english paperback

“Do any of you know how incredibly long winter seems in climates where for weeks together the thermometer stands at zero? There is something hopeless in such cold. You think of summer as of a thing read about somewhere in a book, but which has no actual existence. Winter seems the only reality in the world.”

Excerpt From: Coolidge, Susan. “What Katy Did at School.” iBooks.
This material may be protected by copyright.

Check out this book on the iBooks Store: https://itun.es/us/VSm3D.l

Chemistry (BTS Namjoon)

Genre: HighSchool!au, just disgusting fluff ugh

Word count: 3,574 (BTS Rap Monster/Namjoon/김남준

“Y/N, are we getting coffee after school?“ Nari asks you. You look at her, and she has two heads, and the room is spinning. You rub your eyes and look again, and everything is normal. Your eyes focus on your best friend, and you try to decipher her question.

She looks concerned. Her hand touches your arm, and you remember your answer.

“Yeah, of course. Coffee. Yes,” you say, rubbing your eyes again. You look at your hands to see eyeliner on them. “Shit,” you whisper, and excuse yourself from the table to use the bathroom.

As you walk down the hallway, you keep your eyes glued to the floor. You don’t want anyone to see you with your eyeliner everywhere. You almost never fall asleep in class, but you couldn’t sleep last night. Your mother said it was because it was a “full moon” but you have your doubts.

Once you reach the bathroom, you look at yourself in the mirror, and it startles you.

You don’t recognize yourself as you try to wipe the excess makeup off of your face. It looks like you haven’t slept in days, and you probably haven’t. After getting the makeup off of your face, you look better. However, now you don’t have any makeup on. You decide that you don’t care, and you exit the bathroom.

Once you open the door, someone slams right into you, hitting your shoulder with the door. Pain spreads down your arm, and you curse loudly.

“Oh, I’m so sorry!” a girl says quickly before hurriedly scurrying into the bathroom behind you.

You mumble that it’s okay as you walk down the hallway, back to class. You secretly hope that Nari was taking notes for you, as you hadn’t been paying attention at all. Especially this class, it was your worst grade and you had to keep your grades up or you’d get disappointed.

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anonymous asked:

Anonymous Kuchan comments that the English paperback of A X K V4 went on sale on Amazon today.

Thank you for letting me know, Kuchan~!!

For all English speakers: please support NAOE-sensei by buying the originals~ Volumes 1-4 are out~

Volume 1: https://www.amazon.com/Aoharu-X-Machinegun-Vol-1/dp/0316272426/

Volume 2: https://www.amazon.com/Aoharu-X-Machinegun-Vol-2/dp/0316434248

Volume 3: https://www.amazon.com/Aoharu-X-Machinegun-Vol-3/dp/0316553352/

Volume 4: https://www.amazon.com/Aoharu-X-Machinegun-Vol-4/dp/031643566X

And it looks like up to volume 8 are open for pre-orders~

Volume 5: https://www.amazon.com/Aoharu-X-Machinegun-Vol-5/dp/0316435678

Volume 6: https://www.amazon.com/Aoharu-X-Machinegun-Vol-6/dp/0316435686

Volume 7: https://www.amazon.com/Aoharu-X-Machinegun-Vol-7/dp/0316435708

Volume 8: https://www.amazon.com/Aoharu-X-Machinegun-Vol-8/dp/0316435716

Economy of the Manga Industry; or, Why I don’t care that Togashi does whatever he wants

I’ve casually mentioned before that I think people who go around saying “Manga writers work under horrible conditions! Oda Eiichiro doesn’t ever sleep!” are twisting reality and kind of maybe sort of need to take a step back. This is not because I believe manga artists have it great, and they’re just whiners who need to cry more into their piles of money. Quite the opposite. I say this because if your knowledge of “how the manga industry works” boils down to “Oda Eiichiro only sleeps 4 hours a day and rarely gets a day off”, your knowledge of the cruelties of the manga industry is fairly shallow and it’s probably better you didn’t bother. I know that sounds rude, but there it is!

Here are some realities about the manga industry:
(The usual disclaimer: I am not a manga industry insider, just an accountant who reads a lot of junk. There are many sides to every issue and it’s impossible for me to cover them all in a short tumblr post. Please post your own opinions about this topic, the fandom needs more opinions. Etc.)

!!! Because the demand for detail in manga art has increased exponentially since the Tezuka days, the majority of manga artists need to employ assistants in order to meet the demand of manga magazines.1 These assistants need to be paid, and this money needs to come out of the manga artist’s pocket. Other expenses that need to come out of the manga artist’s pocket: food for the assistants, stationary and other materials, travel expenses, rent for the production office, reference books, and other such necessities. Reality for the majority of manga artists is this: the money they get for turning in their manuscript will not cover these expenses, and they are running a manga production office at a loss.

!!! Publishers expect the manga artists to cover this loss by selling a lot of tankobon. However, manga publishers do not guarantee that a manga featured in their magazines will get a tankobon release. The only thing a manga publisher guarantees its artists is the initial payment for the production of the manuscript they ordered.2 If they judge that a tankobon release will not turn a profit, they are under no obligation to publish it,3 and they are in fact often very hesitant to publish tankobon.

!!! The money a manga artist gets for turning in a manuscript is calculated by the page. The majority of manga artists (and other people working for Japanese publishers) are not informed of the price of their manuscripts before they get paid. This is a long-standing tradition in the industry, and I would wager a guess that it stems from a traditional Japanese ideal of being stoic about money, especially when you’re an artist, and that it hasn’t gone out of style because it’s convenient for the corporations. What this results in is a new manga artist being asked to finish a manuscript for publication, paying for all expenses out of pocket, and then realizing after the fact that they worked at a loss, or that they might as well have flipped burgers.

!!! What this results in for most up-and-coming manga artist is this: They’re offered to serialize a manga. You might think this means they’ve made it big, and the manga artist probably thinks so too. They accept, and hire assistants and buy all the necessities. Every week, they produce a manuscript at a loss. This loss accumulates. Their series is canceled, and no tankobon is released – or it is released, but doesn’t sell enough to cover their loss. All they are left with after a serialization is debt.

!!! There are no formal procedures for negotiating the price of manuscripts. Sometimes, the price just rises – and the artist is informed by noticing more money in their bank. If an artist negotiates to have their price raised, they will often be told that higher manuscript prices will mean less offers, so they should retract their demands.

!!! I need to be fair and also illustrate things from the publisher’s point of view. The reason publishers are so hesitant to release manga tankobon is this: Japanese bookstores do not buy the books on their shelves. They “borrow” them, and are free to return them to the wholesaler, who are free to return them to the publisher (but usually do not; the publisher pays the wholesaler for their warehouse). Any tankobon (or magazine4) not sold is a direct loss for the publisher.

!!! Paradoxically, this is also the reason Japanese publishers need to keep publishing books and magazines even when they know most of them will not turn a profit. This is a bit complicated, but in simple terms, the relationship between the wholesaler and the publisher works like this: The wholesaler pays the publisher for the items the wholesaler circulates to bookstores. This usually results in a debt for the publisher, because there is no actual sale until the items have reached the end user (the bookstore customer) – until then, there is the potential that the publisher must buy back every single item (this potential = debt). In order to cover this debt, they must pass on more new items to the wholesaler. Because if they do not, then they need to pay their debt and take back their stock, and that means the publisher will likely go bankrupt.

!!! Another reality about manga publishers: the Japanese publishing industry has been in a recession for a long time, and to be quite honest, magazines do not sell. I’m not sure if Japanese publishers are still possessed by the ghost of times past when weeklies sold like hot bread and there was an increased circulation and an increased revenue with every issue, but whatever the reason, Japanese publishers are currently publishing manga magazines at a constant, accumulating loss, and do not seem to have any intention to stop. Weekly Shonen Jump (with its 2 million issues per week) is an exception, not the rule. Just like its artists, manga publishers expect to cover this loss with tankobon sales. And because the profit is bigger if you sell a million copies of one item, compared to a million copies combined of 10 items5, publishers are constantly on the lookout for the next One Piece and refuse to let go of any property that’s covering their losses.

!!! Which leads me to Togashi Yoshihiro. I often hear people speak of how Togashi needs to “do his job”. However, this is a misnomer. Togashi is not an employee of Weekly Shonen Jump, or Shueisha. Togashi (just like the vast majority of manga artists) is an independent subcontractor. The only guarantee Jump offers him is to pay for any manuscript he produces which they choose to print in their magazines. Jump is under no obligation to 1) cover his expenses, 2) guarantee that he has a job next week or even tomorrow, or 3) publish his manga as tankobon. Jump chooses to do all these things. Why? Because Togashi’s manga sell enough to cover some of their accumulating losses.

In the vast majority of cases, the facts I described above mean that Jump can fuck over any subcontractor they want to. But fact is, Togash is in the rare position to have Jump by its balls rather than the other way around. He doesn’t have to play by the publishers’ rules to make a living as a manga artist.

Now, you might disagree with what I’m saying. You might be of the opinion that these are just free market forces at play, and if a manga artist can’t survive under the system as it is now, then that’s just social Darwinism at play and they need to find another job6. You are free to think so! I disagree, and I don’t know of any other industry where independent subcontractors are hired without a signed contract or a budget that both parties agreed to, but you’re free to your opinions about how the market economy should function7. But you need to stop telling manga artists to “do their job” without any knowledge of what doing this “job” actually entails.


Footnotes:
1. Sometimes, especially monthly shojo series can be drawn by one or two people depending on how fast the manga artist is. Ikeno Koi, for example, rarely utilized assistants. If you want to make a normal living as a manga artist, this is probably the ideal.
2. An exception is magazines paying artists an “exclusivity fee”, which a lot of Shueisha magazines do, including Jump. This is a fee they pay their artists and potential artists in exchange for the artist never drawing manga for any other magazine, and the reason you will see a lot of Jump manga advertised as “Jump is the only place you can read manga by Kishimoto-sensei!”
3. To be fair, the reverse is also true. If a manga artist wants to take their manuscript to another publisher to get a tankobon released, this is the artist’s right.
4. The “circulation” number of magazines that Japanese publishers use in their advertising is the number printed and circulated to bookstores, not sold. Since bookstores can return everything that didn’t sell, the actual sales might be as low as half the circulation.
5, Because of initial publishing costs.
6. Which most of them do.
7. Though it’s worth noting that the relationship of Japanese publishers, wholesalers, and bookstores does not follow the usual rules of a free market economy at all. For example, this relationship is why you never see bookstores mark down the prices on books the way you often do with English paperbacks (and also the reason some tankobon don’t sell as well as they might have – but that’s another complicated topic).

Sources:
Manga Binbo by the artist of Black Jack ni yoroshiku is a great central resource for this type of information, but this is all things that have been discussed in a lot of different places. Another book I read recently which also mentioned details about manuscript prices is Satonaka Machiko’s Manga Nyumon. A book which goes into details about the costs of publishing and the structure of the Japanese publishing industry is Fukkan.com funsenki by Sadano Wataru.

anonymous asked:

I was reading Sasuke's story & I got confused about something Karin says on page 110-111 (English translation paperback). Karin is looking at the photo of taka & whether "that kid" had a photo of Sasuke. Is she talking about Sakura? I was confused because she used "kid", it was odd to me b/c I think they're close in age? Or did she just say kid b/c of Suigetsu? Based on other things said in the book, I didn't think Sasuke and Sakura were married/had Sarada yet.

No I’m pretty sure that Karin was referring to Chino, since the initial impression that she got from them was that something may have been going on.

anonymous asked:

AUwe get seated next to each other on a delayed flight AU pls?

This was possibly the worst thing that had ever happened to her in her whole damn life. Well, that was an exaggeration, to be sure, but this was very unpleasant.

The plane was disgustingly hot and the flight attendants refused to turn on the AC. “We’ll be leaving at any moment,” they said over and over again like robots.

It took all of Jyn’s willpower to stare straight in front of her and not say a word to the flight attendants as they roved past all the seats, not even offering any of the passengers water. “We promise in the next ten minutes we won’t be stuck on the tarmac any longer!”

The man next to Jyn cursed in Spanish under his breath. It was so quiet that Jyn was sure no one but her heard him. He noticed her looking and gave her a hesitating smile. “I don’t know why they can’t just take us to the gate?”

Jyn shrugged. She agreed but they couldn’t do anything.

“Should we complain online?” he asked, although it seemed more like he was talking to himself. “I think, if we all complain, they’ll at least have to give us free miles or something.”

“They’ll say it’s not their fault,” Jyn replied. “They always do.”

The man’s eyes were dark and steady. He was quite handsome, Jyn noticed. “This has happened to you before?”

“Once,” Jyn said, remembering an awful trip to Germany at her Papa’s behest. Sort of like the one she was taking now. Except this time instead of her Papa next to her, it was some stranger. Rather, it was two strangers because she was stuck in the middle seat.

It was the only thing available on a last minute flight to Denmark. Or well, to a connecting flight in Paris.

“Did they reimburse you?” the man asked.

“No.”

“Did you ask?”

Jyn shook her head and in the process accidentally knocked her elbow into the sleeping stranger on the other side of her. Jyn apologized to him and then reached down to grab the book she brought, hoping that the sci-fi novel would distract her from the terrible heat.

As well as the Spanish-speaking man’s gaze.

Unfortunately, it did no such thing. His gaze penetrated her and she had to stop and wonder why he was staring.

He cleared his throat. “That’s my book,” he said.

“No,” Jyn replied, puzzled, looking back at him. “I took it out of my bag.”

A smile crossed his face. “No, I mean, I wrote it.”

The heat surrounding them was choking her now. Or perhaps it was the embarrassment. “What?”

He pointed at the cover, where the rebel leaders were charging a masked man. “I’m Cassian Andor.”

“Oh.”

“I’ve never seen the paperback English translation before,” he mused.

Jyn flipped to the back cover, not willing to believe him. Men always said crazy shit to her. She wasn’t sure if it was to get into her pants or because men were just crazy.

But he was the author. The picture confirmed it. She’d never forget those eyes.

Cassian watched her do this. “See,” he said, amused.

Ugh, she was drowning in her own sweat. How bad did she smell? “Well,” she said, cautiously. “I’m enjoying it so far.”

Cassian leaned back in his seat and closed his eyes. “Glad to hear it.”

A flight attendant brushed by them, half-yelling. “Just another 10 minutes until we take off!”

Cassian opened his eyes. It was then that Jyn realized she had been staring at him. He didn’t seem to notice or care though, smiling when he caught her eye. “I wonder if my next novel should be a horror novel featuring this airline.”

Jyn smiled back, almost automatically. It was a strange feeling, especially when she remembered why she was on the plane at all. “I’m just worried I’ll miss my connecting flight.”

“Where are you trying to go?”

“Copenhagen.”

His whole face brightened. “Me too! This is actually my second connecting flight. I flew in from Mexico City this morning.”

Jyn frowned. “Two connecting flights? That sounds awful.”

His smile dropped. “It is.”

Jyn almost told him why she was going over to Denmark. His face was honest and his eyes were kind, and his book was actually really good. But she didn’t want to share her fears with a stranger.

“What’s your name?” he asked and it was only then that Jyn remembered he didn’t know her name.

She didn’t smile. “Jyn.”

“Jyn,” he repeated, as if he was trying to memorize it. “It’s pretty.”

“It’s all right.”

Cassian looked like he was about to say something but a voice over the speaker system interrupted. “We are on our way to takeoff. Thank you for your patience. Please pay attention to the safety instructions up front.”

Jyn gripped her book and flipped back to where she stopped reading before, suddenly too nervous about her father’s condition to talk anymore.

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livinglifelikeitis  asked:

Do you know when the official Tokyo ghoul manga will be out translated in English so we fans can buy it? I've seen it's already out but in Japanese.

Official English paperback edition of Tokyo Ghoul is set to be released on June 16, 2015 by VIZ Media LLC . 

You can already pre-order a copy via the following sites

The digital edition of Tokyo Ghoul Volume 1 & 2 are now available for purchase in the following sites:

anonymous asked:

Hi, I don't know if you live in America, but do they even sell the Tokyo Ghoul manga here? Because I never find it in any stores!!

Official English paperback edition of Tokyo Ghoul is set to be released on June 16, 2015 by VIZ Media LLC .

You can already pre-order a copy via the following sites

The digital edition of Tokyo Ghoul Volume 1 & 2 are now available for purchase in the following sites: