This year, I published my picture book, くつ下をクローゼットの下にいれないでね (Don’t Hide Your Socks Under the Closet). It was such a rewarding experience, but I’d be lying if I said it was smooth sailing all the way. There were plenty of moments when my editor and I didn’t see eye to eye. But through it all, we kept things professional and constructive—and yes, sometimes that meant I had to let go and compromise.

One of the hardest parts for me was the language. Writing in Japanese as a non-native speaker can be intimidating, and I constantly worried about whether I was using the right expressions. Whenever my editor suggested changes, I’d usually just agree, even if it didn’t sit well with me. Deep down, I wasn’t always sure if I was making the right call, but I trusted her expertise.

The story itself was where our biggest disagreements happened. That’s when I dug my heels in and tried my best to persuade my editor. Thankfully, they were open to discussions, and after countless revisions, we finally landed on a version we were both proud of.

But before I dive into the final result, let me take you back to the beginning of the process.

Personification​

Early on, my editor had the idea to personify the socks—to make them the heroes of the story. She envisioned two socks repeatedly hidden under the closet, plotting a prank on the boy. The twist? One sock disappears, leaving the boy wondering where it went.

There was even a scene where the socks talked to each other. I just couldn’t get on board with this idea. I mean, how do you make socks into relatable characters? No matter how hard I tried, I couldn’t imagine a drawing “sock personality.” Even now, if you asked me to, I wouldn’t know where to start!

Apologies​

Another sticking point was the idea of a remorse scene. My editor suggested that the boy should apologise to the socks after realising it’s wrong to carelessly throw them around. In her version, the socks would miraculously reappear once the boy said sorry.

I struggled with this idea too. I often role-play scenes from my books to get a feel for how they’ll come across to children. When I tried acting out the apology scene—saying something like “I’m sorry, Mr Sock”—it just felt... awkward. I couldn’t imagine putting young readers in that position either. So, I pitched some alternative plot twists to avoid the whole apology scenario.

Finding the Perfect Ending​

Writing a good ending is never easy, and this story was no exception. I went back and forth with my editor, trying out different ideas. We had plenty of suggestions and counter-suggestions, and it took a while to get it right. But in the end, we found an ending I’m really proud of.

What I Learned​

Looking back, I’ve realised that it’s okay to disagree with your editor. In fact, those disagreements can lead to better ideas and a stronger story—as long as the conversation stays productive. The key is to make sure you’re both aligned by the time you reach the finish line.

So, if you’re ever in a situation like this, don’t be afraid to speak up, but also be willing to listen and adapt. Collaboration is how great stories are made.

This book is special to me because it’s not just a story—it's an opportunity for parents, carers, and children to share a fun and meaningful reading experience. The tale of misplaced socks and childhood curiosity is something we can all relate to, and I hope it brings a smile to the faces of those who read it.

Share Your Thoughts!

On the last page of the book, you’ll find something extra—a QR code that links to a short questionnaire. I would love to hear your thoughts about the book! Your feedback means the world to me and will help me in creating even more enjoyable stories in the future. Whether you're a parent reading it to your little one or a child enjoying the adventure yourself, every response counts.

Please take a moment to scan the QR code and let me know what you think! Your feedback will not only help me improve but also shape the future of children's literature by creating stories that kids love.

Thank you for your support, and I can’t wait to hear from you!

Hello minna san,

Let's resume our research activities. As I mentioned in the previous entry, starting research with a vague idea is not a good approach to writing. To produce quality writing, one must refine the idea until it shines. One effective method is to validate all my observations through actual browsing, reading, and documentation.

My initial step was to visit our local municipal library and spend time there in the hope of gaining a deeper understanding of picture books featuring foxes and raccoons. I conducted searches for these books both through OPAC, the library's search system, and manually by browsing through the collection. Here is what I discovered from the OPAC search:

Some limitations​

The topic turned out to be broader than I initially anticipated. When you enter "fox" or "raccoon" into the OPAC search at the library, you'll discover encyclopedias, works intended for adult readers, works tailored for middle-grade readers and young adults. Furthermore, the Japanese search results revealed that foxes and raccoons are often portrayed as characters in Japanese ghost stories like "Kachi Kachi Yama," which is a distinct genre from the English counterparts.

In summary, I require some defined boundaries within which I can operate as a researcher. These boundaries will be instrumental when I reach the stage of selecting a theoretical framework.

Research choices​

My topic revolves around picture books, so I must consider the specific type of picture books I intend to explore. They could be non-fiction or fiction, authored by particular writers or centered around specific themes. However, I require a rational basis for selecting my research materials. I've initially categorized my first selections on Instagram, but this represents only the preliminary screening.

https://instagram.com/p/CxoyasOyK3-/

Read around​

Although direct investigation provides valuable insights, it's always advantageous to explore related topics to refine one's thoughts. I've already selected a few theoretical works, most of which are quite general in nature. Now, I aim to delve into materials more closely related to the topic. For instance, I'm interested in exploring the most iconic fox characters in English-language picture books or examining the contemporary portrayal of foxes in these books.

So much to do so little time.

Dear readers,

Today, I invite you to embark on a journey with me—a journey that will take us from the inception to the completion of a research project. We will explore the essential steps and procedures involved in academic writing. This idea recently came to me, and I am delighted to share my research journey with you.

The Project​

There is no one-size-fits-all approach to beginning a research project. Allow me to share my personal experience. Sometimes, I start with a clear idea of what I want to achieve, often expressed as a research question or hypothesis.

In this instance, I have a concept that I wish to investigate. It centres around the field of literary geography, a relatively new subfield within literature studies that focuses on spatial narratives. The inspiration for this project arose from my everyday observations. While reading Japanese picture books with my three-year-old son, I noticed a scarcity of stories featuring foxes as the main characters.

This is rather atypical for British stories, where fox characters are found in a substantial portion of picture books. In contrast, a Japanese reader is more likely to encounter raccoons as characters in children's stories. This difference may be explained by the fact that there are as many foxes in Britain as there are raccoons in Japan.

Comparing with other countries, one may notice different stereotypes about foxes. My Finnish friend and colleague holds foxes in high regard. In Finnish tales, they are not portrayed as witty, sly, or cunning creatures, as they are in Britain; instead, they are seen as kind protectors of the forest. On the other hand, the personalities of raccoons in Japanese picture books are similar to British foxes. In Slavic countries, foxes have the same personality traits as British foxes, but they are considered female (while in Britain, a fox is male) unless stated otherwise.

All these observations raise questions about foxes and raccoons and the reasons for their varying portrayals in different countries. Are there factors beyond species population that influence the depiction of characters in picture books? This is my initial research idea.

Researcher's Approach​

As a researcher, I cannot draw conclusions until I have conducted a thorough investigation. These are the first steps I need to follow:

• Check for existing research literature on the same topic. This step also implies that there may already be research that addresses my question, though I highly doubt it. Who else would pay attention to foxes and raccoons in picture books and their populations? Nevertheless, this step will ensure I clarify all the relevant facts about my research question.

• Find facts. This step entails locating sufficient evidence to support my argument. Are foxes exclusively depicted as sly and tricky in British picture books? There may be other traits I've overlooked. This fact-finding process will help me gain clarity and finalise my research question.

• Determine research methods. What actions do I need to take to answer my research question?

At this stage, these first steps will suffice, but as the research progresses, additional steps will be added to this list.

The Pleasure of Research​

To some of you, picture book raccoons and foxes may not sound like fascinating subjects. I respect that perspective. However, research is generally a highly rewarding endeavor.

I wholeheartedly recommend following my updates to learn, through my experiences, how to find enjoyment in your research journey.

The contest​

Now, there are three ways to publish your manuscript:

• You can send it to the publisher directly

• You can self-publish

• You can win the publication through the contest

I'm not familiar with other genres, but self-publishing a paper book can cost over 200,000 yen, and you'd also need to handle advertising and sales yourself. As for knocking on the door of a publisher, they're often swamped with options and more likely to choose a known name over a novice storyteller like myself. I didn't want to fight that battle.

In this context, a contest seemed like a reasonable idea. There are strict rules, and you'll get a definite result. Plus, there's a deadline that pushes you to work towards it. Even if I don't win a prize, I'll advertise my participation as a research activity. It's a perfect opportunity.

Choosing a contest​

There are several picture book contests to choose from in Japan, including ones held twice a year, once a year, and those that accept only manuscripts. Initially, I selected the one sponsored by the Children's Literature Research Lab in Osaka, which is held annually. The judges are also members of this lab.

However, during the writing process, I found out that my manuscript did not meet the length requirement of the Children's Literature research lab contest. Despite this setback, I remained optimistic and decided to submit my work to a twice-a-year contest hosted by Mirai Publishing instead.

Fortunately, Mirai Publishing didn't have any requirements on the length of the manuscript, so my writing went smoothly. However, I suspect they might ask me to add some pages before we sign a publication contract. Nonetheless, I'm highly motivated to publish, and I'm willing to do anything in my power to produce a great book.

f you're also considering entering a writing contest, here are some options I explored:

• Astra International Picture Book Writing Contest (manuscripts only)

• Storymonstersbookawards (for books that are already published)

• Moonbeamawards (same here)

However, most of these contests have a requirement that the book has already been published, so I decided to save them for later. For now, I am focusing on contests that are suitable for unpublished manuscripts like mine.

Writing tips​

Let's say you already have an idea of a story and a few images in mind. What is next? To proceed with your writing you should consider the following items:

• target age group

• reading situation

• message

Target age group​

You may have to change your writing approach depending on the age group. I remember writing about picture books for the youngest readers in this blog. A picture book for a 0-year-old will definitely be different from one for a 2-year-old.

Reading situation​

It might help to actually imagine how people will read your book. In terms of words, you can consider different fonts or colours to emphasise or tone down some places in your narration. Picture books are usually read aloud, so make sure that a parent could follow your writing. In terms of pictures, you can imagine a child pointing at them or commenting on them. This visualisation will help you choose the right approach.

Message​

Every children's book has an entertainment value as well as pedagogical value. Many people focus on one of them, losing sight of the other. Try to remember your favourite picture books and why you liked them. Every book is a story behind a story, so make sure you relay your message in a clear and entertaining way.

Last but not least​

And, yes, you have to know Japanese to enter a Japanese contest. If you don't know Japanese, don't be discouraged. You can ask your Japanese friends to help proofread your manuscript, use translation tools, or hire a professional translator. And if you win a contest, you can trust your Japanese-speaking editor to help refine your work

Good luck!

Once upon a time I came to Japan. Having a 100% foreigner mindset I waited for December to discover that the essential Christmas must-haves have long been sold. If you're a foreigner living in Japan and planning to celebrate Christmas, it's important to keep in mind that the essential Christmas items tend to sell out quickly.

Timing​

Book now, be happy when the time comes. I mean it. It's best to start booking and buying what you need in November, which is the high season for such preparations. By doing so, you can avoid disappointment and ensure a happier holiday season.

Advent calendars​

The key to experiencing the magic of Christmas in Japan is to buy and book things in advance. This applies to things like Advent calendars, which come in various forms, such as Lego calendars for kids and tea calendars for adults. It's important to research and compare the options available on the market, so you can choose the one that suits your preferences. Here are some helpful tips for choosing an Advent calendar:

• Chocolate and other sweets;

Lots of Japanese makers and makers abroad offer a wide variety of choices from Royce's calendar to Lind Teddy calendar;

• Non-chocolate makers also go in hand with this new to Japan notion and offer a calendar with cookies and gummies;

• etc.

• Shampoo and Cosmetics;

Molton Brown's Limited Edition Advent Calendar;

• Beauty Works Advent Calendar;

• Makeup Revolution You Are The Revolution 25-Day Advent Calendar;

• etc.

• Lego and other stuff for children;

• There's also sake, coffee, tea, and champaign calendar for those who appreciate;

Festive food​

If you're planning to dine out for Christmas in Japan, it's important to book in advance. Even if you plan to have a cozy dinner at home, you might not be aware that ordering Christmas food in advance is the norm in Japan. Cakes, chicken, and other traditional dishes for the Christmas dinner table are usually pre-ordered. Many big department stores offer catalogs where you can select the items you want.

My personal recommendation is to book a cake as soon as possible, as they tend to sell out quickly.

Dining out or traveling​

This means that it's important to book your accommodations well in advance if you plan to travel during the Christmas season. Many hotels in popular destinations are fully booked months ahead of time, and those that still have availability often charge higher rates. If you wait until the last minute, you may have a difficult time finding a suitable place to stay or end up paying exorbitant prices. It's always better to plan ahead and make your bookings early to avoid disappointment.

The field of psychology dedicated to the study of infants, specifically those aged 0 to 1, has only recently emerged as a topic of research. This is due to the fact that psychology is based on feedback, and infants are unable to provide specific feedback, which made it difficult to conduct research. With the introduction of advanced technical devices and artificial intelligence (AI), researchers have been able to gather more data and insights about infant behavior and development.

The study of infants from 0 years old involves presenting them with various stimuli, such as pictures or real people, and recording their reactions. Researchers then analyze these reactions to identify patterns and similarities, which can help them understand the functioning of infants. This research has revealed that infants have poor eyesight, are unable to differentiate colors until they reach a certain age, and do not perceive speech as speech.

The data obtained from research on infants is essential for producers of picture books for this age group. Creating a picture book for infants requires an understanding of what they can comprehend and what will hold their interest. Therefore, studying the capabilities and limitations of infants is crucial for developing appropriate content for picture books.

Words​

What kind of content can you provide to an infant who hasn't learned any words yet? Many picture books for infants indicate that reading them can stimulate a child's imagination, but this concept is somewhat limited in practice. Infants at this age are not developed enough to create a similar situation in their minds.

The content of picture books for 0 years old is typically limited to simple nouns or onomatopoeia, as infants are not yet able to understand complex language. Research has shown that infants do not differentiate between speech and music, and that picture books with repetitive patterns can be effective in boosting their memory and language skills. However, this requires parents or caregivers to read the same book multiple times a day to the child.

Pictures and colours​

Simple shapes on solid colours usually go down better with a 0-year-old than colourful pictures with multiple objects. As for the colour, there is no research that suggests the best colour for a picture book. A Japanese nursery has conducted an experiment in which they changed the colour of the floor on a weekly basis. Turns out, blue was the colour that could help children stay focused on a task for a longer time.

Pages and turning pages​

Picture books for 0 years old have thick pages. A child can hold a book in its hands and turn pages. Turning pages is an act of independency. It is something a child can do on their own. A miraculous discovery of independence.

The French psychologist Piaget conducted a series of experiments to understand why children enjoy turning pages in picture books. Piaget found that when a child sees a toy, the toy exists for the child. However, if you hide the toy under the mattress, for example, the child perceives that the toy no longer exists, even if they see the bump. Infants are only able to perceive the things they see, and as such, turning the pages of a picture book becomes a way for them to make sense of the world and exercise their independence.

Turning pages, in other words, would become a game where a picture appears and disappears in a short time frame. Yeah, just like tik tok

The most conventional way of creating pictures is drawing them by hand. Nonetheless, Pictures in picture books are created with various tools:

• hand drawing

• digital art

• photographs etc.

In addition, there are picture books that incorporate traditional Japanese crafts like origami paper folding and kirie paper cutting. Kirie is an ancient Japanese technique that dates back to the 7th century and was originally used for religious ornaments. Over time, the technique has evolved to include washi (Japanese paper) decorations and is now sometimes used in the illustrations of picture books.

The art of Kirie creates contrast between solid colour lines, which are literally cut from paper, and various background options. In kirie, the background is a flexible entity, which can be coloured - sometimes randomly - with parts of the background, or the picture can be placed against a background with a pattern, or a solid background can be used. This technique allows for intricate and beautiful designs to be created with the simple use of paper and scissors.

The art of kirie is often used to create magnificent pieces of artwork with scissors and cutters. Through my personal experience with kirie, I have come to understand the vast possibilities that exist within a picture.

What I learned from creating kirie​

Recently, I created a kirie design by using the work of Kyoko Yanagisawa, an artist based in Nagano, Japan. Yanagisawa is the author of several books on kirie, and my favorite among them features traditional Japanese lifestyle depicted in kirie pictures.

My personal experience has a simplified version of kirie. I did not create the design, I just used the template that Kyoko Yanagisawa created. Here's a short record of the process.

https://www.youtube.com/watch?v=4J0zWk76CJM

To be honest, the process I used to create my kirie was not the traditional method. The traditional method involves using a sharp knife to carefully and precisely cut each line. It's similar to drawing, but with a paper knife. Unfortunately, the scissors I had were not sharp enough to cut out the smaller objects, so I had to improvise and adapt the process.

When I was a child, I used to fold paper and cut out small pieces to create patterns, such as snowflakes. This childhood technique was similar to kirie in some ways. However, kirie is traditionally created by carefully cutting every line with a knife, like drawing a picture, but with a paper-knife. Although my scissors were not sharp enough to cut out small objects in the kirie template, I improvised and used the folding and cutting technique that I enjoyed as a child. While a kirie expert might criticize me for being too innovative, I did my best and I am pleased with the result.

Kirie technique in a picture book​

In his book Hugs (だっこだっこ Dakko Dakko) by Tsuchida Yosiharu, the illustrator used kirie-inspired techniques to create contrast between the characters and the background. Instead of using a solid color background, the illustrator used patterned paper to create a textured background. The characters were then cut out and placed on top of the background, creating a layered effect.

This technique creates a sense of depth and adds an extra dimension to the illustrations. It also allows for the characters to stand out and be more easily distinguishable from the background. The use of kirie-inspired techniques in this picture book demonstrates how traditional techniques can be adapted and used in new and creative ways.

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Noticed a similar pattern?

Children's Literature Translation Studies is an interdisciplinary field that intersects with Creative Writing, Children's Literature Studies, and Translation Studies. This interdisciplinary nature has created a platform for various research opportunities, and this field pioneered in separating translators from the original text.

Here's a short profile of Children's Literature Translation Studies​

• Key Qs

What is children's Literature (from the translation viewpoint)?

• Who are the children?

• Key methods

Comparison analysis

• Qualitative analysis

• Reception Studies

• Interviews

• A few more details:

Big data < Small corpus

• Prescriptive < Descriptive

• Translation difficulties < Translation as Literature

• Macro context < Micro context

Children's Literature Translation Studies emphasized the importance of considering the target audience in translation. The Skopos theory, which focuses on the translation purpose, was also adapted to the translation of children's literature. The theory states that the translation process must consider the purpose of the translation, which is determined by the needs of the target audience. This is particularly important in the translation of children's literature because children have different reading levels, language proficiency, and cultural backgrounds.

In addition to the Skopos theory, Children's Literature Translation Studies also introduced the concept of "cultural transposition." This concept refers to the adaptation of cultural elements in the source text to make them understandable and relatable to the target audience. Cultural transposition involves not only language translation but also the adaptation of cultural references, values, and norms.

Overall, Children's Literature Translation Studies has contributed to the development of translation studies as a discipline and has shed light on the importance of considering the target audience in the translation process.

In books for children aged one to three, animal characters take on human roles and behaviors such as talking, cooking and eating at a table, going for walks, doing chores, putting on clothes, and using the potty. Children learn about human ways through the animal protagonists and can associate themselves with these characters.

By using animals as human stand-ins, children can better understand how to navigate and interact with the world around them. These books can also help to foster a love of reading and encourage children to see themselves as active participants in the stories they read.

Over time, children start to distinguish between humans and animals in literature. Animals, which were once main characters, eventually become supporting characters and stop talking altogether. According to statistics collected by Nielsen Book Data in 2021, young children aged zero to four years old show great interest in animal stories, but this interest gradually fades as they grow older. Five to ten-year-olds rank animal stories as their fourth favorite type of story, while eleven to sixteen-year-olds are not interested in animal stories at all.

The Japanese popular fiction book Majo no Takkyubin (Kiki's Delivery Service) addresses this issue by introducing a character named Jiji, who is a witch's cat. When the witch, Kiki, was young, she could communicate with Jiji, but by the end of the book, she discovers she can no longer hear his words. As Kiki grows older, the communication channel with her animal friend closes. This represents the natural progression of a child's mind as it transitions from a world where animals can talk to the real world where they cannot.

Another interesting observation in children's literature is the coexistence of talking and non-talking animals in the same book. In a fantasy world, for example, there may be talking animal characters alongside the animals that are used as food. This does not typically create a moral dilemma for young readers, as they do not yet associate food with real-life animals until they reach a certain age.

However, a talking animal character is usually perceived as younger than the main human character, and is often used as a tool for social and moral education. Children often like to read stories about characters who are slightly older than themselves, so a talking animal character can bridge the gap between the reader's current age and their younger self. This is particularly evident in books for younger children, where talking animal characters take on human-like behavior and provide valuable lessons on topics like sharing and being kind to others.

According to Nielsen Book Research Reports, since 2015, 80% of Young Adult books have been bought by adults.

When children read or listen to a story, they enjoy it and learn from the experiences of the characters. They also closely observe the adults' reactions to different events in the story.

Adults, on the other hand, understand various allusions and cultural references in the book. They pick up on small hints of intertextuality and are generally more experienced readers. They can predict possible outcomes and show emotions of satisfaction when the ending meets their expectations or surprise when there is a plot twist.

Reading together with your child is not just about learning new things from the story. It's about learning new things about each other.

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In my experience, I have found that regardless of the words used, listeners can sense the love and passion that a translator puts into their work.

https://youtu.be/s09F2RF9oZQ

In the past month, I submitted my thesis and felt happy and motivated to continue my research. However, it seems that many novice PhDs have a different experience. After submitting their dissertations, they often feel worn out and burnt out. Unfortunately, many never return to their research topic or revise their writing. To avoid this stressful outcome, I recommend making a lifestyle change.

When I suggest changing your lifestyle, I don't mean simply eating healthier or going out more often. Instead, I believe that making your research topic an integral part of your life can make the PhD writing process a more enjoyable experience.

Many novice doctors post various visual representations of their day. Most of these figures look like this.

Thesis/Research takes only a portion - no matter how large it may be it is still a portion - of their time. And it is not included in people's hobbies, to boot. I suggest a controversial approach.

Let me clarify that I'm not suggesting you should give up your life, isolate yourself at a desk, and write non-stop. What I mean is that incorporating activities related to your research topic into your daily routine can make the whole process more enjoyable and less overwhelming. This can include activities such as reading, attending lectures or conferences, engaging in discussions with peers or experts in your field, and staying up-to-date with the latest developments. By making your research topic a part of your lifestyle, you can approach your work with more enthusiasm and find joy in the process.

As soon as you incorporate research into your lifestyle, every writing, even the most effort-consuming one, will bring pleasure.

The contents of Warabeuta song, on the other hand, seems to be for a more mature audience. Take tōryanse for example, a representative of its genre.

Let me pass, let me pass *What is this narrow pathway here? * It's the narrow pathway of the Tenjin shrine

Please allow me to pass through Those without good reason shall not pass

To celebrate this child's 7th birthday I've come to dedicate my offering Going in will be fine, fine, but returning will be scary

It's scary but Let me pass, let me pass

In my opinion, warabe uta is a significant representation of the image of a child in Japanese culture through its vocal expression. This sentiment is reflected in the writings of Izumi Kyōka (Izumi Kyōtarō - real name), the author of the renowned Kusa meikyū (Grass Labyrinth), who refers to warabe uta in his diaries. The song is said to evoke feelings of nostalgia and melancholy, and Kyōka uses it as a device to create a picture of a childhood that has long since passed. Therefore, warabe uta serves as a medium to convey the essence of the Japanese cultural perception of childhood.

The reason for the Japanese Ministry of Defence's request to re-translate the English language epidemiologic terms from Katakana to natural Japanese was due to concerns that their employees might not understand them. As a result, Japanese news providers also switched to using the Japanese-like terms, and the use of Katakana terms decreased.

The author then mentions a Japanese-origin term, "コロナ鍋" (Korona ka), which is widely used in the Japanese media in reference to the COVID-19 pandemic. While the "corona" part of the term is easily understandable, the meaning of the "鍋" (ka - evil) part is less clear in this context and difficult to translate. It is worth noting that this term is not commonly used in English-speaking media.

Observing the different names given to phenomena in different countries is always interesting. In my opinion, these names reflect the attitude towards the phenomenon in question. While the English-speaking media uses terms such as "corona pandemic" and "corona threat" to emphasize that everyone is affected, the Japanese media chooses to emphasize its malevolent nature with the term "Korona ka" which includes the Japanese word for "evil."

It's important for everyone to stay safe and out of harm's way during these challenging times.

So, if you are a foreigner considering pursuing graduate education in Japan, there are some things you should know before making a final decision. Here's a three-item list of things that I would recommend you consider.

It requires more money than you imagine​

Remember this financial item called jyukenryou (受験料 - exam fee) in your exam portfolio? Basically, the school asks you to pay for looking at your application papers. Well, that's only the beginning.

There's an entrance fee, a faculty maintenance fee waiting for you after you've successfully passed. And did I mention that all the university clubs and activities require additional fees?

Grad thesis in Japan has to do something with Japan​

This is a reasonable requirement, but many students don't consider this aspect until their supervisor asks them to make connections between their research topic and the country where they are pursuing their Masters or PhD.

At my university, for instance, students are also required to learn the Japanese language. Even if the thesis is written in English, there's a good chance that some Japanese concepts will be incorporated to justify the time spent studying in a Japanese graduate program.

A possibility of miscommunication with Japanese supervisors​

It is important to keep in mind that there is a distinct student-teacher culture in Japan that may differ from the culture you are used to in your home country. As a result, there is a possibility that you may misinterpret what your Japanese supervisor is trying to convey. Therefore, it is crucial to clarify and discuss every aspect of your thesis writing with your advisor to avoid any potential miscommunications that may arise unexpectedly.

It might sound scary, but it'll be just fine​

Overall, to make the most out of your time in a Japanese grad school, it's important to embrace the opportunity to gain in-depth knowledge about Japan through your thesis writing, appreciate the value of money, and adapt to new ways of communication.

The souvenirs, both tangible and intangible, that you'll take away from your Japanese grad school experience will undoubtedly benefit you in your future endeavors and contribute to your personal and career growth. With the right mindset, Japan can be a valuable platform for your academic and professional development.

The card features a design that showcases Japanese sakura and offers a benefit of prepaid public transportation services without requiring a deposit. Typically, there is a 500 yen deposit required to issue an IC card, but Welcome Suica is offered as a Japanese souvenir, free of deposit for foreign guests.

It covers all the areas that are covered by SUICA and PASMO, including buses, trains, and underground trains. Sales for the card will begin in September, and it can be purchased at Haneda airport station, Airport 2nd terminal station, and JR East Travel Service Centers such as Tokyo station, Shinjuku station, and Shibuya station.

Additional information and an image of the new IC card are available in Japanese.

It's worth noting that Japan is a highly bureaucratic country, with a strong preference for putting everything in writing. While this has its benefits - once a deal is made, you can be fully protected by the various documents involved - it also has downsides. For example, people may be hesitant to deviate from established protocols, even if doing so might be more efficient or effective.

Rent contracts are just one example of the bureaucratic procedures that both Japanese and foreigners in Japan encounter.

The procedure of signing a contract​

I'm sure you've heard about shiki-kin (the so-called insurance fee) and rei-kin (the so-called contract fee) when renting an apartment in Japan. These fees, along with other procedures, are clearly stated in the contract. For example, if you plan to move out, you need to inform your landlord two months in advance. There are also many minor rules in the contract, such as some places not allowing kids or pets, so families must look for a "kids ok" sign. Some places allow/do not allow animals and so on. Of course, everything is different if you buy a flat. But if you rent a flat, you have to follow what is written in the contract.

If you're renting a flat in Japan, there is always a contract that you should read (or translate and read) carefully. Don't neglect it just because it's written in Japanese. The contract contains useful regulations, such as who is responsible for cleaning the air conditioner or who is responsible for repairs during the rental period.

The funniest things that are written in contracts​

These contracts aren't standardized templates. While some elements like the two-month notice period are common, most contracts are customized based on the landlord's preferences.

During my time in Japan, I've signed two contracts, and the first one was particularly interesting. Since I was abroad, I had to rely on a housing agency affiliated with my university to find me a place to live. I couldn't possibly search for flats on my own, so after a few emails, we finally had a Skype video call to discuss the contract.

During these discussions, the contents of the contract are typically read aloud, and you're encouraged to ask questions if anything is unclear. My contract consisted of a couple of A4 sheets of paper. Can you imagine my reaction when I heard:

Don't bring poisonous snakes to the apartment​

I honestly didn't know how to comprehend. So I asked the lady if poisonous snakes are easy to encounter in Japan. I mean I was not moving into a forest. It was somewhere near the center of Tokyo that we were talking about. And yes, a no-no rule was to bring poisonous snakes into the apartment. Apparently, the non-poisonous snakes were welcome.

Don't bring yakuza to the apartment​

After learning about the no-snake policy, I was surprised to find a clause in my rental contract that explicitly prohibited befriending yakuza members. This was the first and only time I saw such a rule in a contract. When I asked my friends, they confirmed that it was not a common practice. Later on, I moved out of that apartment and signed a second contract without any unusual restrictions.

As a foreign woman in Japan, it's generally understood that bringing criminals into your home is not acceptable. However, it seems that my first apartment was an exception to this rule.

No pets, humans ok​

I think that was one of the reasons why I eventually got married. Most rental contracts in Japan prohibit keeping pets, but it was okay for my parents to come and spend a week or two in my apartment. It was also okay for my future husband to spend the night. Being alone in a foreign city can be tough, so it's not surprising that some foreigners buy pets for companionship. However, finding a pet-friendly apartment in Japan is difficult, and it was easier for me to have a person stay with me than to search for a pet-friendly rental.

I've asked my Japanese friends and here is what I found out:

The answers to this question can include, but are not limited to:

• A word or phrase with a pleasant meaning

• Some Japanese cute suffixes that don't change the meaning of a word, but add a cute sparkle to your speech. These suffixes, called AGEPOYO in Japanese, are sometimes used by high schoolers, so it may be questionable whether I should choose this as my favorite Japanese at my age.

• An idiom

• Lastly, a word from your language that has entered Japanese. For example, if you are Portuguese, your answer could be "castella", if you are Chinese, then perhaps "panda", if you are Italian, then definitely "pizza", and so on.

To be honest, neither I nor my friends have any idea what they really want to know by asking this question. My Japanese friends have told me that it is a polite question and that some answers can serve as conversation starters. Since it is meant to be a conversation starter, I suggest a smart solution - making a joke. Jokes are the best icebreakers, right? So, how about I respond with something like this:

- What Japanese do you like?
- Oh, I don't know, there are so many options. What will you recommend?

- 好きな日本語はなんですか？(*Suki na nihongo ha nan desu ka?*)
- そうですね。おすすめはなんですか？(*Soudesune. Osusume ha nan desu ka?*)

Pleasant conversations with your Japanese friends!