The history of the rise of graphic novels in the 21st century is not actually written from a business perspective. John Shaableski is the sales manager for Diamond Book distributors from 2007 to 2011, and shares those early memories along with several development timelines. Diamond Book Distributors is the division that sells graphic novels to bookstores, and at one point represents almost every major comic publisher.
2003: Diamond hired Kuo Yu Liang to launch DBD
2003: Librarians begin to report that graphic novels are creating dramatic increases in circulation. The larger distribution of any category or subject is usually equivalent to a library where you buy more copies of the book to meet demand.
2004: The Great Graphic Novels for Teens Committee (Kat Kan (Chair), Eva Volin, Robin Brenner, Barbara Moon, Mike Pawuk, Todd Krueger et al.)
2007: Ku hires Janna Morishima and then John Shaableski
2008: Shaableski joins the BEA Advisory Committee, Morisawa creates GN programming for Anaheim’s Bea, and Shaableski writes programming for both DC’s ALA Annual and Miami Book Fair.
2009: Mori Rigaku promotes the launch of Toon Books at Midfinder ALA.
The committee and programming may not sound like thrilling news – and certainly wouldn’t have made an impact without the great books written by Jeff Smith, Kazukibizi, Reina Tergemeyer and others – But as someone who was reporting on these events, trust me, they were a huge development that led to the current $2 billion North American market for comics.
This is John’s memories in light of the uncertain future of diamonds.
– Heidi MacDonald
By John Shabblesky
In August 2007, I received a call from Kuo-Yu Liang and was invited to join the recently formed Diamond Books Distribution Division. He said they are building a team of people who “know what made things happen or where the next thing happened.”
I met KU at Diamond Books Division Booth a year ago at the American Library Association’s annual conference. Rich Johnson, then the SVP of DC Comics’ trade sales, was incited at his annual conference what would become a pavilion of graphic novels. Rich had been persuading Michael Martens and Darkhorse to showcase at this particular show. Because, as Rich said, “librarians are what the industry needs right now.”
Later that summer, I was caught up in a call with KU. He said, “I think you’re a perfect fit for the team because you’re doing pretty cool things in this department.” He went on to explain that there is a great opportunity for Diamond’s main division to help shape the shape.
Working with markets, librarians and indie retailers, we help comic publishers grow into a market they never understand. He added, “You’re talking about libraries now, but you need help with the independent book market,” so here’s where I’ll start for DBD.
John Shabbleski from his Diamond Era
My first sales meeting at Diamond HQ was truly amazing. The team was basically NASA style skunk works. We have three great people coming from the book Border/Walden: Emily Bottica, Josh Hayes, and Stath Carter. Scott Hatfill came from Ingram’s distribution and developed an international market. Doug White also came from the traditional book market where he was a buyer for Baker & Taylor. Cameron Drew represented the Canadian market through his partnership with Manda Group, and Simon Byrne represented us in the UK and other international markets.
Then there was Gianna Morishima, who came from Scholastic, who co-founded the graphics imprint. This was the one who brought the bone flop to the same building that was ruled by Harry Potter. Janna’s diamond gig was to develop a kids’ publishing program.
When I first looked around the room at that meeting, I realized that KU had made something quite amazing. Even in New York, Miami, Chicago, West Texas, whenever there’s an idea that could take us somewhere else, they’ll say, “I’ll go find something we can.”
On a great October day in 2008, both Gianna and I were in New York for a meeting. I was on the Advisory Committee for Book Expo America, and with that meeting, Janna and I worked with Francoise Mouly on the launch event for her Toon Books imprint (this is the American Library Association’s (It will be held at the midwinter meeting). In addition to other meetings, Gianna invited me to attend a meeting in the mayor’s office and attended a meeting with Barbara Stripling, who was then director of NYC Education’s Library Services.
The meeting came thanks to Gianna’s friendship with Melissa Jacobs, who worked at Barbara. Barbara gathered staff for the meeting. There, Gianna and I were able to share with them how the market is growing and how the value of children’s comics can quickly become a great tool for childhood literacy. Gianna spoke from the editorial and development aspects, but highlighted the importance of the impact public libraries had on categories. The main points are as follows: Indie bookstores didn’t know what the graphic novel was. The comic book shop didn’t carry them, but librarians knew that these books were driving the business in ways they hadn’t seen since the video arrived. The original entry point for the graphic novel passes through the Young Adult section and you can find the titles of the first seconds, Viz, and Tokyopop.
During this meeting, Gianna began to explain how the comic works for early and challenging readers. We were able to share market development information about the explosive impacts that graphic novels had on public library distribution. With in mind, this approach by the director and her team was not quite common, as school libraries and public libraries have very different approaches to how to choose and buy books.
When we were finished, Stripling simply stated that Janna and I would be offering in-service training sessions for NYC education librarians following the spring. She didn’t ask or demand – she simply said it as it was intended.
When we left the building, it made it clear to both of us that we were going to talk to librarians representing over a million students. Graphic novels quickly became “things” at schools in New York. It happened for Gianna.
So, what happened to our book department? We hamed by an outdated operating system created for comic retailers and financial conditions designed to control comic shops. The ordering system and title database were all DOS. Yes, a strange green screen with the grey lines that most companies left behind in the late 90s. Diamond was still using it in 2007. And due to the incredibly inert system, the library could not be ordered directly from us.
The job around was to promote the publisher at trade exhibitions and convince the librarian to order from places like Ingram, Baker, Taylor and Brodart. Even the process of loading title data into this system was driven by “direct market staff” with titles in one title at a time, and he did that using the direct market language. This is like speaking Aramaic when the entire world of publishing and distribution speaks English. When I asked him about this, he simply shrugged and said, “I don’t know a man, this is what I was told to do.”
What about the development of the Indie Bookstore Market? It was not shaking from the direct market conditions of diamonds, namely the delivery tax payments at comic shops. Indie Bookstores get standard payment terms from traditional publishers that allow you to try new authors and publishers with the opportunity to return unsold titles and payment delays of up to 120 days. Again, these types of terms allow and encourage market development for any publisher.
In DBD, even the return policy was abusive. The store got a box of crap that wasn’t even relevant to their orders, and they’ll stay with it as people who handled retailer returns either didn’t care or had no clue. When I asked the woman in charge of our credit department about the policy, and with in mind, she was hired away from the main home – her response was, “Directly marketplaces are what you’re doing in bookstores and this is If you hear that you’re doing it, everything will do. Go to the side.”
We had a solid team in this department. We have developed a great partnership with indie booklip companies and have broken in with library wholesalers.
Therefore, the recent news of the economic end of Diamond is not so surprising. That’s sad in many ways. Our team did a lot of work on everything we had. We had a think tank where any idea could lead to change in the industry. KU has given us all the room for all kinds of driving as long as we were growing the market across the industry. Some publishers listened and flourished, while others did not. If diamonds adapt and evolve, this becomes a completely different conversation.
Before joining the publishing industry, John Shaableski led his previous life on radio broadcasts and cable television. Over the past 20 years, John has been involved in book distribution, library wholesale, professional development, conventions and conference development. He founded the Industry Award and became a ju judge for the Eisner Award. He consults the Will and Anne Isner Family Foundation, the Norman Rockwell Museum, Archie Comics, Heavy Metal Magazine, Udon Entertainment and several other homes. He currently manages Otto Bookstore, one of the oldest independent bookstores in the country.
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