Lori mentioned to me she thought people might be interested in some "insider looks" at the manga and publishing industry. Considering I see the inside of my home office more than the "industry", I will attempt to give answer a few of the questions I sometimes get about bringing Japanese titles to English, and I hope at least a couple people's interest.

When people ask me what I do for a living I usually say "translator", though I also write a media column for a local Pacific NW Japanese/English newsmagazine and work part-time as a research assistant for a Japanese newspaper journalist living in Portland, Oregon. Manga-wise I have translated a couple volumes of the shojo title Flock of Angels, and some SD Gundam mini mangas. I also started proofing Gin Tama a few months back. I translated a couple Dirty Pair novels and am now working on the Blood+ novelizations. Those are the interesting projects. To get to this point I have worked on factory machine manual translations, cell phone pamphlets, Tokyo metropolitan gov't websites, nursing syllabi, zzzzz. It's a short resume, but getting there. But enough about me... Here are a couple questions and answers people have about translating media from Japan.

How do you get to be a manga translator?

Of the handful of manga translators I know, none of them set out to be manga or Japanese media translators. People usually fall into the work, though once I got into the translation industry doing fiction and manga became a goal (or more of a dream, really...). I am not being humble when I say I am very lucky to have the work I do. Despite the fact that the industry is growing, translators don't retire as young as professional basketball players. Translators develop relationships with their editors and publishers, and when an editor finds a translator who is reliable and faithful, they tend to stick with him or her.

However, there are three things that will help you get a foot in the door: 1) Passing the Japanese Language Proficiency Test at Level 1. This multi-level test is practically meaningless at anything else than Level 1. 2) A portfolio of work. Having completed projects under your belt helps. This is why a lot of people do scanlations. It's more than just "I love this manga so much I want to bring it into English" but "I can actually translate Japanese and can follow through on a long-term project." And it works. Long-time guro translators Ryan and Evan at Same Hat! Same Hat! just announced a paying gig that comes out in September.  3) Networking. Which is a nice way of saying "It's who you know." For better or for worse, this is true. As a reviewer I became aquainted with Dark Horse's Director of Asian Licensing. (At that time I worked for a translation/consulting company with an online bookstore, and I reviewed some Dark Horse manga titles for online blurbs.) After quitting there we stayed in touch as I continued to write reviews. The fact that I live a 15 minute drive from Dark Horse's headquarters didn't hurt. He knew I was looking for freelance translation work, and after he put the good word in for me to an editor looking for a translator for a rush job, and a couple e-mails later, I was contracted to a Dark Horse project. Now I am on my 5th title with with same editor, and we talk or email at least a couple times a month. (A light novel takes me about three months to translate, doing about 5 pages a day). The translator-editor relationship is interesting, and I'll save that topic for next time.

Do you really have to have an inside track?

No. I have cold-called manga and anime publishers and offered my services. When more anime was coming out a year or two ago I took a couple anime "tests". An editor's assistant will send you a some forms and a several minutes of an anime and ask you to translate it. Knowing you nailed it isn't enough, though. The last one I took the assistant told me "We gave the test to 12 people. 10 people nailed it, including you. Unfortunately, we only need one translator." There is more talent out there than work, but persistance can get you in. Doing non-manga work is a real plus, as it shows you are a translator before an otaku. A project manager at the company I used to work for got a call looking for a manga translator from another translation company. She remembered I was into manga, and recommended me, (luckily) without asking for a commission. Before the agent had the "ga" of "would you like to translate a manga for us?" out of his mouth I was asking where I should sign.

Also, a well-rounded resume helps. Manga editors are often otaku themselves (to a certain degree), but they are more interested in someone who can do the job than someone who couldn't be happier to be working on their favorite title. I have never been asked what kind of translation I wanted to do (who cares, right?) but have been asked what kind of translation I didn't want to do. Not interested in burning bridges, my standard answer is "I'll give anything a shot, though I probably am not the best choice for hardcore yaoi." So far so good. Having translated manuals for machines that make cogs for pegs that go on rivets inside of doohickeys, translating sappy shojo is a true pleasure.

Don't you see other translators as rivals?

This is a curious question I have been asked more than once. I suppose in some ways I should, but the translation industry isn't nearly as catty as, say, a Miss USA pagaent. Because translators are human, and there are only 24 hours in a day, I have found that having friends I can pass work onto, and get work from, is a healthy and profitable approach. I know translators completely intimidated by sci-fi and manga work, where for me, bring it on. A client respects me more when I say "I am sorry, I can't fit that timeline into my schedule, but can I ask another translator I trust to give it a look?" Chances are I can find someone to do it, and then I'll take finder's fee. This way a "stable" of translators can keep each other busy, and none of us are working all night long, but are also not starving.

So there is a little intro to the translator's world. Next time I'll talk about the all-night clubbing with the stars that translators are so often invited to join. 

John Thomas