"Hey, hey, hey, you two editors, you can't be serious. This is a crime. It's a crime!" Hikigaya said, a hint of fear in his voice as he looked at Imamura Naho and Machida Sonoko, whose eyes were gradually transforming into predatory gazes.
"Well, that depends on your performance, Hikigaya-kun. If you can continue to write excellent works, the likelihood of us making mistakes will be smaller," Naho Imamura replied mischievously, with Sonoko Machida nodding vigorously in agreement.
"Alright then. I'll try harder to keep you two from committing crimes," Hikigaya Hachiman conceded, feeling the support of his passionate fans beside him.
"Fortunately, Senior Sister Yukinoshita would never have such thoughts. There are still normal people around me," Hikigaya reassured himself.
"Oh, right, Mr. Hachiman. Actually, the publisher has asked me to gather more information about the Clock Museum Incident. They seem quite anxious lately. How should I respond to them?" Naho Imamura mentioned the task from the publishing house, feeling like a double agent caught between two parties wanting information.
"Well, of course they're anxious. Especially Minister Suzuki; he must be losing his hair right now," Hikigaya said with a smirk.
"Actually, Editor Imamura, I intend to give 'The Clockwork Museum Incident' to Sakuraba for publication. However, when you go back and inform them, try to make the process sound as challenging as possible. This way, you can highlight my struggles and leave them with the impression that I might change my mind at any moment."
Hikigaya advised that when the other party is particularly anxious, showing kindness in return will often result in their gratitude. He also wanted to prevent Sakuraba from adding extra clauses to the contract, similar to what happened with "Confessions," such as requiring that future works be published by Sakuraba. From now on, everything Sakuraba does will center around Hikigaya Hachiman's feelings and preferences.
"Okay, Mr. Hachiman, I understand. Additionally, our president, Mr. Hirao Takahiro, wants to arrange a meeting with you. However, he said that it is entirely your decision," Naho Imamura said.
"President Hirao? Do I have such a big reputation?" Hikigaya asked playfully.
Believing that all men are created equal, Hachiman didn't feel that the president was being condescending toward him. However, he found it surprising that the head of a company would want to meet directly with an author he had never met before. After all, in a formal organization, the president typically oversees the overall operations while dedicated personnel handle the specific tasks.
"Editor Imamura, I would like to confirm that this is a purely private meeting, correct?"
"Yes, Mr. Hachiman. President Hirao means that we should find a place outside of work hours, preferably on a day not considered a workday, where we can eat and chat. Considering that it is inconvenient for you, Mr. Hachiman, to travel, the president can come to Chiba," Naho Imamura replied.
"Okay, got it. Please tell President Hirao that I am always available and look forward to meeting him. I don't need to be in Chiba; I can go to Tokyo. The rest will be up to President Hirao's arrangements," Hikigaya said. He believed that Sakuraba was really in a tough spot this time, prompting the president to personally request this meeting. As for the content of their discussion, he was certain that President Hirao would make Hachiman an offer that only he could guarantee. This was very appealing.
"Oh, Editor Imamura. I need to create a few illustrations for my novel, 'The Clock Museum Incident.' They require a high level of detail and involve designing buildings and their interiors. Could you please help me find out if the publisher can assist me with this? It's very important to the plot."
In traditional detective stories, especially the newer ones featuring grand schemes, it is common to use illustrations to enhance the reader's experience of the scenes. This practice isn't due to the author's limited writing skills; rather, it is because many grand buildings and secret rooms are challenging to describe accurately with words. Illustrations also help readers engage better with the narrative.
"Actually, Mr. Hachiman, you can find an artist to create the illustrations for you. As long as the price is reasonable, the publishing house will reimburse you," Naho Imamura explained.
"Oh? That's great! This way, I can also ensure the quality of the illustrations. I happened to meet a painter at the end of the year who is the same age as me. I looked her up and found she is a well-known rising star in the industry, and her works have been exhibited," Hikigaya said happily, recalling the blonde lady he met at the party.
"Wait, Mr. Hachiman, are you talking about… Ms. Kashiwagi Eri?" Machida Sonoko suddenly asked.
"What are you talking about, Editor Machida? How could I possibly know someone like that… Ugh." Hachiman quickly fell silent when he realized he had let something slip. However, Editor Machida's eyes were already filled with curiosity.
"What? Who is Kashiwagi Eri? Is she a rising artist in Japan?" Naho Imamura, who was unaware of the second dimension, asked curiously.
"Don't mind your own business regarding the second dimension!" Machida Sonoko retorted mercilessly.
"So, Editor Machida, why did you suddenly bring up Kashiwagi Eri? You shouldn't say that in public," Hikigaya Hachiman said in confusion.
"Come to think of it, this is quite surprising, Mr. Hachiman. But answer me first: is the painter you are talking about named Sawamura Eriri?"
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