ANNcast 221

anncl“Helen McCarthy, in a hat, outrunning a giant boulder made of porn.” I finally unlock the achievement of being interviewed on an Anime News Network podcast, about the world of the Anime Encyclopedia, the misery of Dog & Scissors, and other excitements, in a feature-length rant with my co-author about the state of the industry and the unkindnesses of readers.

“Concis et tentaculaire”

ae3Over in the Swiss newspaper Le Temps, Jonas Pulver inadvertently coins the superhero identities Helen McCarthy and I would use if we were fighting crime. I’m Concis, she’s Tentaculaire.

“…l’encyclopédie est aussi une excellente porte d’entrée sur l’environnement médiatique du Japon, à l’image du fonctionnement complexe du sponsoring et de la publicité, de l’intertextualité des œuvres, ou de l’influence des groupes de fans. Concis et tentaculaire, The Anime Encyclopedia se lit par sauts de puce, en se laissant porter d’un article à l’autre au gré des affinités thématiques. Le plaisir de la redécouverte y flirte avec l’inédit.”

Back in the Japan Times

AnimeEncyclopedia3 copyAnd I’m back in the Japan Times again, this time in a review-interview by Roland Kelts, in which he compares the Anime Encyclopedia to the ravings of an Irish drunk.

“The book is almost Joycean — you can dip in and out of its pages and entries at any point and derive delight. My favorite entries make me want to watch titles I haven’t yet seen and revisit those I have, and the authors’ disquisitions on related topics such as fandom and the future of anime consumption make further exploration irresistible.”

And if you’re wondering how I can publish a 1200-page book only a month after Modern Japan: All That Matters, it’s because the editorial process of the Anime Encyclopedia is so long and complex that it took more than year from the initial delivery to lay-out, check and augment.

The Prologue…

ae3Just a little taste from the introduction to the new edition of the Anime Encyclopedia, due out in December 2014. The passage excerpted outlines some of the changes and new additions to the book that has been keeping me busy, on and off, for the last two years. We’re currently on the fourth or fifth read-through in search of adjustments and typos, and sneaking in the last few cheeky last-minute entries.

1200 pages. Imagine.

Orange is the New Black

ae3Over 1000 new entries, over 4000 updates and corrections, countless new arguments ended (and begun). The third edition of the Anime Encyclopedia brings the landmark reference work up to date with six more years of information on Japanese animation, its practitioners and its products, as well as incisive thematic entries on its history and culture.

It’s scheduled for publication in December, but already has a pre-order page up on Amazon (and in US).

"I have not told the half of what I saw."

Although they may be self-indulgent and self-regarding, I’ve really been enjoying everybody else’s round-ups of the ten years since the numbers rolled over from 19– to 20–. Herewith the last decade as it looks from here.

2000. In the first week of January, I discover that I am not going blind after all. Instead, the screen is dying on the laptop I have used since grad school. The purchase of a new desktop unit brings the internet into my home for the first time, and with it, an avalanche of Amazon parcels. Manga Max magazine is shut down in July, two days before I receive a Japan Festival Award for editing it. I write six episodes of Halcyon Sun, and briefly work on an IMAX movie project that falls at the first hurdle. Then, I’m hired to storyline and then co-script a console game that has been part-funded by a crazy arms manufacturer.

2001. The mad game is cancelled, apparently because of 9/11. By this time I am already working on another console project, writing three new “episodes” for a much-loved sci-fi franchise. It is only after the voices are all recorded, with the original cast, that the manufacturers decide to pull the plug. Something to do with the game being a stupid idea in the first place. All this gaming money gets funnelled into the Anime Encyclopedia, which eventually breaks even for me in 2007. I love working on that book so much that I look forward to getting out of bed every morning (a condition regularly repeated over the following years — I really do love my job). My first trip to America: Atlanta, for the book launch.

2002. Having superb fun working on the Dorama Encyclopedia. I am a presenter on the Sci Fi channel’s bizarre and mercifully forgotten Saiko Exciting, which first involves me reading the anime news, and later speed-translating and performing modern pop classics into Mandarin. I am offered the editorship of Newtype USA seven times, but decline because I have just got my dream job: a publisher has commissioned my obsession of many years, Pirate King. First DVD commentary, for Appleseed; I’ve since done many more for Manga Entertainment, Momentum Pictures, Artsmagic and ADV Films. Consultant on the first season of the TV series Japanorama. Film festivals in Italy and Norway.

2003. Working for a famous toy company on the “story” that will accompany their new line of toys. Fantastic fun, and very educational. Back to Japan for the first time in years, Kyoto and Tokyo; Dallas for another anime convention, and Turku, Finland. Writing the Highwaymen novelisation, and a whole rack of Big Finish scripts, including Judge Dredd, Strontium Dog, and Sympathy for the Devil. Start learning Finnish, because life’s not difficult enough.

2004. Sign a deal to write a book a year about China ahead of the Beijing Olympics. This year, Confucius: A Biography. Back to Atlanta for another anime convention. Buy half a flat in London.

2005. A Brief History of the Vikings presents a fantastic excuse to poke around old sagas for a few months. Present my History of Japanese Animation lecture series at the Worldcon in Scotland, and later sell it as a series of magazine articles. I also write a massive 12-part History of Manga for Neo magazine. Start writing the Manga Snapshot column, which is still running five years later. Publication, somewhat late, of my novel Ruthless.

2006. The First Emperor of China. Off to Xi’an and Beijing. A new edition of the Anime Encyclopedia. Consultant for The South Bank Show on anime, although I am largely ignored. Write the novella Cheating the Reaper.

2007. Got married — honeymoon in Estonia after Mrs Clements vetoed Georgia. Wu. Not a book title that is easy to bring up on search engines, although you can hear me doing a great interview about it here on Radio Four. Before it’s even published, there are excited feelers from a TV company, which hires me to work on the outline of a 16-episode drama series based on the early Tang dynasty. Nothing comes of it, although I do spend the money going to Japan to get materials for another book: Nagasaki and the Amakusa archipelago.

2008. Beijing: The Biography of a City is published. But my next book, Christ’s Samurai, is left in limbo when Sutton Publishing can no longer afford to pay for it. Luckily, Haus Publishing has decided it wants a massive multi-volume history of the Paris Peace Conference, and has me writing the biographies of the Chinese and Japanese representatives. Big Finish scripts for Highlander and Doctor Who. Titan Books ask me to start this blog.

2009. Switzerland for the Locarno Film Festival. Back to Japan for a month getting materials for three new book projects. Then Shanghai, Sydney, Melbourne, Honolulu, San Francisco, Vancouver and New York on the way home. Mannerheim: President, Soldier, Spy is a Christmas bestseller… in Finland, although it goes down a storm at the launch in London’s Finnish Institute. Big Finish scripts for Robin Hood, Judge Dredd and Doctor Who. My collected articles and speeches appear as Schoolgirl Milky Crisis. I am rendered poor as a church mouse by an exploding boiler.

2010. Next year, I am supposed to be going to Taiwan for the filming of Koxinga: Sailing Through History, a documentary for National Geographic. I have two big publications coming on Admiral Togo and A Brief History of the Samurai — although if it’s got more than 300 pages, can we really call it brief? I’ve got a deadline for another book in January, and after that, who knows…?

I don’t know about you, but that little list sure scares the hell out of me. This, I guess, is the flipside of those cheery little adverts in the broadsheet press, that trill “Why Not Be a Writer?” That’s why not. Because unless you love your job so much that you need to be dragged away from it, you will never put in the required hours. And yet, like Marco Polo, “I have not told the half of what I saw.”

Happy New Year.


As if by magic, the First Emperor of China rears his ugly head again only a few days later, with the word from my publishers that he’s finally earned out his advance. This is a cause for great celebration for an author — it means that a book is performing in a manner which the publisher is liable to find satisfactory, and is now, at least in theory, a little income-generating machine that can be left to perpetually whirr away in the corner and occasionally spurt out coins.

Opinions are divided about advances. One acquaintance of mine is always despondent when a book of his earns back its advance. He regards it as a sign that he wasn’t paid enough in the first place, and that he should have held out for more money. For my part, I regard an advance as a two-way contract, in which a publisher’s faith in a book’s potential is borne out by a sum paid over before the book has even started to earn any money… i.e. “an advance”. The clues are all there in the name… If it does well, everybody wins. If it doesn’t, well, someone overestimated the book’s (or the author’s) likely appeal.

The first edition of the Anime Encyclopedia, if I remember rightly, earned back its advance in a terrifyingly swift six weeks. For books that don’t quite fly off the shelves so fast, three or four years seems to be a reasonable time. My First Emperor book was published in 2006, so it’s done very nicely: with a hardback, a paperback, a dozen foreign editions, and as a cherry on the cake, an edition published in Chinese. My publishers, my agent, and I are entirely baffled why the Chinese would actually want to read what I have to say about him, but their money’s as good as anyone else’s.

The Terracotta Army exhibition helped, as did the opera in New York and the attention I got a year later from the Empress Wu, with some territories buying Wu and coming back for the First Emperor later on. But now, since the advance is all paid off, if there are any future sales of foreign editions (COME ON, NORWAY! WHAT’S KEEPING YOU?), then it’s all gravy. Now all I need is a hundred people to buy a copy, every day, for the rest of my life, and I can retire….

I said it was an income-generating machine; I didn’t say it was a *big* income.