered toward utilizing my experience and strengths, what you might call my repertoire. Since I had originally written game scenarios, I had knowledge about game production. Furthermore, even within games, I had a style focused on dialogue, and I often received praise for that. So I thought about incorporating 'game production knowledge' and 'the strength of dialogue drama' into the work. Also, what I'm good at is dialogue drama repeated in a closed-circle space with a small number of people. To apply that to a school story, the setting of 'circle activities within the school' was perfect. In this way, 'game production x dialogue drama x circle' were combined, and the stage was naturally set.

Maruto We talked about making this work a school romantic comedy, and in that case, the existence of the protagonist's partner, the heroine, is essential. So the first thing I said was, 'Let's create a heroine like no other!' It's a statement from someone who doesn't understand creation at all (laughs), but here I started thinking about 'why' again. What is a 'heroine like no other' in the first place? Basically, there are many heroines who stand out, right? So, the contrarian idea came up: 'How about a heroine who doesn't stand out?'

Hagiwara But for a 'heroine who doesn't stand out,' characters like Rei Ayanami, who are quiet and cool, are also popular, right? At first glance, they don't seem to stand out, but in fact, they stand out intensely. So in a sense, that's also become commonplace.

Maruto Then I pushed further on 'how can it not be commonplace?' First, the appearance. At this time, the illustrator of the work, Kurehito Misaki, gave me a big hint. The center of a national idol group doesn't stand out at first glance, but often has high stats in all areas. It's not that just one point is sharp. He said that's the reason they are chosen as the center, and I was very convinced. So the heroine's appearance doesn't have a unique hairstyle, and there's no eccentricity. But she is normally cute and well-proportioned. I was convinced that there was a feature that wasn't a feature, and I designed it. Next, about the inner side. A romantic comedy heroine is basically an existence that makes the protagonist's heart race, right? So this time, I thought about the opposite. How about a heroine who 'doesn't make your heart race' and 'doesn't feel out of place when you're together'? Here, my memory of a male friend of mine was helpful. When I was a student, I had a male friend whose house I often stayed at. But we didn't play together; I read manga, and he played games. The next day, my friend's mother would make breakfast, we would spend time lazing around until noon, and in the evening, I would say, 'See you later' and go home. I suddenly thought it would be interesting if there was a heroine with that kind of relationship. That was the birth of the main heroine, Megumi Kato. However, it's difficult to emphasize an existence like Megumi Kato with words like 'This girl is amazing!' That's why, to make her stand out, it was necessary to create a contrast with other heroines, and I thought, 'Let's make the sub-heroines into common main heroines.' For example, a blonde twin-tailed tsundere childhood friend or a black-haired long-haired yandere senior. Furthermore, I gave their names a sense of 'commonness' to emphasize the 'common feeling.' By doing so, I designed it so that the character of the 'normally amazing' Megumi Kato would stand out.

Hagiwara Another thing I want to focus on is that the main heroine has a consistent 'not' such as 'doesn't stand out, doesn't make your heart race, doesn't feel out of place,' a 'not'. Just as the title is 'Saekano: How to Raise a Boring Girlfriend,'

Megumi Kato being boring is consistent with the design philosophy of the entire work.

This time, in the process of repeating 'why,' we chose 'not.' In other words, thinking about 'why' is the act of deciding the core of the work. If you move forward while lost, the entire project becomes blurred. But if you proceed while asking 'why,' it becomes a project with a single thread.

The 'why' questions that Maruto-san repeated were exactly the process for the author to 'decide' on their own work, is how I perceive it.

Creating from the Unique: The Case of 'Ben-To'

Maruto Next, I will unravel the method of 'creating from the unique' using the work 'Ben-To' as an example. This project was written by another author named Asaura based on the idea of a 'half-price bento battle,' but when I first heard about the project, I honestly couldn't understand what he was talking about (laughs). So later, when I interviewed Asaura about 'how he came up with the idea,' I found out that the origin was in his college days.

Maruto Asaura-san used to live as a student in a place a little outside the city in Hokkaido, and he didn't have much money from home. In such a situation, the greatest luxury for dinner was to get a 'half-price bento at the supermarket.' A half-price bento is not only delicious, but it also tastes like victory. Conversely, if you missed it, that day's dinner would be cup noodles, which tasted like defeat. So, just like in the work, he went to the supermarket every day, repeated observations of his surroundings, and honed his tactics.

Hagiwara While visiting frequently, he started to grasp which clerk at which store would put on the half-price sticker at what time. And students with similar goals appeared, and a silent tug-of-war with familiar rivals began. 'You're aiming for the fried chicken bento,' or 'I can't win if he's there.' It's like a battlefield where the characters stand out.

Maruto I heard that at first, the reaction to the project was really just 'What is that?' So, to get everyone to understand, he dug into the 'why' and worked on 'making it logical'. First, lowering the hurdle for the reader as a work. He thought that could be cleared by making it a comedy. Also, the 'half-price bento battle' is a big thorn that is hard to understand at first glance, but the author himself is seriously pouring passion into victory. If so, he wanted to express the bonds with friends passionately and reach the ultimate depth. In this way, he extended 'why' in various directions, and eventually even incorporated a structure like a Jump manga.

Hagiwara: You conquer the relationship with the heroine not by going outside, but by fighting together at the supermarket, and sometimes even surpassing her. Other elements of middle-school-level supernatural battles, weapon names using supermarket carts and baskets, and the heroine's nicknames and characterization are all thoroughly linked to the supermarket while repeatedly asking "why." Only by going this far does the world-building of the work finally come into view.

Maruto: What is most important is that we strictly adhered to the absolute rule in the world-building that "the bento in this world is most delicious when bought at half price." As I mentioned at the beginning, this is exactly the pattern of taking the thorn of an idea, narrowing it down, and finally expanding it.

Hagiwara That's right. It's an example of digging deep into values based on Asaura-san's real-life experiences and finally properly expanding them into the rules of the entire world. Because it is a unique experience that only you have, you can boldly scale it up and turn it into a story. After all,

your own experience is one-of-a-kind. Even if there are people who have had similar experiences, everyone's way of feeling is different. That is why, by making it the core of the work, it can become one-of-a-kind. Asaura-san thoroughly pursued his own experience by asking, "How can I convey this to others?" and turned it into a project, and I think that ability is truly amazing. By the way, I am not the editor in charge of "Ben-To," but I later worked with Asaura-san on an original anime called "Lycoris Recoil." This work is also actually centered on an

idea that expanded from a small experience of Asaura-san. One day, Asaura-san encountered a crime scene and was questioned by the police. However, the high school girl next to him didn't seem to be suspected at all and was filming the scene with her smartphone. That's when Asaura-san had questions like, "Why was I the only one questioned, and she wasn't told anything?" "Is it because they are high school students in uniforms?" and arrived at the setting of "a world where high school girls assassinate evil that cannot be judged by the law."

Maruto: Digging into your own unique interest with "Why?" and seeing how far you can turn it into a world. That is the process of creating a work from something unique, isn't it.

Hagiwara: There is one thing to be careful about when digging deep. It's a common story in the editorial field, but while refining the big thorns of a project for commercial use, there are times when we cut them off, thinking, "Isn't the initial idea unnecessary?" Then it becomes a common story, and the original interest disappears. At this time, like with "Ben-To," whether you can properly return to the thoughts you had at the beginning, such as "I want to do this" or "This is interesting," determines the fate of the project. You must not end it by just rounding it off.

Maruto That is why it is very important to ask yourself at the initial stage, "Do I really want to do this?" and whether you can continue to hold onto your convictions.

Q&A <First Half>

Q1. I am not good at expanding a story from a central idea in a project. Please tell me if there are any tips.

Maruto The content I talked about today is exactly the flow of expanding a story from 1 to 10. Conversely, for the part of thinking from 0 to 1, one method is to dare to think, "Let's try doing something common." For example, just as I thought, "Let's try doing a school romantic comedy," choosing a royal road genre as a subject creates a foundation for ideas. If you find and incorporate an idea like a "thorn" there, the possibility of creating something that has never existed before will increase. Please try such thought experiments.

Q2. When I am refining a project with an editor, I sometimes get lost after trial and error. Have you ever had such an experience, Maruto-san?

Maruto I have. In that case, I cleanly discard the whole project (laughs). It is better to let go of a lost project for a while. You might be able to pick it up again later.

Hagiwara Let's put it in a drawer for now until you can pick it up. I think it's better to put it aside than to mess with it strangely.

Maruto It is also important to clarify for yourself the parts that you absolutely cannot compromise on. If you start messing with those parts, you should judge that "this is no good anymore," and there are times when I judge that I can no longer work with that editor.

Q3. Is it necessary to change the way of creating projects for each medium such as games, anime, and manga? If so, how should I change it?

Maruto You should change the way you create according to the medium, the length, and the structure such as complete type or serial type. Thinking about the length of one episode, you must carefully calculate where to focus and attract readers or viewers within 18 pages for manga or 30 minutes for anime.



Hagiwara It is also a good idea to calculate backwards how readers of each medium "are enjoying that medium." For example, since few people leave their seats in the middle of a movie, even a somewhat slow start works. On the other hand, anime and manga can have their channels changed immediately, and you can move to the next just by turning the page. For manga, I want to convey the interest of the work within 3 to 5 pages, and for anime, within 5 minutes.

Q4. When and where do you get the inspiration to think, "I want to make this the source material"?

Maruto Basically, it's when I'm in the bath. It's good to be in an environment where I can be calm and there is no internet. There are also many times right before I go to sleep, and it is a daily occurrence to come up with something when I try to "turn off the lights and go to sleep." I have repeated turning on the lights, starting the computer, taking notes, and going back to sleep... about 50 times (laughs). Anyway, I try to take notes as soon as I think of something. Because I forget it in an instant.



Hagiwara For other authors, many people come up with ideas while walking.

Q5. Is there anything you keep in mind to create popular characters that leave a lasting impression?

Maruto I start by digging deep into the characters I like. By basing them on homage while repeatedly asking myself, 'Why do I like this character?', originality emerges naturally. When you add your own emotions and experiences to that, it becomes a completely different character.

Q6. How can one make a work with a literary atmosphere function as entertainment?

Hagiwara In my interpretation, pure literature requires 'interest that is understood after reading,' while entertainment requires 'interest that is understood before reading.'

Therefore, you need to find ways to make people think 'this looks interesting' before they read it, while still retaining that literary atmosphere. However, if you go too far, you lose the atmosphere you wanted to protect, so a sense of balance is important.

Q7. Are you conscious of genre trends when creating stories?

Hagiwara I do research. It's already too late to 'do what is popular right now.' That's why I try to think ahead about 'what readers will like in the future.'

Q8. Please tell us how to find or create a 'thorn' (a unique hook).

Maruto In terms of my own method, it's easy to mix things I'm good at or like into mainstream genres. Also, when you explain a project to someone else and they ask, 'What's interesting about that?', that very thing becomes a 'thorn.' However, it won't work if you try to force it in a field you're not good at.

Hagiwara Things that are obvious to you are often not normal to others. So, if you re-examine things by asking, 'Is this really normal?', you might find a thorn.

Maruto That is precisely why it is important to have discussions with others.

Q9. Have you ever turned a failure experience into a work?

Maruto Yes, I have. Even if it's trivial to others, moments where you felt 'so embarrassed you wanted to die' or experienced strong emotions like 'I will never forgive this' can become creative energy, so please try using those kinds of experiences as well.

*The first half of the content can also be viewed in a video. If you want to hear the details, please check it out!

Public Editorial Meeting

Hagiwara In the second half, we will hold a public editorial meeting based on the project proposals we actually received from everyone. This time, we have selected two projects. Without further ado, let's start with the first project.

Project 1: The 'Former' Weakest Guild Receptionist, Formerly a Certified Public Psychologist, Secretly Teaches: How to Awaken 'Trash' Cheat Skills That Can Be Done Even Outside an Isekai

Hagiwara How did you feel about this project, Mr. Maruto?

Maruto I thought the focus and uniqueness of the project were good. I felt that the major 'thorn' of 'what the author wants to do and can do,' derived from their experience, was intertwined with a versatile world setting to create surprise and fun.

However, it also looks like the author is a bit satisfied just by coming up with the idea. You need to dig deeper into what kind of emotions you want the readers and viewers to feel with this setting and flow.

Hagiwara Overall, I also thought the entry hook itself—a medical professional playing an active role in an isekai—was a classic setting and very good. However, I had the impression that the interest as you read through it wasn't as driven as I had expected.

Maruto What concerns me is that even though the character is an 'active school counselor (certified public psychologist)' and has a profession setting that involves getting close to people's hearts, the story solves things using skills. If you want to make use of this professional setting, I don't think you need to be fixated on skills. It's fine to have one episode where they use skills, but it's a waste to do it every time. I think it would be more interesting to depict problems unique to a psychologist, different in every episode, through the angle of 'Isekai Mental Break.'

Especially in the first episode, the ending felt unsatisfying. So, what I would like to recommend is 'Grab them in the first half with unique interest, and close in the second half with universal interest.' For example, in the first half, grab the reader's heart with the kind of mental breakdown unique to a fantasy world, and in the second half, solve it with universal methods like counseling. With a structure like this, you can induce laughter and surprise while still making them tear up at the end.

Hagiwara So, you mean to properly establish it as a 'counselor story'.

Maruto: That's right. You can refer to real-world counseling methods, or you can derive from them. In any case, it's important that every episode ends with a problem being solved using that method and a sense of 'all's well that ends well.' I felt it was important for that to be consistent throughout this project.

Also, on a minor point, regarding the plot structure from episode 1 to the final episode. Currently, the story doesn't conclude in episode 1, but only finally concludes through episode 2 and the final episode. That is something you should avoid; whether it's a novel or a manga original, let's make sure one story concludes in one episode.

Hagiwara: Episode 1 is like a business card for a work. Naturally, if episode 1 is interesting, it becomes easier to get people to watch the rest. To that end, it's important to fully convey 'this is what this story is about' in episode 1.

Maruto: I think this project is suited for an episodic format. Presenting mental problems unique to fantasy and solving them carefully. If the charm of being a counselor is packed into that, it should be interesting enough in one episode.

Hagiwara: In the format of this project proposal, you have presented three highlights in bullet points, but in reality, you can only strongly convey one of them to the reader. For example, even on a book cover, you can only appeal one, or at most 1.5 points, at the limit. The other two need to be organized so that they are gradually conveyed in the process of reading the story. For this project, it would be best to put 'active school counselor (certified public psychologist)' at the very front.

Maruto: It might be better to introduce elements of the world-building in the latter half of the series. At first, attract readers with a accumulation of small details, and then depict the structural problems of the world later. It's fine if background information like 'this world is a hierarchical society based on skills' comes out from episode 2 onwards. If there is such a development, it will add depth and breadth to the story.

One more point, you mentioned 'everything leads to learning' as one of the highlights, but I'm a little concerned about this. It's fine for learning or growth to be a byproduct of the story, but I want you to express it as entertainment that ultimately entertains the readers and viewers. If you push 'this is learning!' from the beginning, there is a danger that it will become preachy.

Hagiwara: That's right. Something like 'something remained after watching' is actually just right. It's different from so-called 'learning through manga,' so first and foremost, it should be fun as a story. That is the part required of the project.

Project ②: Job Hunting for Flightless Villains

Hagiwara: From here, I will talk about the second project. To be frank, I felt it was very interesting at the point I read the highlights. However, when I looked at the world setting, I got the impression that it was a waste because 'the highlights and the world-building are not connected.'

The work is packed with various elements, but I don't see a big, impactful thorn like the 'half-price bento scramble,' and I feel that the accumulated settings are actually clouding the main axis of the story. If you had set a flag saying 'I will do this' once and then structured it, wouldn't it have been clearer?

Maruto: I had a similar impression. There are many parts where you want to ask 'why,' but I think this is a project that could be a good opportunity to dig deeper into the work.

For example, the protagonist has a setting where their family home is wealthy and they are spoiled, but there is a 'why' as to 'is that really natural?' or 'wouldn't they normally move in a direction to encourage social reintegration?'

I was also concerned about the design of the heroine. Even though she was married off like a slave, why does the mother-in-law use schemes to drive her out? If so, wouldn't it have been better not to welcome her in the first place?

As for the axis of the story, it would be good to base it on a 'banished Cinderella' structure, with a background where the heroine was once the younger sister of a terrorist and was banished because of that incident.

Hagiwara: The composition could also be that the heroine approaches the protagonist for the purpose of her sister's revenge. I think that would make the core of the drama stand out, and you could simplify the settings and focus on the story. Especially if you want to make the project work as 'suspense' or 'mystery,' it would be better to narrow down the elements.

If you are going to depict it as 'suspense,' the end of episode 1 becomes extremely important. It's meaningless if you don't make the reader think 'I want to read the next one' here. For example, the story begins with an incident where 'the lover who should have been killed was alive.' Such developments become the driving force of the story.

I'll cite the first episode of the overseas drama 'The Mentalist' as an example. The protagonist, a former con artist, cooperates with an investigative agency to solve a certain case, but the question of 'why is a former con artist cooperating with an investigative agency?' is revealed at the end of episode 1, and the structure reveals the protagonist's true purpose. It's a very effective device that makes the viewer think 'I want to know more about what happens next.'

Episode 1 needs a picture that makes you think 'once you've seen this, you can't help but watch the rest.' That is the visual that becomes the core of the story, a shocking picture. I think that will greatly influence the project.

Maruto: In other respects, the protagonist's character gives the impression of being too rough, so wouldn't it be better if they were a little more socially reintegrated?

Hagiwara: I want you to value the author's own perspective of 'I like this kind of person,' but I want you to show how that lives in the story, and the depth that can be drawn because you like it.

Maruto: To deepen the character settings, it is necessary to repeatedly think about 'why is this person like this' and blend it into the world-building and human relationships.Let's design it so that it is continuous so that the protagonist's existence in this world is not unnatural.

Q&A <Second Half>

Q1. I sometimes end up packing in various ideas, and editors tell me 'I don't understand what you want to do.' How can I create a work while protecting my ideals?

Maruto　Please decide on one 'core that you will absolutely protect.' At most, two or three.

Hagiwara　The core is close to the elements that can be put on the book cover I mentioned earlier.

Maruto　Yes. I think you should incorporate ideas that have high affinity with that element. However, when you feel or are told 'that's noise,' cut it out quickly.

Hagiwara　The less information a story has, the easier it is to convey. If you pack in a lot, the fun of reading on increases, but it's meaningless if it's not read in the first place. After all, it's important to make it light.

Maruto　Let's think about the rest after it becomes a hit. There's no need to put everything out from the beginning (laughs).

Q2. I am the one who thought of the 'Job Hunting for Flightless Villains' project. I actually wanted to depict a world setting where humans with wings exist, but how should I have prioritized the world-building?

Hagiwara　If there is no necessity for the world-building, the settings will float. Therefore, it becomes necessary to make more use of the element of having wings in the drama.

Maruto　Wouldn't the world-building come to life if you made the characters more in a state of being 'tossed about by the world'? They should have been living more happily originally, but they should be in a state of being messed up because of the world.

Hagiwara　That's right. If the discrimination, work, politics, social structure, and traditions that arise from having people who can fly are organically connected within the story, the reason 'it must be this world' becomes clear.

Q3. Is there anything you value when thinking about a character's personality and such?

Maruto I am quite particular about characters being believable as human beings, so I try not to make them "symbolic characters," but rather ground them in humanity or add subtle, human-like traits. I keep their first-person pronouns standard and don't rely much on eccentric speech patterns or tones. Instead, I try to let their humanity seep through the content of their conversations.

Hagiwara There are those like Mr. Maruto who create highly realistic characters, and others who create characters geared more toward entertainment. But what they have in common is "simulating in their head until the character starts moving on their own." One author said, "If you can trace how a character stands up, how they pour tea, and how they sit down, you can say they have become a living human being." I recommend creating your own yardstick like that.

Q4. Is there anything you are conscious of at the planning stage to create enthusiastic fans, often called "oshi"?

Hagiwara When I am on the production side, I am conscious of prioritizing which characters I want people to support. Of course, I plan to think of many other highlights for the work, but it's a sense of focusing on them to make them easier to support.

Maruto What I keep in mind is "half-character shift" I try to create a pleasant sense of discomfort by shifting the character's nature by half a step, rather than completely breaking it from the template. If you stray too far, the reader will lose interest, so I think it's good if you can manage that balance well.

Hagiwara Mr. Maruto, you are someone who tends to be addictive to authors, aren't you? As if there is an essence that can only be tasted through your work. Perhaps because you shift the characters by half, it brings a sense of betrayal and grit to the work, making it easier for people to enjoy. As a result, I think the work as a whole gets supported.

Q5. When writing an entertainment original, should I write it in a way that is somewhat closer to a script? Should I keep psychological and scene descriptions concise?

Maruto Yes, it is better to lean toward a script. If you write too much detail in psychological or scene descriptions, it is often said to be "unnecessary" from a script perspective. For example, if the wind is blowing, "the trees are swaying" is enough.

Hagiwara Another reason to lean toward a script is that in the case of entertainment originals, the author is not alone. You are writing the original, but the actual art and expressions are created by manga artists, directors, and other studio staff. Therefore, at the original stage, concise psychological descriptions and character placement are sufficient to move forward.

Q6. Do you have any techniques you usually use to "surprise in a logical way"?

Maruto I think about what kind of foreshadowing would be effective before the scene where the big reveal is shown. The impact changes greatly depending on how and in what order information is presented. If you can calculate the part that will "give the biggest shock" in detail, you should do it. I think about it when I am writing the text, but if you can do it at the plot stage, please do so.

Hagiwara Depending on the work, you sometimes even plant things from the planning stage, don't you, Mr. Maruto? (laughs)

Q7. The format of the proposal this time was structured as "Episode 1, Episode 2, Final Episode." Was there an intention behind doing it that way?

Maruto It is a structure conscious of one anime season. It also applies to manga serialization.

Hagiwara Now that projects premised on serialization have become mainstream, whether there are "highlights" or "hooks" in each episode is being emphasized. We used this format this time so that it is easy to check those. I feel that the "Episode 1, Episode 2, Final Episode" format has increased even in public submissions from publishers.

Q8. Do you ever create stories from characters?

Maruto Of course I do. It's a pattern of digging into the character's "why" and connecting it to the world setting. Not limited to characters, if the "something" you want to draw is clear, the arrow of "why" should extend from there, and you should be able to connect the world and the story.

Hagiwara For example, there is also a method of thinking about characters to make a scene work from a scene in a movie where you think "this scene was the best," and building a drama. The important thing is to "plant a flag," that is, to start from what you want to do most.

Once you plant a flag, please don't forget the consciousness of making it entertainment in the end. It is a common story that if you decide to use your own experience as a springboard, it just becomes a true record.

Q9. How can I sublimate social issues or small daily worries into entertainment?

Hagiwara If you draw it as it is, it tends to become preachy, so a "leap" is necessary. The project by Mr. Asaura introduced in the first half also had his university life experience turn into a bento battle, and the story took a leap. I think that leap is entertainment, and whether you can create that leap is the first step to entertainmentization.

Maruto Use a special phenomenon as a starting point, and connect it to a general interest in the final phase. And finally, return to the core once more. If you are conscious of this, I think you can sublimate it into entertainment without becoming preachy.

Hagiwara Please refer to the chart where Mr. Asaura dug into the "why," and please try writing it in your own notebook.

Creative Awards 2025

The Creative Awards is one of Japan's largest creative contests held by note since 2022. This year, marking the 4th time, it has been decided that note and Tales will co-host, and Tales has decided to recruit applications in the following categories.

The winning works are aiming for book and video adaptations, and 18 works have been turned into media in the past 3 years. The media participating in the judging has increased significantly from 21 media last year to 38, expanding the chances for more works to be released to the world.

I would be so happy if this Creative Award could be a place where many creators can seize opportunities and get chances to be active. I hope to make it a creative festival that we can enjoy together with everyone.

If you are even slightly interested, please see the article below and theCreative Awards 2025 special page.

Creative Awards Schedule

• Application Period: Tuesday, April 22, 11:00 AM – Tuesday, July 22, 11:59 PM

• Reader Support Period: Tuesday, April 22, 11:00 AM – Thursday, July 31, 11:59 PM

• Mid-term Announcement: Mid-September

• Final Results Announcement & Award Ceremony: Late October

Speaker Profiles

Guest: Fumiaki Maruto (Scenario Writer/Author)

Debuted as a scenario writer in 2002 with "Ripple: Welcome to Blue Seal," and subsequently worked on the scenarios for numerous games such as "Parfait: Chocolat Second Brew" and "Kono Aozora ni Yakusoku wo—."
In 2010, he was in charge of the scenario for the romance adventure game "WHITE ALBUM2," released by Leaf, which was later adapted into a TV anime of the same name.
In 2012, he published the light novel "Saekano: How to Raise a Boring Girlfriend," marking his debut as a novelist. A total of 20 volumes were published, and it was adapted into a TV anime twice and a theatrical film.
Since 2023, he has been publishing "I've Fallen in Love with My Childhood Friend, Though It's Too Late" (Original Story: Fumiaki Maruto, Manga: Yomu) on X and note, and it has been serialized in WebComic Apanda since February 2025.

X: @F_Maruto_staff

Moderator: Takeshi Hagiwara (Representative Director and President, Tales & Co., Inc.)

After working at Gyosei Corporation and Gentosha Comics, he joined Fujimi Shobo (now KADOKAWA). He served as Dragon Book Desk, Deputy Editor-in-Chief of Fantasia Bunko, the first Editor-in-Chief of Fujimi L Bunko, the first Editor-in-Chief of Kadokawa BOOKS, and the first Editor-in-Chief of Kakuyomu before leaving the company in 2017. Since then, while involved in the planning and production of numerous anime and games, he established Tales & Co., Inc. in 2024. His major launch projects are as follows.

<Light Novels>
"Saekano: How to Raise a Boring Girlfriend," "Only Sense Online," "Boku no Yusha," "Death March to the Parallel World Rhapsody," "Legend"
<Character Literature>
"Kakuriyo: Bed & Breakfast for Spirits," "Kouka Kokyuu Monogatari," "Asakusa Oniyome Nikki"
<Original Anime>
"The Day I Became a God" (Wait, correction: "Symphogear" - actually "Warlords of Sigrdrifa"), "Lycoris Recoil," "Engage Kiss"
<Games>
"Tales of Luminaria," "Link! Like! Love Live!"

X: @yajin
note: https://note.com/takeshihagiwara