The "Midnight Bell" and "The Winner Is Justice" mentioned by Koharu Hosokawa are naturally adapted by Urashima Publishing House - this popular masterpiece is basically not released for others to adapt.

Similarly, as mentioned earlier, Urajima Publishing House is a large publishing house, which not only has comic magazines, but also has other magazines and print items published, including science, education, entertainment, etc., and publishing is also within this scope.

In fact, in addition to the editorial department of the weekly magazine "Aki Han" affiliated to Hosokawa Koharu, Urashima Publishing House actually has other publications or categories of editorial departments, but the overall divisions are different and the work does not affect each other. Therefore, Higashinoji has never visited several other separate editorial departments to see the situation.

Hosokawa Koharu is a little better than Higashinoji, but it is just a little better.

At most, it is when the publishing house has a public dinner or a year-end summary, so only when Koharu Hosokawa can see other editors talking to them. Generally speaking, there is no communication.

This is actually some factional matters in Urajima Publishing House. She is now a team leader, and she has to wait until the deputy editor-in-chief to get involved in this matter.

Having said that, comics are changed back... This kind of thing is actually relatively rare in the Japanese industry in 2004. Generally speaking, most well-known movies are changed back or well-known TV series are changed back.

But it is rare that there are no people. The most popular ones, like Higashinoji, are adapted into no problem at all. You should know that there are many cases of Japanese comics being changed into (mostly light) in light, mainly looking at the reader's market questionnaire. If there is a strong desire to adapt into a version on the data table, you can directly adapt it.

Higashinoji waited in the reception room for a while, and Koharu Hosokawa, who came in from outside, brought him two editors who were also Urashima Publishing House.

One is named Yasuji Mida, wearing glasses, and the other is named Kazushi Motoyama, a tall and thin man.

Both of them were wearing professional suits and looked very smart and capable.

As soon as Mida Yasuji, who was wearing glasses, smiled at Higashinoji and said, "Teacher Higashino, we have brought a survey of the reader market. Among them, there are a large number of people who want to watch the versions of "Midnight Bell" and "The Winner is Justice". This is a strong desire. And Higashino is also the author of the pillar of our Urashima Publishing House, so our editorial department has some ideas that they want to adapt them... This is good for both of us, and I hope Higashino can consider it."

He put the specific questionnaire in front of Higashinoji, and the tall and thin Munyama Kazushi next to him also smiled: "It's basically okay to leave this matter to us. Higashino. After all, this is an adaptation of this family, so I will definitely not give up the treatment of Higashino."

They sang together, obviously very experienced. Higashiji smiled and nodded, not answering at first, but just flipped through the data sheet, then turned his head and asked: "Editor Hosokawa, I shouldn't have to provide originals or other things for this adaptation, right? I don't know anything about writing."

At this time, it is still necessary to make clear. Don’t sign, draw, and stamp it. But suddenly let Higashinoji take out the original manuscript... That would be a bit joking.

"Don't worry about this regard. The editors of Mida and Honyama editors basically have writers. You just need to provide the original manuscripts of the comics." Koharu Hosokawa explained.

Large Japanese publishing houses basically train writers, and this matter is not a news in the industry. There is no need for Higashinoji to polish or fill in details by himself.

"Since that's the case, there's no problem with me." Higashinoji looked through the reader's questionnaire and then made a formal statement.

Seeing Higashinoji officially make a statement, Yasuji Mida and Kazuji Motoyama were also relieved.

Now Higashinoji's works are no better than when he first debuted in "Midnight Bell". In addition to the two of them wanting to win this piece of performance, the editors of the same editor are also watching. Moreover, the two works "Midnight Bell" and "The Winner is Justice" are themselves the kind of adaptation and wonderful types. As long as they are adapted, they are likely to be unwilling to sell.

"Haha, let's talk about the amount of royalties. Teacher Higashino's work is a secondary publication, but we also belong to a publishing house, so after discussing, we decided to pay you a 10.5% royalty payment... What do you think?"

This price is quite fair. After all, Higashinoji's "Midnight Bell" and "The Winner Is Justice" have been serialized in "The Cold", and it is not the first time it is published. It is indeed very conscientious to take 10.5% - you should know that the first time the Japanese industry authors paid 15% for the royalties.

As for the word royalty, we have also mentioned before. For example, the single volume of the comic "Midnight Bell" is 450 yen. Then, based on the 10% royalty of the comic, Higashinoji can get 45 yen.

However, Koharu Hosokawa next to him lowered his head and thought about it, and said with a smile: "There should be room for improvement... I remember that Mr. Suzuki Hashi also adapted it before. At that time, he received 11% of the royalties and paid 10.5% according to Mr. Higashino's current fame is a little less."

She always regarded herself as a person on Higashiji's ship and did not lose any loss to fight for him for profit.

"That time, Mr. Suzuki Hashi was a small-scale publication. The total number of published books is only 8,000, which is very niche. But Mr. Higashino is different this time. We want to print 30,000 copies first on both sides, and a total of 60,000 copies are put into the market to test the waters."

Yasuji Mida answered politely.

This is indeed a big deal. If you lose money, most of the money will be paid to Higashinoji.

In addition, this kind of thing depends on the degree of communication and number of readers. In a sense, sales channels are more important than royalties.

For example, Suzuki Ha was published 8,000 copies, and the accumulated dissemination and number of readers were much less than Higashinoji's 30,000 copies.

And this time it is the first print, and there may be a possibility of reprinting (printing) later.

But Hosokawa Koharu was still dissatisfied. She felt that according to Higashinoji's reputation, the royalties could still be increased, and the other party must have left some premium space.

As Hosokawa Koharu expected, Yasuji Mida did leave some space, but that was reserved for Higashinoji. He obviously did not expect that Hosokawa Koharu and Higashinoji were so close - the editor of the Tomokashi actually took the initiative to ask for a high price.

This left him a little speechless.

But in the end he still smiled and let go, agreeing to Hosokawa Koharu's request to increase the royalty amount.

Hosokawa Koharu didn't speak loudly, but he just won 11% of the royalty payment and stabilized it. After all, the other party was willing to give him this face, and he couldn't really beat the snake and put on a stick. He didn't even leave his face for the other party, so he might have cooperation in the future.

Even Higashinoji can't even get into the back and forth calculations, after all, this is outside his professional scope.

However, Higashinoji still understands the basic royalties calculations. According to the market price of 1,500 yen to 3,000 yen, the lowest price is nearly 10 million yen, and if the highest price is 20 million yen, you will really make money by lying down.

It has to be said that Japanese paper media is indeed developed. After all, the people of the whole country basically have the habit of reading books to a greater or lesser extent. While the paper media is developed, the royalties are also very high.

After sending Yasuji Mida and Kazuji Motoyama away, Hosokawa Koharu smiled and looked back at Higashinoji: "Teacher Higashino, congratulations."

This time, Higashinoji made money while lying down, and the money was in vain. He didn't need to spend any time. Hosokawa Koharu was also quite envious.

If she hadn't really know how to draw comics, she might have followed Higashiji to learn how to draw comics. The speed of making money is too exaggerated.

"No, I still have to thank the editor Hosokawa. Will editor Hosokawa be free next? I'll treat you to a meal." Higashinoji replied with a smile, and then asked a little strangely: "But why did the Urashima Literature Editorial Department suddenly ask me about adaptation?"

"Recently, they haven't won any decent literary works... If there are no high-quality works, I will naturally be the one who wants to be a teacher at Tono."

Hosokawa Koharu sat down and drank a sip of water, explaining.

Their "Qi" gradually regained their strength, while the Urajima Literature Editorial Department was a little sluggish, and this year it released many award-winning works.

In a sense, the "Midnight Bell" and "The Winner is Justice" versions belong to their editorial department to fill in their performance, otherwise there would be few results this year, wouldn't it be a joke if it was put on it?

But it's okay. Anyway, Higashinoji can get such a large amount of money without cooperation, which is pretty good.

and--

Hosokawa Koharu stretched out his hand: "The biggest difference between your comic works and other comic works is that they are easy to use whether they are adapted into or adapted into TV series."

This is a fact.

Whether it is the horrifying and supernatural "Midnight Bell" or "The Winner is Justice", or "Unnatural Death", the adaptation of professional comics is much less difficult than that of hot-blooded comics, and the plot is also exciting enough, which is a unique advantage Higashinoji has.

Even Hosokawa Koharu couldn't understand how Higashinoji came up with these plots... Some of them are not bad at all on TV.

"Let's not mention the meal." Hosokawa Koharu is indeed a little greedy. After all, every time the company has dinner, someone asks her the secret of success, which has made her not eat well recently, but she also knows the severity of the matter, so she tells Higashinoji: "Teacher Higashino, you should know "The Lonely Foodie" will be released next season, right? The crew asked if you can take some time out. They want to record a small easter egg at the end of each episode... which is the part where the original author personally visited the store."

As soon as Hosokawa Koharu said this, Higashinoji was surprised.

"The Lonely Foodie" in my previous life had a small part of the original author visiting a restaurant for dinner, which was an advertisement for restaurants in major street corners - and torture the stomach bags of viewers who watched food programs late at night.

Should it be said that it is fate or that there is a fate in the dark... "The Lonely Foodie" in this world actually asked him, the original author, to visit the store...

"This link can be deleted. If you don't have time, I will reject them." Seeing Hitomiji bowing his head and thinking, Hosokawa Koharu thought he couldn't free up time, so he took the initiative to speak.

After hearing what Hosokawa Koharu said, Higashinoji also raised his head and waved his hand in time: "No problem, I can go."

Can the actual tasting process that does not torture the audience's stomach bags still be called "Lonely Foodie"?

Isn’t this soulless?

Higashinoji, who has been committed to torture Japanese readers, just thought for a while and said he was going.

The TV series "The Lonely Foodie" is now concentrated on the streets of Tokyo. It can be filmed several places a day, and the first season is only twelve episodes. It basically takes five or six days to finish the shot of the tasting session - after all, the author only has one or two minutes torture the audience, and after three minutes of being the ending easter egg, Higashinoji can't be so overdoing it.

"Is that true?" Hosokawa Koharu looked at Higashinoji and joked with some amusing words: "Didn't Higashino say that he wanted to go to school to see the situation? In such a busy situation, it feels a bit difficult to go to school."

Hosokawa Koharu said this to Higashinoji's heart.

I'm really busy...

I originally planned to go to school tomorrow, but now it seems that I will have to wait until at least next week.

But to be honest, Higashinoji was actually a little curious.

He actually chose a lot of original scenes to draw in the comic "Lonely Foodie", and the names of those restaurants have basically not changed. If you are interested, you should be able to discover these details.

I wonder if the publicity I made in "The Lonely Foodie" can help these small street corner shops regain their life?

Higashinoji pondered, and he was still somewhat expectant in his heart.

Generally speaking, the promotion of comics is not as good as TV series, but no one knows if they don’t go and watch them.

On the other side, Koharu Hosokawa nodded thoughtfully: "That's right, it doesn't matter if you go and see it. Maybe this work can be won by the Japanese Drama Academy?"

The Japanese Drama Academy Awards are called the Japanese Drama Academy Awards by the Japanese people. However, according to the voting and miscellaneous evaluation style in Japan, this award is actually not as authoritative as imagined. It is an award that "it's okay to win, but it feels embarrassing if you can't win."

"That's not the case... Forget it, editor Hosokawa, are you going to have a meal?" Higashinoji packed up and stood up and asked.

It’s better to choose a day than to meet the day, so why not invite editor Hosokawa to eat at the “Water Tak” in the first episode of “The Lonely Foodie”.

Higashinoji hasn't been there for a long time-

I just can see the specific situation there, and I don’t know how it is now.
Chapter completed!