Rich Johnson

by BWG member Diane Sismour

Writing conferences offer many opportunities for people to network in all areas of the publishing world. The Editor for Ink Lit of the Graphic Novel division for Penguin Books and I met at the 2014 Make Something Magical conference where we spoke in depth. His career in publishing ranges in many areas of the industry, but he’s best known for his involvement with graphic novels. I’m pleased to introduce Rich Johnson to our readers.

BWG: Hi, Rich. I appreciated your candor about the industry at the conference, and the Roundtable readers enjoy learning what’s new in the market. For almost two decades, you have impelled the advancement of graphic novels in the publishing industry. How has the marriage of art and storytelling changed since you began this pursuit?

RJ: The expansion of the graphic novel into new markets like bookstores and libraries gave a new life to the medium. Previous to this expansion, you would have to have a comic book shop near you to be able to find the vast majority of comics and graphic novels that were being published. The availability of comic material is wider than is has been since newsstands dominated the market in the 1940s. Because of this wide distribution, there is the opportunity to find readers who want to explore the medium beyond what has traditionally dominated the industry, and that's super-heroes. That said, it was DC Comics and super-heroes that blazed the trail into bookstores and libraries. The graphic novel gave artists and authors a chance to try new things, and to express themselves in a visual medium in ways they weren't able to before. I don't think books like Blankets or Funhome would have been as successful if they hadn't been available in bookstores and libraries.

BWG: Had you always been interested in graphic novels or comic books, and if so, who was your favorite character or series?

RJ: I learned to read with comics (and was also potty trained with them, but that's probably too much information). But I did stray away from them in high school and college…I was pulled back in by Frank Miller's Batman: The Dark Knight Returns. So, it will be no surprise that my favorite character has and always will be Batman. I like screwed up characters.

BWG: When submitting a manuscript for a graphic novel, you suggested that I send the screenplay, instead of the novel version, of the same story. Does submitting a screenplay present an advantage over sending a manuscript for a writer wanting to break into the graphic novel industry, and if so why?

RJ: Let me clarify a bit what I said at the conference. I said, think of graphic novels like a screenplay. They are in script form, but the structure of a graphic novel script is different than a movie or TV script. A movie script will give location, some direction, and dialogue to tell the story. A graphic novel script can be specific instructions to the artist who is drawing your project. You can even give directions on how you want the book colored. A screenwriter pretty much leaves all those specific directions in the hands of the director and to some extent the set and costume designer, and the film editor. In many respects, you have more control over a graphic novel script as a writer, and you are only limited by the ability of your artist. So if you are looking to have a graphic novel adaptation of your book, and you don't want to write the script, you're putting it into the hands of another writer. But there are writers who can write prose, there are writers who can write scripts, and some can do both. I would suggest you at least try and write your own script.

BWG: Would you prefer illustrations to accompany submissions, or would you rather hire the illustrator separately?

RJ: That's tricky to answer because some writers may get an artist on board who is not very good or who simply may not fit the style needed to convey your story properly. If you have an artist in mind, try and partner with them. If you don't, at least look for styles you might like and send a sample of the kind of art you are looking for.

BWG: From your experience as author of the graphic memoir, “My Father’s Eyes,” is storytelling different when writing for a graphic novel than for a traditional novel?

RJ: Absolutely. While both are difficult, in prose there are ways you can do a quick aside to get a piece of information or plot point out quickly. That same piece of information might take a few pages in a graphic novel in order to set it up the right way. But you can also use visual cues to get character traits across; how do your characters dress, what does their home look like, what kind of car are you putting them in? These are all needed descriptive text for in a prose book that in a graphic novel can be subtle (or not so subtle) visual cues.

In a script, in order to get what you see in your head, I think you need to give very specific instructions to the artist. And if you get the right artist, they will take that and make it better.

BWG: You have an interesting history with DC comics. For those of us unfamiliar with the industry, what was your job description at the comic empire?

RJ: It was pretty simple -- I was to sell and market graphic novels into anything that wasn't a comic book shop. That included bookstores (chain, independent, brick and mortar and online -- when online was brand-new), wholesalers, libraries, mass market, and specialty retailers. But, I also took the opportunity to help launch new imprints -- like MAD Books, create book and action figure packages, and work with licensed publishing to pitch novels, art books, etc. to trade publishers. I also ran the trade shows we attended on the book and library side of things, and would occasionally get involved in newsstand sales. There might be more, but it's early and I need more coffee.

BWG: For many years, manga and comic heroes ruled the ink frames. You played a key role to promote graphic novels in bookstores and libraries. Has the introduction of more mainstream fiction and non-fiction writings helped to change this market, and if so how?

RJ: I think the biggest benefit of these writers entering into the fray is that it helped to legitimize a long maligned medium. And in some cases gave these writers a new audience for their prose work.

BWG: Are graphic novels useful to help reluctant readers become eager readers?

RJ: Yes, and also "visual learners." I personally believe that some schools make reading such a chore that kids get turned off of reading for pleasure. I think comics help make it fun again. I also don't believe that kids need to "graduate" to reading prose and put reading comics behind. We live in a visual society and comics are a visual art form.

BWG: YALSA (Young Adult Library Services Department) has a Great Graphic Novels for Teens Committee (GGNTC) with members from esteemed libraries across the nation. Are you still involved with procuring graphic novels into the libraries?

RJ: I am not as involved as I used to be, but I have and will always support libraries and librarians. They are crucial in promoting reading and learning and the fact that they gravitated to the medium helped prove to others that we deserved a place at the table.

BWG: Do you see acceptance for more titles in this genre because of committees such as GGNTC, or do you feel the market is more audience driven?

RJ: One small correction in your question; comics is a medium, not a genre. There are many genres within Comic though. I do feel these committees help with the acceptance of the medium. I also would like to see librarians, retailer, and consumers look more at industry awards like the Eisner Award and the Harvey's, and support the winners like they do with other book awards like the Caldecott and the Newbery Awards.

BWG: The electronic age has changed the way people read. How is this genre adapting to the transitioning market?

RJ: It's evolving. Right now, I feel the issue is the fine line between a digital comic and animation.

BWG: Rich, thank you for your insightful answers. Is there anything else you’d like to share with our readers?

RJ: Read more comics and graphic novels.