My Years as a Copyist in Taiwan

Toshio Suzuki cleared his throat:

"Mr. Snail, Tokuma has taken on this project. I mean, our second collaboration will definitely be very, very enjoyable!"

He winked and raised his eyebrows, conveying his sincerity with a range of facial expressions.

"Tokuma handled everything: investment, production, distribution, theaters, and even the soundtrack. Daiei Film Company handled the production, Toho Group handled the theaters, and Tokuma Neon Communication handled the soundtrack—"

Toshio Suzuki picked up his glass, a confident smile on his face.

however--

"etc!"

Mr. Wicker Chair stood up.

His eyes widened in disbelief. "Damn it! Suzuki Toshio, you old fox! Trying to take it all for yourself?!"

What is "Love Letter"? It was his first encounter with Mr. Snail, a token of Mr. Snail's affection for him! You could say that without "Love Letter," I, in my rattan chair, would never have met my lord so quickly!

How long have I, Shuji Fujino, served you faithfully to get to where I am today?

Now you think you can take everything just by saying one sentence?

"Suzuki-san, you can't say that. 'Love Letter' is a novel published by Kodansha. Our contract with Mr. Snail stipulates the same conditions..."

Who is Shuji Fujino? He's Kodansha's top special correspondent.

When he was the Taipei correspondent, he single-handedly controlled Kodansha's business in Taiwan. Now he's Mr. Snail's sole correspondent. The movie adaptation of "Love Letter" is such a big pie; if Tokuma were to monopolize it, how would he explain it to the president when he got back?

No, absolutely not—even if it's only one or two tenths, that'll do, at least I can go back and report.

Toshio Suzuki: "Mr. Fujino, the key issue is that the conditions aren't equal for him! Kodansha's main business is publishing; do you have the production capabilities for films?"

"We invest! We handle the marketing! Kodansha owns dozens of magazines, including Weekly Shonen Magazine, Weekly Gendai, and Bungei Shunju... Is there any better marketing channel in all of Japan than Kodansha? Book reviews, interviews... If Kodansha pours all its resources into this, the exposure will more than double!"

The rattan chair was telling the truth.

Kodansha does not have its own film company, but it has a massive following. As Japan's largest general publishing house, with dozens of magazines and a monthly circulation of millions of copies, its promotional resources for a film are overwhelming.

Moreover, Kodansha is rich; as the leading company in the Japanese publishing industry, with its abundant cash flow, investing in a few movies is as easy as playing around.

Zhao Wen knew that in this era, Japan, or rather the world, had an inexplicable confidence in film investment, and every film company wanted to monopolize the good projects.

It wasn't until more than a decade later, when Carroll Pictures went bankrupt because of "Cutthroat Island" and New Line Cinema was acquired by Warner Bros. because of "The Golden Compass," that everyone developed the good quality of sharing profits.

Besides, you can't keep all the profits to yourself. If you make all the money by yourself, why would anyone follow you? Why would anyone risk their life for you?

Tokuma has the production and distribution capabilities, while Kodansha has the promotional channels; each has its own value. By getting both on board, everyone can make money, and only then will they be truly dedicated to working for you.

This is the truth of business – profit is the key to maintaining relationships forever.

Moreover, Zhao Wen was planning to take advantage of the inflated Japanese economy and the early stages of the "golden bull market" to go all in on all his assets, leverage his own resources with the help of Tokuma and Kodansha, and make a fortune. At this time, how could he possibly let his two most powerful allies quarrel?

He gently advised, "Don't argue. This production doesn't have a high budget. Let's not rush things. How about I suggest a plan?"

"Okay!" Suzuki Toshio and the rattan chair said in unison.

"Tokuma will take 40%, responsible for production, distribution, etc., Kodansha will take 30%, and I will take 18%. We will use the Japanese film rights to 'Love Letter' as well as the script and production to offset the investment. The three musketeers will also be included. How about each of us takes 3%? Akina will also take 3%, and we will pay her salary as usual."

In order to get the "tools" to work hard for him in the future, Zhao Wen had to bleed money out of his pocket; otherwise, this drama would have earned at least 20 to 30 million NT dollars more.

Toshio Suzuki nodded immediately: "No problem!"

Forty percent, that's good, that's almost half!

Shuji Fujino beamed, "No problem! We guarantee to use the cover of Weekly Shonen Magazine, the interview in Bungei Shunju, and add 'GG' to the end of all paperback volumes... Kodansha's entire resources will be used to fully support you!"

This is a pleasant surprise! The rattan chair only met one or two of my expectations, so it seems that Mr. Snail really does care about me!

The Lord is wise!

The Tokyo Three Musketeers were stunned! Do we have one too?

"Mr. Snail, actually... hahaha, we could actually not take a share, and we'd still work hard even without a share... hahaha!"

The three guys were laughing so hard, and their names are on the list of producers! They're listed alongside Mr. Snail, so tell me, as a book fan, who else could it be?

After a moment's thought, Toshio Suzuki couldn't help but speak up: "Mr. Snail, you're the original author, screenwriter, and producer. Isn't 18% a bit too little? How about... 20%? Mr. Fujiki and I will each..."

"Need not."

"In business, everyone has to make money for it to last."

Suzuki Toshio and Tengyi were extremely impressed with Zhao Wen. Look at him, what kind of demeanor and vision does he have? What does it mean to regard money as dirt?

Akina Nakamori didn't even have a chance to express herself, and could only stare blankly at everyone, wondering if she was about to take off?

"However, we'll have to wait until I finish writing the script before we announce this. This is mainly to wait until Akina's agency completely terminates its verbal agreement with Johnny & Associates, so as to avoid unnecessary trouble."

"certainly!"

As Zhao Wen had predicted, things unfolded exactly as he had.

Suzuki Toshio and Fujiki didn't even show their faces; they each made a phone call to the president of Ken-On Agency, and the matter was settled.

When President Ken-On received the call, he was a little puzzled, but he did not hesitate at all. He agreed on the spot and even personally called Johnny & Associates, the agency to which Kondo Haru-Eye belongs, to make it clear that he would no longer co-produce the idol drama "Love Departure".

Johnny & Associates isn't a big agency, and their artist resources need the support of the two giants even more than Yeon-eun's, so they wouldn't say anything harsh.

After all, no contract has been signed; it was just an intention to cooperate. The other party's statement that it will be postponed indefinitely is just giving themselves face.

...

While Zhao Wen was working on the script for "Love Letter," the Japanese and English versions of "Harry Potter and the Sorcerer's Stone" had already been translated.

The global release date was set for November 11, 1982.

It will be available for sale simultaneously in England, the United States, Japan, and Taiwan.

The first print run of the "Big Beauty" was the smallest, at 30,000 copies.

Don't think this number is too low; the editors at New Direction Publishing think it's already crazy.

Children's literature! First printing of 30,000 copies!

They've been making books for so many years, and they've never seen children's books printed like this before.

But Alan Thorne had the confidence.

The confidence comes from "Norwegian Wood," which also had an initial print run of 30,000 copies and is now in its third reprint!

While "Norwegian Wood" may not have achieved the phenomenal popularity of novels in Japan or Taiwan, it's already a miracle that a translated novel by an Asian author could sell this well in the American market.

That's why they dare.

When the rattan chair was reporting the first print run of the new direction, Zhao Wen smiled meaningfully.

Thirty thousand? My handsome brothers, you have no idea of ​​the power of this children's book...

He remembered the single mother who had her manuscript rejected twelve times back then.

It reminds me of the myth of Harry Potter, which went from an initial print run of 500 to 130 million copies, a myth of crawling out of the mud!