To You Aspiring Screenwriters: Yuji Kobayashi Talks About the Struggles and Challenges Leading to His Debut

This interview features screenwriter Yuji Kobayashi, who shared in detail the journey leading to his debut and the experiences he encountered along the way.

Kobayashi began participating in the summer open lectures of the Scenario Writers Association during his university days, and through encounters with people he met at the YMCA in Takadanobaba, he stepped into the professional world. He discussed his activities on “Scenario Land,” which he launched using a homepage builder, and shared stories about his first paid work in a radio drama channel. His genuine experiences leading up to his debut, especially his passionate feelings towards Ultraman and special effects, were evident in his part-time job at Tsuburaya Productions. The episode that led to his debut as a scriptwriter for “Sazae-san” will be very informative for those aspiring to become screenwriters.

Additionally, Kobayashi’s struggles and challenges in building his career as a professional screenwriter, as well as comparisons with his brother, Eizo Kobayashi, are intriguing points. He also touched on advice for succeeding as a screenwriter and the importance of networking in the industry.

Through this interview, I hope to convey Kobayashi’s personality and sincere attitude towards his work, as well as the allure and reality of the profession of screenwriting. This content is a must-read for those aiming for a debut.

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――I would like to ask screenwriter Yuji Kobayashi about his debut.

Kobayashi and I (Kodate) have known each other for quite a long time; I believe we met when Kobayashi was in his second year of university.

That’s right. The first person I properly got to know after moving to Tokyo was Kodate.

――The first time Kobayashi and I met was at the summer open lectures of the Scenario Writers Association.

At that time, we didn’t meet during the lectures, but later online, we found out we had both attended the same course.

Back then, there were more participants in the course than now. I remember the venue was the YMCA in Takadanobaba, not the Scenario Writers Association’s building. After becoming a professional, I had the opportunity to teach as a guest lecturer at the summer open lectures, and compared to then, the number of participants seemed significantly higher.

――What do you think was the reason for that?

Now, there are various ways to learn screenwriting, but back then, it might have been because face-to-face formats were the only option. Also, as a main guest, there was a famous person like Yoshikazu Kanemaki, who was popular after the hit “Odoru Daisousasen,” so many people might have been there for him. I was partly there for Kanemaki too. Anyway, I remember it was a lively atmosphere with a lot of people.

――It’s surprising to hear that there were more participants back then, considering that nowadays there are various forms of screenwriting, including game scripts.

One reason for the higher numbers back then might be that the opportunities to study were limited. I remember one participant who had a disease and was using a tube through his nose, who traveled from Kyushu to Tokyo, which surprised me.

――You started the early version of Scenario Land around that time, right?

I was using a software called Homepage Builder to create Scenario Land as a personal homepage. I also wrote about my experiences participating in the summer open lectures there. Additionally, I set up a bulletin board for aspiring screenwriters to interact, and one of those people was Kodate.

――I remember that well. You also published university lecture notes, right? I learned a lot from things like “Oedipus Rex.”

Professor Kazuhide Kawabe, who came from Shochiku, taught a course on screenwriting, and I posted the lecture notes on Scenario Land. Of course, I had obtained the professor’s permission first.

■Scenario Land 
Currently, it is developed as an "online salon" where creators, aspiring creators, and industry supporters gather, centered around screenwriting. https://lounge.dmm.com/detail/445/

Student Life at Nihon University and Job Hunting

――How was your student life at Nihon University?

I originally wanted to become a screenwriter, so I moved to Tokyo from my hometown in Nagano to attend Nihon University. I majored in film screenwriting, but I quickly realized that only a small number of people were genuinely interested in pursuing a career in screenwriting. I was surprised, but I think many felt the same way. For example, even in the directing course at Nihon University, not everyone is serious about becoming a film director. In fact, I think it’s quite a small number. In the literature department, I suspect that only a few truly want to become novelists. Many students come to the arts department because they want to do something different from others, or because they like movies. Of course, compared to regular university students, there are more people who like films, but whether they want to make it a career is a different matter. I moved to Tokyo wanting to make it my job, but looking around, I found that very few were serious about it. There might have been a few who were, but it felt like I couldn’t become a professional screenwriter just by being here. The university doesn’t take care of you after graduation either. You can’t just expect to get a job at a film company, anime company, or TV production company automatically after graduation. I realized early on that I needed to take action myself instead of just waiting.

So, I started my own marketing activities to become a screenwriter, mainly using the internet. Creating Scenario Land was part of that. I was thinking about how to raise the visibility of my work and how to market myself to the industry. At that time, the internet wasn’t as widespread as it is now, so it might have been a new activity.

During my time at university, I did various things. There was a cable radio drama channel that was looking for screenwriters, so I applied and ended up getting paid a little for it. This was the first time I received payment for my work in my career. Although you can no longer listen to it now, the director of the program was Kenji Hata, who later became famous as a novelist. Hata later became a hit maker, writing numerous dramas such as “Unfair,” “Dragon Zakura,” and “Tenbatsu.” Hata was looking for scripts online, and when I sent a few, some were accepted.

However, that alone wasn’t enough to make a living. I wasn’t actively job hunting, so during my senior year, I was wondering what to do after graduation. I started sending marketing emails to production companies I was interested in, expressing my desire to write scripts. One of those companies was Tsuburaya Productions. I had always loved Ultraman and special effects, so when I contacted Tsuburaya through their website to express my desire to become a screenwriter, they said they were hiring part-time workers. So, I went for an interview saying, “I want to work in any capacity,” and I was hired in the media department, which dealt with books and DVDs. I remember it was just before my graduation from university.

――Was there a job opening at Tsuburaya Productions at that time?

I don’t think there was an official recruitment.

However, I didn’t have no connection with Tsuburaya Productions at all. In fact, during high school, I had come to Tokyo for university information sessions. At that time, I called Tsuburaya Productions out of the blue and asked, “Can I come for a tour?” I wanted to see the company and the monster warehouse. I was around 16 or 17 years old. I think it’s probably impossible to do that now. At that time, Tsuburaya’s headquarters had a monster warehouse where they stored monster costumes. It was a very homey, old-fashioned place located in Seijo Gakuin in Kinuta. Now, the headquarters has moved to Shibuya, and that place has become an apartment building.

Well, I had a strong attachment to Tsuburaya Productions, Ultraman, and the monster costumes. So, among the companies I emailed expressing my desire to write scripts, I probably put the most emotion into my message to Tsuburaya. That’s why I might have received the best response.

――While working part-time at Tsuburaya Productions, did you continue job hunting? Did you consider entering media companies or trying other companies looking for screenwriters?

Indeed, I was thinking about and working on various things simultaneously. I received responses from other companies using the internet. Several companies replied to my emails.

By the way, Nihon University tends to gather students with unique backgrounds. For example, there was a classmate of mine whose father was the screenwriter Shoichiro Okubo. Okubo is a master known for two-hour dramas and live-action adaptations of “Manga Michi.” When I told her that I wanted to become a screenwriter seriously, she introduced me to her father, Shoichiro. I was able to have my scripts read and, through these connections, I was doing various things simultaneously to enter the professional world.

I did a little bit of job hunting for general companies, but just writing the entry sheets was exhausting. I thought I wasn’t suited for general companies.

I didn’t even buy a recruitment suit, but I did attend a Toho information session. There were a lot of people there, and they said that if you submitted an entry sheet, everyone would be able to take the first interview. In the end, I was rejected at the entry sheet stage. A few others from Nihon University also applied, but everyone was rejected. We joked among ourselves that it was probably because we were from Nihon University… The truth is, I think the competition was just very high.

I also wrote an entry sheet for NHK. Being NHK, it was obviously not easy to get in. Looking back now, I realize that it was unreasonable to only apply to large companies like NHK and Toho. Normally, everyone applies to dozens of companies.

――Do you remember which position you applied for at NHK?

Hmm, I don’t remember. I didn’t really research job hunting methods or attend school information sessions; I was doing it all on my own. I hardly used the school’s support.

I think Nihon University had weaker job support compared to other departments. The percentage of students getting jobs at general companies was probably lower than in other departments, so I was doing it without really understanding that aspect. I got tired after just applying to two companies and thought, “I’m done.” I often questioned myself about what I was doing. However, because of that, I also realized that I was internally wondering, “Is it okay to just get a job like this?” and “Even though I’m writing entry sheets, I really want to write scripts.” Honestly, I had doubts about becoming a company employee.

――For example, nowadays, game companies are recruiting scenario writers and developing projects to train them. If you were a university student now, would you have considered not only Tsuburaya Productions but also game companies?

Yes, I was searching for information online, so I was looking up various search terms related to recruiting screenwriters. I think I would have been looking for places I could get into or where I could be hired. If I found job openings for scenario writers at game companies, I might have applied to several. However, since I’m not very knowledgeable about games, I might not have actively applied to game companies. But it was a possibility. In fact, one of my students is someone who really wants to write dramas and films but is currently working at a game company while writing scenarios.

――Many people aim to become screenwriters while working. Some choose related professions instead of directly writing scripts to enter the field.

That’s right. I think there are two main patterns for becoming a screenwriter: either entering a production company or doing completely different part-time jobs while aiming for scenario competitions in your spare time. However, I felt that I wasn’t really suited for competitions. I was interested in special effects, so I thought I was in a different field from general competitions.

While considering various options, I ended up working part-time at Tsuburaya Productions, as I mentioned earlier. From the outside, it seemed like a tough job, but looking back now, it wasn’t that hard. I could go home at night, and I had weekends and holidays off. The pay was low, but it wasn’t a department where I had to be on set every day, so it wasn’t heavy labor. However, at that time, it felt like a lot of work to me. I wasn’t used to doing menial tasks, and I didn’t have much social experience, so I often got scolded while working, and after about two weeks, I was exhausted and thought this environment wasn’t for me. Of course, compared to being on set every day, it might have been easier, but it was still a considerable burden for me at that time. So, I started to feel that I needed to look for another path. I didn’t know how long it would take to become a successful screenwriter if I stayed there.

Communication in the Smoking Room at Tsuburaya Productions’ Media Department

――Some production companies solicit ideas and scripts from their employees, but how was it at Tsuburaya Productions back then?

It was a different department. The media department I was in wasn’t the main department that produced Ultraman (the production department), so I didn’t have opportunities to pitch ideas. I felt it was too presumptuous to think I could become a screenwriter in that position. However, looking back now, the 3-4 months I worked part-time there were very important. The media department was the only place in the company where smoking was allowed. People from the production department and higher-ups came to smoke almost every day. My first job was to serve tea to those people. By serving tea, I was able to build connections and simultaneously develop my communication skills as a working professional. This has been beneficial for my career later on.

Among those who came to smoke were the then-president of Tsuburaya, Kazuo Tsuburaya (the grandson of director Eiji Tsuburaya), and Koichi Takano, the special effects director of the original Ultraman. Takano was in the highest position as the head of the production department, and every time he came to smoke, I would serve him tea and engage in small talk. Takano was the kindest person. He passed away in 2008, but I still remember him. One day, he suddenly said to me, “If you have something you want to do, just let me know.” That one sentence still makes me happy to remember. At that time, I was just a tea server, but he treated me without regard to our hierarchical positions. That was the kind of person Takano was.

Additionally, among the people I met at that time was director Tsuyoshi Yagi, who later became a colleague. He was still a young talent in his 30s back then. There was also producer Yuki Omote, who was in her 20s at the time and would soon work with me. If both of them hadn’t been smokers, I might not have had any connection to Ultraman.

――But you don’t smoke, do you, Kobayashi?

No, not at all.

It’s often said that important decisions are made in the smoking room, and the media department’s room was such a place. The president would come and talk, or Takano would ask, “We have this project coming in; what do you think?” Looking back, it was a very fortunate environment. The connections I made with the people I met there later led to opportunities to write for Ultraman.

――It seems that your work at Tsuburaya Productions was very fulfilling, but at the same time, your desire to become a screenwriter was equally strong.

That’s right. I couldn’t drink alcohol, so I didn’t fit in at drinking parties back then. As a result, I became physically unwell and mentally stressed, thinking, “I don’t want to do this anymore.” I often found myself lost in thought. While I was exhausted from my part-time job, I kept thinking about how to continue as a screenwriter.

――But eventually, you did leave Tsuburaya Productions, right?

It was sudden. The trigger was “Sazae-san.” Someone who knew I was familiar with “Sazae-san” introduced me to Aiken, the production company behind it. It’s worth noting that “Sazae-san” doesn’t necessarily open its doors to newcomers; they welcome anyone who can write, whether they are veterans or newcomers.

As a result, “Sazae-san” became a significant turning point for me.

In my case, I had all the volumes of the “Sazae-san” manga at my grandparents’ house, and I had been reading it since I was a child. The world and characters had been ingrained in me since I was little, so I thought it would be the easiest to write among the anime. While working part-time at Tsuburaya, I went to meet someone from the anime company I was introduced to. They hadn’t read my script yet, so they didn’t know my abilities, but they said, “Well, please give it a try,” and asked me to write ten plots for “Sazae-san” with a one-week deadline.

Days When “Sazae-san” Even Appeared in My Dreams

――Ten plots! That sounds tough.

But I thought it was a great opportunity, and I was happy to have the chance to challenge myself. As a result, one of those plots was accepted, and I began to develop the script. However, I felt it was impossible to continue working part-time at Tsuburaya while doing this. I didn’t want to miss this opportunity, so the next day, I honestly spoke to my boss, the head of the media department. I told him, “I have a chance, and I need to write ten plots by next week. I think I need to focus to write them, so please let me quit my part-time job.”

――What was the reaction?

The department head didn’t stop me at all; rather, he encouraged me. It seemed he had sensed my desire to leave for some time and supported me. Thanks to that, I was able to take the plunge and challenge myself. However, I thought he would interpret it as “I’ll quit for now and come back when I have the time.” But it seemed he understood it as “You won’t be coming back to the part-time job.” So, there was no discussion about how long I would be taking off; he simply said, “Well, good luck.” I think my determination was conveyed. Hearing those words almost made me cry.

So, I decided to focus on this opportunity for a week. It wouldn’t bring in money immediately, but I planned to live off my savings and concentrate on this chance.

That was in May of the year I graduated from university. It was a very hectic time. Ultimately, I quickly had one plot accepted, which became the final script, and it aired in September of the same year.

――That was quite speedy.

I am truly grateful to those who supported me. Many people challenge themselves but don’t get accepted, and even if they do, it can take about a year to reach the final script. In my case, it was very quick. However, if it had taken a year, I would have run out of the savings I had accumulated from my part-time job. So, I was also looking for other jobs or part-time work. That year, I also started writing for the special effects magazine “Uchusen.” But writing ten plots in a week was indeed tough. “Sazae-san” even appeared in my dreams.

――By the way, were the dreams in 2D or 3D?

They were in 2D. It felt like I was watching an anime world in my dreams. I could see a scene where Sazae-san was walking down the street. Writing ten plots in a week was tough, but I needed time to review them, so I planned to write two plots a day. Each plot ended up being quite long and detailed. Therefore, I think they could see whether I had grasped the world and characters to some extent.

Among the ten plots, the one related to a typhoon received the highest praise. It was a story about the Sazae family’s commotion on the night a typhoon hit, where Tama goes missing, and as everyone goes to look for him, one by one, the people searching also disappear, creating a chaotic story. After going through about three or four revisions, it successfully became the final script, marking my debut.

――Did you feel confident about the typhoon plot?

No, I didn’t have that much confidence yet. I was working on it with anxiety, wondering which one would be accepted or if none would be.

Also, the scripts for “Sazae-san” have a set pattern for orders. For example, if a story is to be aired during the Tanabata season, they would order plots using several of the original Tanabata four-panel comics. However, in my case, since I hadn’t debuted in visual works yet, I was allowed to write freely.

Behind the Scenes of “Sazae-san”

――”Sazae-san” was your debut work in visual media, right? Did you discover anything?

Rather than a discovery, I have a strong impression that it was “fun.” Enjoyment is something I still value in my work today.

Also, I later realized that the production of “Sazae-san” was quite unique. The number of people in the meetings was very small. Normally, you would only interact with the literary staff, and occasionally a higher-up would show up, but they weren’t always present. Since the meetings were held with a small number of people, I later learned that in other jobs, many more stakeholders are usually involved. It’s common to have a director present or for many other staff members to attend, but “Sazae-san” was an exception.

――I suppose the reason is that “Sazae-san” doesn’t have a series director throughout.

That’s right. After the final script is completed, the directors for each episode proceed with it individually. The scripts are likely checked by the TV station, but the producer didn’t come to the meetings to give direct feedback.

By the way, back then, I was sending my scripts via fax. It quickly switched to email, but I printed out my scripts a few times and sent them via fax myself. There were times when I accidentally sent two pages at once or had to resend them, which was a hassle, but it felt like a hands-on experience that you can’t have now.

I also used to communicate via fax when I joined an anime company. I often had to send large amounts, like 60 pages. There were times when it got jammed, and I was anxious about whether it was actually sent.

Looking back, it’s quite nostalgic.

Another memorable event from that time was when I went to observe the voice recording because an episode I wrote for “Sazae-san” was being recorded. I met the director for the first time and greeted him, but I was immediately criticized for the script we were about to record. He said, “The character’s movements are strange,” and “If you move the character according to your script, it will warp from here to there in the house.”

――When you receive a script order, do they provide you with setting documents for the house and other details?

I think I received the blueprints for the Isono family. However, to be honest, I was inexperienced at the time and couldn’t think that far ahead. Writing a script should involve considering details to avoid contradictions. Even in animation, characters shouldn’t move in unnatural ways, like warping from one place to another.

The knowledge and experience of the veterans were truly remarkable, and I think they could notice even the slightest discomfort. During the actual recording, the voice actors were all veterans, so they were used to it, and I was surprised to see them recording smoothly. It was almost all done in one take. After a brief rehearsal, they would say, “Okay, let’s record,” and keep moving forward. It was really refreshing.

In recent anime, there are often flashy elements depending on the direction. While there may be excessive direction in some parts, “Sazae-san” has a set pattern for its direction. It’s as if there’s a format that doesn’t deviate from the norm. This is the same for the scripts. The challenge is how to create a new “Sazae-san” while maintaining the same essence, which makes the script crucial. The literary staff responsible for directing the scripts holds a very important position within “Sazae-san.”

――It seems that “Sazae-san,” which became your debut work, offered you many discoveries. How about your second and subsequent works?

Even though I debuted, it was really difficult to keep writing. At first, I thought I was lucky to debut with such a long-running anime, but I quickly found it hard to continue. After that, I had two more final scripts approved, totaling three that aired, but the more I wrote, the more confused I became. I still can’t explain why. I don’t understand why the first one flowed easily, the second became difficult, and the third was even harder. It was truly perplexing. I didn’t know how to improve my writing. I felt like there was an answer somewhere, but I just couldn’t get closer to it.

So, eventually, when I completed the third script, I said, “Please let me take a break,” and I took a break. Although I said “a little,” it’s been over 20 years since then.

――”Sazae-san” has aspects of traditional performing arts, so I think there are parts that are hard to find answers to.

That’s right. It’s challenging to throw a ball that fits the characters and world that everyone knows. Those who can do it well can keep throwing, but at that time, I was still in a transitional phase as a screenwriter. As I grew, I wanted to write various types of scripts. I think the feeling of being confined to a box might have been the reason I struggled. Once I started writing scripts for other works, my style expanded significantly, but I still don’t know if I can write “Sazae-san” well even now. Of course, I have more experience now, so even if I can’t write at times, I think I can find a way to write by thinking, “What if I do it this way?” But back then, it was a truly difficult work for me.

By the way, my brother Eizo Kobayashi is also a screenwriter, and he has written many scripts for “Sazae-san,” with dozens of them having aired.

――Why do you think your brother can keep writing?

Actually, my brother was more knowledgeable about “Sazae-san” and had a stronger attachment to it, so I think he had a better ability to depict the world of “Sazae-san.” He debuted with the script for “Doraemon” while still in university, so he started his career as a screenwriter earlier than I did. Moreover, he had been exposed to more manga, novels, and films than I had even before his debut, and at least in terms of the artisan-like quality of consistently writing in the same style, I feel he was more adept than I was.

There are indeed screenwriters who excel at continuing to write in a consistent style within the unchanging characters and world of “Sazae-san.” I hope my brother’s ability to write both “Doraemon” and “Sazae-san,” two beloved long-running anime, is recognized more in the anime industry. On the other hand, I have been more interested in continuously challenging myself with new works and styles. I felt that when I worked on the Ultraman series. While Ultraman is Ultraman, each series and each episode requires different themes, and that demands a unique authorial voice.

――As you continue working, it seems you gradually understand your own authorial voice. Now, could you share a message for those aiming for a debut?

It’s difficult to summarize in one sentence. The times are different from when I was starting out, and honestly, I don’t have any quick advice.

Many people ask me, “How do I seize the opportunity for my debut?” but the answer varies for each individual. There are as many patterns as there are writers, so the way to find that first chance is something you have to discover for yourself. It may sound harsh, but it might be important to meet people who will “use you” in a good way and to be utilized effectively.

It’s very difficult to be accepted for the first time without any achievements, but the struggle doesn’t end after your debut. Ideally, it would be great if someone said, “Please work hard at this company for your whole life,” but for screenwriters, there are endings to programs. Each time a program ends, you face the risk of unemployment. Therefore, I believe it’s essential for professionals to be able to work on multiple projects, with multiple production companies, and with various producers and directors. For those aiming for a debut, I want you to be prepared for even greater challenges waiting beyond your debut and to take on the challenge with the mindset of continuously debuting.

End