Why should I publish people who are already published?: A conversation with publisher and illustrator Annette Köhn

Annette Köhn is a renowned publisher, illustrator and graphic designer based in Berlin, Germany. Her continuous effort to work with young and up-and-coming artists through her publishing house Jaja Verlag has won her many accolades, including the Deutscher Verlagspreis (German Publisher Award) in 2020 and 2021. She was also shortlisted for the Berlin Publisher Award in 2021. Her first autobiographical graphic novel Verlagswesen (The Art of Publishing) was published in 2021.

Annette was one of the key figures from the West to have graced the recently concluded Dhaka Lit Fest 2023, where she was a speaker at two sessions.

Annette Köhn sat down with The Business Standard for an interview.

This is probably your first visit to Bangladesh. How does it feel to be in this country? How has been the Dhaka Lit Fest experience for you?

Well, this is exciting, very interesting, but somewhat strange as well.

[Strange because] this is a literature fest, intellectuals from all around the world are here, and so many fascinating sessions are happening. Still, I can hear so much noise coming from the outside.

Have you had any conversations with Bangladeshi people interested in art, comics and graphic novels?

Yes, I have had conversations with the people in the Goethe-Institut Bangladesh. I also had meet-ups with Bangladeshi cartoonists and comic artists. Then just the other day, a young couple came up to me. They are newcomers in this sector and were very interested to share their thoughts with me. It felt good to get in touch with the raw Bangladeshi talent.

Let's talk about comics. What do comics mean to you? What constitutes a good comic in your opinion?

I love comics. It means the world to me. I like it a lot as an art, as a kind of literature, a tool to connect with people, even if you don't speak the same language. It can create bonds, create a community, and transcend borders in the process. Besides, comics are one of the easiest mediums of communication. Just by looking at a picture, one can perceive a lot. Even children can understand comics without knowing how to read.

As a publisher, I can sometimes be very mean. But for me, comics should be attractive and striking. It should hit the viewer's mind. The first thing I notice in a new comic is the strokes. If the strokes do not seem appealing to me, I don't publish them.

Given the current state of freedom of speech all over the world, how effective can comics be as a medium of self-expression?

Comics are a very effective medium for self-expression. The creative world is shrinking due to the lack of freedom of speech, but still, you can speak volumes with just a few strokes.

In the age of the Internet, has visual media become more important than in previous eras?

Definitely, visual media is evolving, thanks to the internet. If I talk about Germany, comics were always very popular. In fact, after the second World War, the first comics arriving in the country from abroad were Americans. That is the power of comics to transcend borders. But there are still some challenges as a whole. Comics are becoming more and more popular but there are many children who only like to look at the pictures, and not read what is written underneath. So, we still have a long way to go.

What is your take on self-publishing on social media platforms? Is it sustainable in the long run? Can it help young artists?

I am not a big fan of ebooks. I love books in their physical forms. I like paper, I like to flip through them while reading. And it is never possible to format a graphic novel properly as an ebook. But self-publishing on social media platforms like Instagram is very important for young artists to not only grow, but also get recognised by a larger audience. You can tell a small two or three-page graphic story on Instagram and reach a lot of people instantly, and get a lot of eyes on you.

Even in my publishing house, Jaja Verlag, I found at least three artists from Instagram. I saw their work on social media, loved and recognised them, and then invited them to do real books with us.

As a veteran in this industry, what do you think are the major differences between traditional and digital comics?

It is very basic. There is one you can hold with your hand, as it is a real object. You can keep it in your suitcase and take it anywhere with you. It gives you an authentic feeling. And the other one is just a simulation. But yes, it can reach millions of people in the blink of an eye. So it surely has its plus points as well.

But from a publisher's perspective?

I have never published an ebook, and I have no intention to do so. For me, small stories on Instagram are appropriate, but I never support hundreds of pages of graphic novels to come out as ebooks. They just kill the aura and everything that is special about comics or graphic novels.

What is your take on the current graphic novel scene in Germany?

It is very vibrant. There are three kinds of publications right now. There are bigger publishing houses, smaller publishing houses, and then many opt to self-publish. We have festivals all around the year where writers, publishers and readers gather, [and] share opinions and thoughts on how to take the industry ahead. All in all, we have an exciting community which is eager to continue the way it has been over the years. But at the moment, publications are going slow for a bit due to the paper price hike.

How promising is the future of graphic novels?

I am optimistic. Graphic novels have a very diverse and wide range of audience, which is always growing. We are now getting more respect and recognition than ever before. I only hope for the trend to continue.

Have you read or heard of any Bangladeshi graphic novels as of now?

No, I haven't yet got the opportunity to read any. I have seen a few, flipped through the pages and enjoyed the artwork, but they were all in Bengali. I am in search of some English-translated graphic novels.

Tell us about your journey as an illustrator or graphic designer. How long have you been in this sector?

I was studying graphic design until 2005. Then I joined a co-working space with mostly illustrators. In those days, I started meeting a lot of comic artists and illustrators. I started going to many festivals, especially the comics and sketching festivals. Through these visits, I got to know and recognise many artists. They had their own finished or half-finished novels or books, and they were looking for opportunities to get published.

The established publishing houses were not ready to give these newcomers a break. That is when the idea struck my mind that I could find a publishing house myself and work with them.

We heard that founding a publishing house was your childhood dream. Can you describe why or how you harboured such a dream?

Since childhood, I had dreams of becoming many things. But one dream that has remained constant over the years was to become a writer. I remember when I was in elementary school, our literature teacher would ask us to write a page on ourselves or any other topic. But I was so passionate about writing that I would write five pages. And you see, comics or graphic designing is also an extension of that job – to tell stories. And founding a publishing house has also complemented that dream because through Jaja Verlag, I am helping others to tell their stories and get published.

Your publishing house is now more than a decade old. How has the journey been so far?

When I first started, I had no academic or practical knowledge. I learned through my own struggles and challenges. But they taught me better than the lessons any course could offer. And here I am, having published over 200 books so far. Now I can proudly say that my publishing house is a renowned name in the comics book market of Germany, or the entire book market for that matter.

Why do you work with young and up-and-coming artists mostly?

Why should I publish someone who has already published books from other publishing houses, and is a well-known name to all? That just does not make any sense.

For financial benefit, maybe! Books of already established writers and artists would sell more.

Well, I don't think that way. I always wanted to create a platform for young and enthusiastic people who need support, and that is exactly what I am doing. I don't look for profit. I just love to see young artists grow and go places.

What is your future plan with the publishing house and your own writing?

So the thing is, I am going on a sabbatical once the Lit Fest is over. I will not publish any new books this year. I am a workaholic and I have been working with Jaja Verlag for the last eleven and a half years without any break. I think I have now surpassed my limit, and lately, I have been very exhausted.

In the meantime, I will concentrate on my own sketches and illustrations. I don't know what will happen in the end. Maybe by the end of the year, I will have completed a graphic novel or a series of eight to 10 graphic novels!

Best of luck with your sabbatical plans. We will wrap up the interview now. Thank you so much for giving us your precious time.

It was a very long and interesting interview indeed (laughs).