What makes a novel sell more than a graphic novel?

[Speed Force League Unlimited]

You see news and statistics of a standard text novel selling 40 million copies or more.
If a graphic novel came from the same author or was inspired by said author, it doesn't sell anywhere near as well, it barely sells 200 thousand copies.
There's gotta be a bigger reason than "panel art is for the adolescent", multiple reasons in fact, especially considering the constant uprise of comic book movies.


Maybe someone like Kurt Busiek should try their hands at writing the usual text novel.

[Spike-X]

Because more people read books than read comics.

Maybe someone like Kurt Busiek should try their hands at writing the usual text novel.

Maybe he don't wanna?

[Spike-X]

Also, did you pull that 40 million figure out of your arse? According to this list, most novels don't sell anywhere near those numbers.

[Speed Force League Unlimited]

Because more people read books than read comics.

This is something I wonder about.
By graphic novel I do mean an actual graphic novel, not comics in general.

Maybe he don't wanna?

Someone, not necessarily him.

Also, did you pull that 40 million figure out of your arse? According to this list, most novels don't sell anywhere near those numbers.

My fault for not being clear.
When I said standard I did not mean any novel, I meant stories that are more text words and less images.

[Attila Kiss]

It's a simpler form of entertainment, with no stigma attached. You read the "text" novel and use your own imagination to form the visuals. It's not uncommon for the reader to imagine one, if not the main character, as him/herself and "participate" in the adventure... even if the writers description of such doesn't match. And how much fun is to imagine your boss as a villain. Never gets old.

Comics, Graphic novels on the other hand, have art.
Art is the first thing you see and it doesn't matter how good it is, someone will always find it inadequate or not to his liking.
It also shows you what these characters look like and if they don't look like "someone you know", it's harder to find the way to connect with them.
This is before we go into the stigma about the comic books. "It's for children" Of course, those people who read them 40+ years ago aren't far from the truth.
I read the first appearance of Superman. It's like written by a 5 years old for a 3 years old. Writing improved a lot since then, but those who believe it's for children are not willing to give it a chance.
(I know... I tried... and I wash my hands. )

As for who should be writing text novels: it's Bendis.
Bendis should only be allowed to write text novels.
It's always better to read about characters constantly talking around the table, than watching them talk around the table.

[Shawn Hopkins]

This is something I wonder about.
By graphic novel I do mean an actual graphic novel, not comics in general.



Someone, not necessarily him.

Like maybe Peter David or Neil Gaiman? Bet those guys could write novels if they wanted.

[Spike-X]

By graphic novel I do mean an actual graphic novel, not comics in general.

Still comics. Just with a fancy name.

My fault for not being clear.
When I said standard I did not mean any novel, I meant stories that are more text words and less images.

I know what you meant. It's still not an accurate figure.

[codystarbuck]

Prose novels aren't selling 40 million copies; not in the US. Maybe Harry Potter, worldwide; but, that's about it. I was a bookseller for 20 years. The top bestsellers may sell a few hundred thousand copies; but, very rarely does one top a million; and, those that do hit that mark do it over a prolonged period of time, including reissues and new movie tie-in editions and the like.

The average novel may sell anywhere from a few thousand to tens of thousands, depending on genre, author's name recognition and spending any time on a bestseller list. The average lifespan for book sales is 8 weeks. They start slow, peak around week 4 or 5, then drop off again, creating a bell curve. That's the average. A major marketing push and exposure in major media outlets can change that. Oprah could turn a book into a bestseller in one show. More people were reading Anna Kareninina due to her including it in her literary bookclub than ever read it in school, let alone on their own.

Publishing, in the US, has been hurting for a while; since at least the late 90s. Borders bankruptcy took away a serious chunk of the buying market; a large percentage was not absorbed by Amazon, B&N, Books-a-million, independents or other outlets. They just stopped. Digital was gaining for a while, then kind of plateaued.

Peter David, in his But I Digress column, in the Comic Buyer's Guide, talked about how he earned more income from writing comics than he did bestselling Star Trek novels. Part of that was the royalty situation with Paramount; but, not all of it. His other prose work didn't sell as consistently as comics. However, authors own their copyrights and can potentially make big money if it is adapted elsewhere, vs little to no ownership in the comics world, outside of the independents.

The bestselling graphic novels are the ones read outside the normal comic circles; meaning, those that have reached a mass audience, for one reason or another. That means Maus and Persepolis, which are read in schools; and the works of people like Neil Gaiman (mainly the Sandman stuff) and Alan Moore, who've gained a name beyond comics, as well as Frank Miller, when there are movies out. Beyond that you are talking about stuff like Bone and Tintin, which sells to kids, and manga, which is a whole different audience.

[kane]

A book offers more bang for the buck than a graphic novel. A TPB usually costs less and takes more time to read than a graphic novel.

[Carabas]

I can see three major factors...

* Novels don't carry the "for kids only" meme anymore.
* Novels have way better distribution.
* Novels are finite things that don't cross over with dozens of other books on a weekly basis. You buy your book and you read it. And if it is one in a series, you wait a few years before you buy the nexy one. And you don't have to have read the Harry Potter and True Blood books to understand The Hunger Games.

[Carabas]

As for who should be writing text novels: it's Bendis.
Bendis should only be allowed to write text novels.

He'd be terrible at it. His style heavily relies on the panel to panel beats. He's one of the most pure comicbook writers I know of.

[codystarbuck]

He'd be terrible at it. His style heavily relies on the panel to panel beats. He's one of the most pure comicbook writers I know of.

Well, he has aspired to writing screenplays (as did James Robinson).

Several comic writers have done novels, with little success. Steve Engelhart has a couple out there, I believe Jim Starlin had at least one. Marv Wolfman did licensed stuff; but, I could swear he had at least one original. Tony Isabella did a licensed Marvel book. Len Wein has done licensed; not sure about original. Denny O'Neil has done licensed and a couple of pulp novels (including one with Richard Dragon); Roger Sterne did the Death of Superman prose novel. Neil Gaiman is, by far the most successful in that realm; but, he came from journalism, before comics, so he already had experience beyond comics. Alan Moore's new novel is getting some pretty darn good reviews, so we will see how it does. The length (something like 1200 pages) will put off a lot of people. Of course, you have had the reverse, of prose authors who have dabbled in comics.

In terms of licensed comic book-based prose novels, the best were from Elliot Maggin: his two Superman novels, released with Superman and Superman II. His novelization of Kingdom Com is also excellent.

[Carabas]

Well, he has aspired to writing screenplays (as did James Robinson).

And if Attila Kiss had said he should do screenplays instead of novels, I probably wouldn't have replied to that. Because comicbook scripts are a lot closer to screenplays than they are to novels.

[Spike-X]

Well, he has aspired to writing screenplays (as did James Robinson).

Several comic writers have done novels, with little success. Steve Engelhart has a couple out there, I believe Jim Starlin had at least one. Marv Wolfman did licensed stuff; but, I could swear he had at least one original. Tony Isabella did a licensed Marvel book. Len Wein has done licensed; not sure about original. Denny O'Neil has done licensed and a couple of pulp novels (including one with Richard Dragon); Roger Sterne did the Death of Superman prose novel. Neil Gaiman is, by far the most successful in that realm; but, he came from journalism, before comics, so he already had experience beyond comics. Alan Moore's new novel is getting some pretty darn good reviews, so we will see how it does. The length (something like 1200 pages) will put off a lot of people. Of course, you have had the reverse, of prose authors who have dabbled in comics.

Chris Claremont wrote a novel at the height of his 80s X-Men success. It sold into the dozens, I believe.

In terms of licensed comic book-based prose novels, the best were from Elliot Maggin: his two Superman novels, released with Superman and Superman II. His novelization of Kingdom Com is also excellent.

Maggin's Last Son Of Krypton is the best Lex Luthor story ever.

[codystarbuck]

Chris Claremont wrote a novel at the height of his 80s X-Men success. It sold into the dozens, I believe.



Maggin's Last Son Of Krypton is the best Lex Luthor story ever.

I forgot Claremont. His solo books, First Flight, Grounded, and Sundowner did okay, for average sci-fi. I read the first one and I think I read the second (this was 20 years ago; but, I believe I read the sequel); but, not the third. They were okay; fairly derivative. He also wrote some Willow-based novels, from George Lucas' outline. Never tried those. he also contributed a story to George RR Martin's Wild Cards series of "mosaic" novels (multiple writers contributing segments of a larger story) which was decent; but, not on par with the heavyweights of the series, like Melinda Snodgrass, Walter John Williams and John J Miller.

John Ostrander has written plays, especially before entering comics.

Of course, a few of comic writers have gone on to successful prose careers, aside from Gaiman and David. Alfred Bester wrote Green Lantern, before he hit it big with The Stars My Destination and The Demolished Man. Mickey Spillaine wrote some comics before I, The Jury. Otto Binder, who wrote Captain Marvel, for Fawcett, and stories for the Superman titles, at DC, also wrote some sci-fi prose with brother Earl. They wrote together as Eando (E and O) Binder. Gardner Fox wrote a whole bunch, for the pulps, for the early paperback publishers, sci-fi magazines and wrote a bunch of barbarian novels. Gaylord Dubois, who wrote for Gold Key, wrote some licensed books (including the first Lone Ranger novel), some Big Little Books and some literary adaptations for juveniles. Louise Simonson did some adaptions for DC's juvenile adaptations, including the Death of Superman.

I agree about Maggin and Luthor. Maggin made the old Luthor work and gave him a great personality. He was brilliant and sarcastic, always 20 steps ahead of everyone, except Superman. Clark Kent was the closest thing he had to a friend, in Smallville and he got into trouble by being bold and unsupervised, in need of attention for his brilliance. His father was often absent and he lacked the guidance that Clark got from Jonathan. He idolized Einstein, kept a series of secret identities to further his inventions or hide them, including some that performed altruistic acts (like a globe-trotting doctor identity he used). He was a mass of contradictions and if Maggin had been allowed to write those kinds of stories in the comics, they would have stood head and shoulders above the rest. he did some classics, though, like "Must There Be a Superman," from Superman #247.