Having a graphic novels section in a bookstore sounds like a
simple proposition, but the reality of shelving and organizing works by
cartoonists can be complicated. The reasons range from the existential to the
logistical. While some see graphic novels as a genre, others insist it's a
separate medium like text or audio. Despite what the name implies, only some
"graphic novels" are long-form fiction: works in panel-and-dialogue
format run the gamut from war reportage to memoir to slice of life stories, and
even the fictional works encompass fantasy, horror, adventure, short stories,
coming-of-age tales and much more. In addition, there is the question of age
appropriateness: while many comics are great for kids and teens, especially
reluctant readers, many have content that is decidedly not kid-friendly.
So, in reality, these titles span subject matter about as broad as traditional books. How to shelve them?
Many independent bookstores have come up with different solutions by focusing on two major questions: What is the audience for these titles? And where will these titles have the most impact?
At Malaprop's in Asheville, N.C., where graphic novel buyer
Gina Marie Cole has revamped graphic novel shelves in the past few years, there
is a general area for graphic novels as well as a Manga section, a "Comic
Book History, Art & Reference" section and a "Comic How-To"
section for art instruction and writers' manuals. There is a separate shelf in
the children's section for kid-friendly graphic novels, though Cole noted that
she recently "culled most of the young adult titles from that section and
placed them in our general/adult graphic novel section."
In 2007, when Riverrun Bookstore in Portsmouth, N.H., started to raise the profile of graphic novels, the store had separate sections for adults and young adults. Later, however, the store combined all the graphic novels into one section. "We thought at first that the kids graphic novel section would be more successful, but it wasn't," buyer Michele Filgate explained. "It's mostly adults and older teens who buy comics" at Riverrun, so having them all in one place made for better sales among customers who weren't likely to venture into the kids' section.
Even at Books, Inc., which has 12 stores in California, there is no standard approach to graphic novel shelving. "Any time you try to separate things out, ambiguities will appear to ruin whatever scheme you have," said David Ho, graphic novel buyer. All Books Inc. stores have a graphic novel section, but "each store subdivides their section by whatever works for them," Ho noted. This typically means stores "integrate the section into a continuum that includes YA and science fiction," with kids' comics separate, though Ho admitted this works better for the traditional superhero and manga comics than for the "adult/literary" titles.
One solution to the problem of different genres within
graphic novels is cross-shelving graphic novels in the relevant subject areas
throughout the store. Dan Kusunoki at Skylight Books in Los Angeles, Calif.,
has been experimenting with this approach, and said, "It works
great." For example, Darwyn Cooke's noirish story The Hunter is shelved in crime fiction/mystery, and Kusunoki has
been delighted to shelve Asterios Polyp
(David Mazzuchelli's graphic novel of philosophy, architecture and
relationships) next to works by Ayn Rand.
Cole at Malaprop's makes an eloquent case for keeping graphic novels together. "We don't cross-section graphic novels in other areas of the store, mostly because I really want our graphic novel section to 'pop,' " she said. "When a customer browses that section, I want them to be able to see the full range of what graphic novels have to offer. If I took A People's History of American Empire by Howard Zinn and shelved it in the history section, customers might see it or they may totally overlook it. In the graphic novel section, it really stands out. Customers see it and say, 'Wow! A Howard Zinn graphic novel? Cool!' "
Despite the multiplicity of approaches, independent booksellers share some common best practices. Shelving graphic novels advantageously involves understanding the store's customers and market, as well as the content of the graphic novels themselves. It may involve some experimentation to find out what system works best. And as the graphic novel category continues to grow, shelving systems will probably evolve and change as well--just like books in other categories and the bookstore itself.--Jessica Bagnulo Stockton