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“Teenage girls began messaging with pagers in the early ’90s,” says Mizuko Ito, a research scientist who studies cell phone use among Japanese youth. “Because of this, Japan was the first country to have widespread mobile communications, even before mobile phones became affordable and popular.” Ito sees in the rise of cell phone novels a high degree of media and gadget literacy, a cultural willingness to experiment with new technologies, and a desire for private space and intimate communication.

The way it works is this: novels are posted by members of cell phone community sites to be downloaded for free and read on other cell phones. Reading often takes place in crowded trains during long commutes. The works are published in 70-word installments, or abbreviated chapters that are the ideal length to be read between shorter train stops. This means that, despite small cell phone screens, lots of white space is left for ease of reading. Multiple short lines of compressed sentences, mostly composed of fragmentary dialogue, are strung together with lots of cell phone-only symbols. The resulting works are emotional, fast-paced and highly visual, with an impact not unlike manga.

Following Starts, other publishers like Goma and Asuki Media Works moved in to cherry pick cell phone novel sites online and put out the next big hit. The number of cell phone novels in print began skyrocketing in 2006, when 22 books hit the shelves; the following year, there were 98. Even a no-name author with a cell phone novel publishing deal enjoyed a first run of between 50,000 and 100,000 copies.