The other day, while I was browsing YouTube, I saw a video in which Mr. Misaki aka Prince Aojiru answered a viewer’s question, “What should I do to earn 100 million yen in the fastest way possible?” He was doing a video answering a question from a viewer, “How do I make 100 million yen the fastest?
It is a short video, so you can finish it quickly, but to put it simply
Do affiliate business, save up the capital to form a company, use the affiliate experience to sell the company’s products, sell the whole business when you make a profit, and then you are rich.
This is exactly the path that Mr. Misaki actually followed to earn millions of dollars.
In the video, Mr. Misaki says, “It’s such an easy-to-understand method, I wonder why people don’t try it, anyone with a little courage can become a millionaire.
I think he is right. But the question is what kind of product or service is being sold. I don’t want to sell something I don’t want, no matter how much money I can make. That is the problem. After all, it doesn’t feel right somehow.
I think this hurdle is ultimately high.
Many people may make money, but unless they are starving to death, they don’t want to make money by doing so.
Affiliate” is a fancy way of saying “advertisement.
And as Mr. Misaki has mentioned in other videos (you may have seen his videos), those who know advertising best control the current market economy.
It is no wonder that Dentsu, the largest company in the advertising industry, has so much power (as an aside, this is also the background of Haruki Murakami’s “An Adventure Through Sheep”).
) And if we apply this to ourselves, we can say that novelists are also sellers in the sense that they sell their writings, and their works are their products.
As the words “bestseller” and “tens of thousands of copies sold” indicate, the publishing industry is naturally immersed in the market economy, but somewhere novelists and artists have the idea that poverty is a virtue, that their work is not a commodity, that it has a value apart from the value of money, and that it has a different value. They like to think that their work is not a commodity, that it has value apart from the value of money.
However, even if they think so, when they put their works on the market, they still want them to sell more, to make money, or even to be successful and live a professional life.
I feel that I cannot become a full-time professional unless I seriously consider whether my work should remain at the hobby level or whether I should throw my work into the severe market economy as a product.
Incidentally, in the world of novels, I think it is Ryu Murakami for novels and Gentosha for publishers who have been able to successfully embody the economic principles, market principles, and advertising in a well-versed manner.
Many would-be novelists are anxious about whether or not they can make money, so they search the Internet for information,
There are no more than 10 full-time writers in Japan.
The publishing industry will continue to suffer from a recession.
They believed such information as, “There are no more than 10 full-time writers in Japan,” “The publishing industry will continue to be depressed,” and “I will never quit my job,” as if they were opinions to persuade themselves,
So, I think it is a healthy attitude to start with “What should I do about it?
In other words, if I am prepared to live by “writing” in the future, I think it would be best to try to earn some kind of living income by writing.
Certainly, it sounds like a solid and sensible decision to continue writing novels while working as a salaried worker or a government employee to earn a living, but there is no dream or hope in that.
Anyway, I don’t want to work, and I want to live my life the way I want to, so I decided to become a novelist, but I have to work all my life to do so. And, unlike the social situation that Ueki sang about in the past, it is not an easy business to be a salaried worker.
If you really want to make a good work, I think you should make “writing” a more direct way to make money. I sense that the management of this Note also intends to do so.
It is said that Kan Kikuchi, who founded Bungeishunju, once had a really hard time finding advertisers to sponsor his work.
This is true even for individuals, and I feel that gathering sponsors as an individual is a necessary skill for an artist. Whether it was Michelangelo or Da Vinci, they were able to create so many works because they had wealthy sponsors.
Going back to Mr. Misaki’s method, which is both old and new, I feel that there are some aspects of it that we, as poor novelists, can use as a reference. In Haruki Murakami’s words, it is a “snow shoveling job.
Of course, as long as it doesn’t ruin my writing.
Time and money.
The prerequisites for creating a good work. In order to obtain these two things, a moment of throwing away both shame and reputation may be necessary for aspiring artists.
But, while saying this, I still feel that advertising is somewhat shallow.
See you soon.
