Diamond Comic Distributors, Wolf's Head, and Me

As those of you who follow the Direct Market know, Diamond Comic Distributors has filed for Chapter 11 Bankruptcy protection. Long time watchers of the comic book industry will understand just how surprising of a development this is. For those that don’t, I’ll try and explain.

Once upon a time, Diamond was the distributor for comics in North America and the United Kingdom. That was after the distribution market consolidated around Diamond in the 1980s; prior to that, there was a great deal of regional distribution with comics. Distributors such as Sea Gate, Pacific Comics (both as a publisher and a distributor), Capital City, and — here in Canada — Styx, Andromeda, and Multi-Book among others. Even when Diamond had a quasi-monopoly (and they were actually investigated back in 2000!), other distributors still tried to come and go. My personal favourite was Cold Cut, who I ordered from pretty regularly back in my bookstore days. Another was FM International. Both Cold Cut and FM International were pretty quirky, distributing indy and small press titles that Diamond either didn’t distribute or tended to disappear in their cavernous catalogues. And both are long gone now.

Due to Diamond’s Chapter 11 situation, a number of writers have written extensively on what Diamond was and what the changes in Direct Market distribution since June 2020 have wrought with the company. I don’t want to retread that ground. Instead, I wanted to discuss my own experiences with Diamond, partially because I think it shows some of the problems that Diamond had with small accounts and partially because some of these issues go back prior to 2020.

As a publisher, I have an account with Diamond and have had one since 2010. My Purchasing Brand Manager at that time was Jay Spence. Jay was awesome and quite supportive; with his help I was able to get my two-book graphic novel series, STARGAZER, into Diamond’s catalogue Previews. (Book 1 in the November 2010 issue with item code NOV101057 and Book 2 in the August 2011 issue with item code AUG111259).

While these two books were admittedly pretty rough, though not quite as rough as first graphic novel “the road to god knows…” was, Jay’s encouragement and Diamond’s support led to decent sales for my little black and white graphic novel series. And STARGAZER is still in print and continues to sell to this day, something I’m always a little surprised about.

It would have been ideal to follow-up STARGAZER with something else lickety-split, but I knew that I needed to become stronger. And life sometimes takes us in odd and surprising directions, and some of that happened to. At any rate, time passed and when I was finally ready to approach Diamond again, this time in 2018 with my ongoing series full colour series WOLF’S HEAD, I ran into problems.

The first is that Jay had left Diamond to join Dynamite. All well and good. What was less good was that I was having trouble reaching folks at Diamond. Any folks. Emails went unanswered. I actually wound up tracking Jay down at Dynamite and he managed to connect me with the right person. That person was Leigh Tyberg and this is where things get interesting.

I’ve saved my email correspondence with Leigh, because the emails are a great example about how Diamond and their Purchasing Brand Managers worked. Or, in this case, failed to work, something you’ll see in a moment. To be very clear, the Purchasing Brand Manager acts as a Gate Keeper; they’re the ones who — presumably with discussion with other folks in the Purchasing Department — decide whether or not to carry a title. As I noted above, Jay Spence was incredibly supportive of both myself and STARGAZER, something I’m grateful for to this day. Leigh? Well, you’ll see.

When it came to presenting WOLF’S HEAD to Diamond for distribution, I had high hopes. I had grown a lot as both an artist and a writer and I thought the plan I presented to Diamond was fairly strong; WOLF’S HEAD would be published in 60 page graphic novel volumes, each volume having an ISBN and a spine. The inspiration for this approach, by the by, was actually a title from Dark Horse Comics, a retelling of CREATURE FROM THE BLACK LAGOON by Art Adams. At 52 pages, it was “meatier” then a normal saddle-stitched comic but still affordable. And I liked the format of that book quite a bit.

My decision was also influenced by how Diamond worked. Very quickly, comics and graphic novels distributed by Diamond have to meet a minimum sales threshold. This threshold, called the Purchase Order Benchmark, was originally set at $1,500.00 US but was raised to $2,500.00 US in 2009. Note that was not at retail price but at wholesale. As George Gene Gustines at the New York Times pointed out at the time, “a $2.95 comic book would have to receive a minimum order of 2,100 copies” (2,100 × $2.95 = $6,195.00; since Diamond takes a 60% cut of the retail price, 40% of $6,195.00 is $2,478.00, very close to the Purchase Order Benchmark). This sent shock waves through the industry (hell, so much so that the New York Times commented on it!). Part of the reason this was so monumental was that it marked a significant change from how the benchmark used to work. As Diamond noted back in 2007, “Diamond’s benchmark for comic books solicited through Previews is $2,500 retail.” The new benchmark was actually $6,250 (!) retail, because $6,250 × 40% = (you guessed it) $2,500! That’s a 150% increase, the main reason that small press publishers of saddle-stitched comics at the time were freaking out.

WOLF’S HEAD, as a trade paperback with a higher price point, would have to sell less copies per volume then a normal saddle-stitched comic to reach Diamond’s Purchase Order Benchmark. And having an ISBN for each volume would allow me to access online retailers like Amazon as well as “brick and mortar” bookstores. More venues matter. As it turns out, the online retailers have been a huge part of why I’ve managed to continue publishing WOLF’S HEAD to this day.

It’s important to remember that Direct Market retailers (aka “comic book shops”) have to buy their titles non-returnably. So they are always rolling the dice on small press titles, especially small press titles from unknown — or even lesser known — creators. That makes them understandably gun-shy, especially when they own their mistakes — literally. Unlike bookstores, they can’t return their titles for credit (and while there have been some changes in this regard more recently, this was the case I faced with both STARGAZER and WOLF’S HEAD). So comic shops are, broadly speaking, pretty reticent to buy small press titles, though obviously there are many individual exceptions to this. While it may seem that a lower price point helps here, it actually doesn’t. If a supportive retailer is going to purchase a title, they are probably only going to purchase it in low quantities regardless of what the price point is. They might waffle; maybe they’d buy four or five copies of a $2.99 US title and only two copies of a $9.99 US title, but it’s likely to be around that (obviously this is anecdotal, but I’m partially basing it on my own purchasing habits when I was buyer at the bookstore I managed).

At any rate, this is the situation I faced when I initially reached out to Leigh and Diamond. You can see my initial email to Jay below. Since his reply was from his Dynamite email address, prudence dictates that I probably shouldn’t replicate it here (that or redact it heavily!). The key point is that he did manage to connect me to the correct person, as you will see in a moment. Oh, and as always I should add that Von Allan is my pen name; Eric is my real name. So when you see those references, you’ll know who is being spoken of.

What follows is my correspondence with Leigh Tyberg, my Purchasing Brand Manager. I’ll let that speak for itself. The only thing I’ll add is please note the dates of the various emails.

And that’s where it ended. Leigh (and Diamond) ghosted me. The key thing that’s amazing about this is that Leigh and Diamond never formally rejected WOLF’S HEAD. Obviously they never accepted it, either. Ghosting can be destructive behaviour when one experiences it personally. But when a business does it? When a business that has a stranglehold on the Direct Market — which Diamond had at the time — does it? Well, at least with a rejection you know where you stand. I’ve been rejected boatloads of times. It ain’t fun, but you pick yourself up, dust yourself off, and keep going. But the waiting, wondering if you’ll hear back? Wondering if the ghosting is just something else? That’s awful.

To this day I don’t know what happened. I debated pestering Leigh and Diamond again, but eventually COVID started and the distribution side of the industry exploded. And like many folks with COVID, I experienced a personal loss that put the brakes on a lot of things.

That said, I also don’t hold any animosity towards Leigh or even Diamond, though I’d be lying if I said that the experience wasn’t frustrating. Ghosting isn’t fun, but life goes on. I’m disappointed that Diamond — apparently — had no interest in distributing WOLF’S HEAD, but I’m also pleased that I’m in no way affected by their recent Chapter 11 Bankruptcy filing. Despite it all, Leigh is still listed at Diamond as a Purchasing Brand Manager.

The funny thing about the whole experience was that, in the intervening years, I kept working on WOLF’S HEAD and I kept growing. That led to receiving two separate $4,000.00 grants from the City of Ottawa for my work on the series, being shortlisted for a Peter Honeywell award for my work on it, and finding an audience despite the lack of access by Diamond. Despite it all, WOLF’S HEAD still continues and I’m having a helluva good time doing it.

Who knows, perhaps Diamond will rise like a phoenix and be reborn into something new. Or perhaps after consolidating so much of the distribution side of the Direct Market, they won’t rebound at all. If so, perhaps their fall will be a cautionary tale of what can happen when a company with so much going for it forgets that, at the end of the day, it’s human beings that make a difference. And it’s human beings, both inside Diamond and out, that matter.

Other Links

• Overview of my Comics: http://www.vonallan.com/p/comics.html

• Wolf’s Head (My Ongoing Comic Book Series): https://wolfs-head.vonallan.com/

• Von Allan Studio Shop Page: http://www.vonallan.com/p/von-allan-studio-shop.html

• RSS Feed: http://feeds.feedburner.com/Von_Allan_Homepage

• Mailing List Sign-Up: https://vonallan.us14.list-manage.com/subscribe?u=f6d06612e90503db886a31a24&id=7642c19478

Photos from the book launch of Stargazer

The book launch for Stargazer took place at Ottawa's Perfect Books on Sunday, November 7th. Turnout was pretty good if I do say so myself and the bookstore seemed quite pleased with the sales. That's win-win, I think! What follows are some photos that were taken from the launch. My wife took the first four and the rest were taken by the "The Phantom Photographer."

Photo by "The Phantom Photographer"


Photo by "The Phantom Photographer"

Daytime Ottawa on Rogers TV

Here's an interview I recently did on the Rogers Television program "Daytime Ottawa." Co-host Derick Fage and I chat about the Lulu Awards controversy, my graphic novel the road to god knows... and the launch of my new graphic novel Stargazer at Ottawa's Perfect Books in November 2010.

Lightly-Edited Transcript

TL Rader: Alright, the second half of the show coming up is jam-packed.

Derick Fage: It is.

TL Rader: You’re having an interesting conversation with Von Allan.

Derick Fage: Oh, this is great.

TL Rader: This is going to be neat. I can’t wait to hear you guys have your chat.

Derick Fage: He is a Lulu Award nominee. He’s actually been nominated for three of these awards. And these awards, as a matter of fact, are for books, graphic novels, books by women, for women. Von Allan is a man.

TL Rader: I know!

Derick Fage: So you can imagine there’s a bit of controversy around these nominations. And it’s a wonderful book. As you can see, my bookmark, I’m three-quarters of the way through. It talks about a very important topic. The main character, of course, is a woman.

TL Rader: Yeah, he was nominated in like three categories, right?

Derick Fage: That’s right. One of them being Best Newcomer. And I think that’s really the biggest, most controversial nomination so far.

TL Rader: Yeah, because one was for the character or something. So that’s, you know, but the fact that it’s Newcomer, but it’s a man.

Derick Fage: Yes.

TL Rader: Yeah, yeah, that’s interesting.

Derick Fage: So it’s going to be a great conversation. I’m looking forward to it.

[Transition Break]

Derick Fage: Welcome back to the show. I want you to imagine there’s a set of awards for comics for women by women. And you happen to be a man who writes a graphic novel, a comic, and is nominated for three of those awards. Well, there is some controversy involved. And Von Allan, the author of “the road to god knows…,” joins us on the show. First of all, congratulations on the book.

Von Allan: Thank you.

Derick Fage: And congratulations on the nominations.

Von Allan: Thank you very much.

Derick Fage: Let’s jump into the nominations.

Von Allan: Sure.

Derick Fage: Right off the bat, before we get into the book, because it must have… Did it come as a surprise to you when you found out? Because you were nominated for three awards, correct?

Von Allan: Oh, yeah. I was aware they… It’s all by popular vote. So I was aware that they were happening, and I mentioned to a couple of people online in like early August that, hey, you know, there’s a chance. Go nominate me. You know, what the hell. I suggested to people that, like, best book and maybe best character. I never thought that it would even necessarily be eligible for any of the other categories. So I’m still a bit stunned how it made the other category that’s the contentious one.

Derick Fage: Well, what’s the contentious one? What’s that other category?

Von Allan: Okay. It’s called the Kim Yale Award, and it’s in honour of a female writer named Kim Yale who died of breast cancer when she was 43, I believe. And it’s been around for a while, around 15 years as far as I know, and no man had ever been shortlisted in that category, I guess. So how I got shortlisted in that, I’m not sure, but as it’s turned out, I guess there was never anything in the statutes of that category that forbid it. It just never happened before.

Derick Fage: Okay. So if you win that award, then we could probably see this explode into even more controversy.

Von Allan: Yes.

Derick Fage: Well, let’s talk about the book itself. I had a chance to read it, and you really tackle an important issue that I think is taboo for a lot of people, but you decided to tackle mental illness. Why did you choose that particular topic?

Von Allan: Well, it was a couple of things. The really pragmatic choice is when you’re nobody and you’re trying to do a first book, you either… in comics, it’s primarily superheroes in North America, so you either do your riff on superheroes. Nobody’s ever heard of you. Why would they read it?

Derick Fage: Right.

Von Allan: Or you do something that’s personal. I used to run a bookstore. I know, regardless of subject matter, regardless of, you know, graphic novel or prose or what have you, how hard first-time books struggle with sales. So you might as well do something you believe in.

My mom was diagnosed schizophrenic when I was a kid. It meant my upbringing, I was a sort of single child — my mom and dad split up when I was pretty young — so it meant my upbringing was kind of unique compared to some other people I knew.

Derick Fage: Right.

Von Allan: And I looked around and I just didn’t see really any other graphic novels or comics tackling this subject matter. So I thought it was important. I thought I could maybe bring a bit of — maybe ‘insight’ is too strong of a word — but I had something to say about it. That’s why I did it.

Derick Fage: Yeah, you can share your personal story. I think what’s really intriguing is that you chose to do it from a female perspective.

Von Allan: Well, that was for a couple of reasons. One is I was really sure that if I did it from, if the main character had been a boy, then it would have been very clear, like, ‘hey, he’s talking about himself. Look, it’s right there. That’s him.’

Derick Fage: Right.

Von Allan: So I didn’t want to do that. The other thing is, as soon as I made the main character, Marie, female, it’s fiction. I could play with time. I could take elements that did happen in my life, but I could compress them into a narrative that actually worked for a pacing of the story. In real life, some of the stuff, really all the stuff happened in the book to me, but it would have happened over a number of years. So trying to make the narrative work just over about a month or so was a big deal when I was writing the script.

Derick Fage: Well, and her character has a best friend throughout this.

Von Allan: Yes.

Derick Fage: That’s a great support to her. Is that something that you had in your life? In your life? In your situation?

Von Allan: I did, but not so much through one person.

Derick Fage: Okay.

Von Allan: So Kelly, her friend, is sort of an amalgam of a number of different people. And that’s actually one of the other reasons why I didn’t want to do it as pure autobiographical material, because I’d have to okay this with people.

Derick Fage: Right.

Von Allan: Like, are you okay? Really? Oh, I didn’t represent you? Well, somebody’s coming at me with a knife, you know, or what have you.

Derick Fage: Right.

Von Allan: So fiction just opens up everything. It allows you to play with stuff. I was able to take some of the best elements, what I would consider the best elements of friends I had. And I didn’t have a large number of friends when I was a kid, and I was a pretty shy kid. But it allowed me to say, you know, these people actually did matter. They do help.

And when you’re going through some of this stuff, and you’re going through it alone, it’s very isolating. So just being able to hang out with a friend, blow off steam on a Saturday, or what have you, in hindsight, I had no idea how much that helped go through some of this stuff.

Derick Fage: Right. The character, obviously the main character, Marie, shows great strength throughout this book.

Von Allan: I think so.

Derick Fage: I mean, she really is a heroine. Did you find that you had that kind of strength when you were going through this?

Von Allan: No, but I mean, I think one of the things I tried to do with the book is, to my mind, the sort of the driving force is Marie’s growing up. She’s around 13 in the story. And the awareness she has, and it’s implied in the story, I don’t come out and say it, is she realizes that her mom’s messed up. She can’t solve that problem for her mom. She loves her mom, her mom loves her, but she can’t fix it for her. So Marie has to learn to let go. And in letting go, she’s learning to stand on her own two feet. And that, to my mind, is underlying everything, is the full narrative. It’s her awakening as becoming an adult.

Derick Fage: Right.

Von Allan: And it’s huge. So I mean, the strength is, it’s that awareness. And that she comes to that, I think is, to my mind, is the best part of the story.

Derick Fage: We’re obviously going to follow this story about the Lulu Award nominations and looking forward to that. You also have another book coming out called “Stargazer.” Which is very different from this one that you did. Tell us about the book coming out in November.

Von Allan: It’s about three young girls. It’s a fantasy. So it’s very, very different. “Road” is very much a slice of life story. So it’s about three girls who find themselves, younger girls, who find themselves magically transported to another planet.

And it’s funny because I wanted to do a story that was very different than “road” that actually still sort of hit on some of the same themes. So actually, what I was just saying, letting go is a huge part. These girls want to get home. Marnie, the main character in that story, is dealing with the death of her grandmother. And her inability to let go is a huge part of that story.

So when I came up with the idea, it sort of echoes “road,” but in a completely different way with a very, very different subject matter.

Derick Fage: Yeah, and I can see it too. Because being in that situation where you’ve got, you know, a family member suffering from mental illness and you’re young, you probably got away from it all by fantasizing, right? And going somewhere else.

Von Allan: I think people underestimate the power of escapism. You know, it doesn’t really matter what it is. Even if it’s crap, you know, it doesn’t really matter. Being able to, you know, on a Saturday evening, curl up with comics or watch a movie or something like that. Or as in “road,” you know, watch wrestling or something. Just to be able to take a break from stuff, take a break from your life and pull back is, I think, incredibly therapeutic.

Derick Fage: Yeah, I agree a hundred percent. The book launch coming up in November, tell us when and where.

Von Allan: It’s on November 7th at Perfect Books. It’s a Sunday. And Perfect Books on Elgin Street, 258A Elgin Street at about four o’clock and then we’ll see how long it goes. You know, hopefully lots of people, so it’ll go for a while.

Derick Fage: Well, congratulations. Real pleasure having you on the show. Really appreciate it. If you want to find out more information or follow the story on the Lulu Award nominations, you can visit Von Allan’s website at www.vonallan.com.

Don’t go anywhere. We’ll be right back right after the break.

CCKC Interview November 20, 2009

This is a radio interview I did with Erin Ashley on CCKC radio in Dartmouth, Nova Scotia in the fall of 2009. We discuss my graphic novel “the road to god knows…” and how Children of Parents with a Mental Illness (or COPMI) cope. Or at least how I did. You can listen to the interview by clicking here, playing it using the audio player below, or you can read the lightly edited transcript of the interview just below the audio player.

Lightly Edited Transcript

Erin Ashley: My name is Erin Ashley. I am about to kick out the jams, but I got one little thing left to share with you. And that is about graphic novel “the road to god knows…”, which introduces the reader to teenage Marie. She’s trying to adjust to her mother’s recent mental health diagnosis. Now, schizophrenia is a lonely disease, and graphic novelist Von Allan is one unfortunate soul who knows all about it. Growing up, Von and his mother suffered through her mental illness, but the experience wasn’t completely negative. After all, he was inspired to write “the road to god knows…”, a semi-autobiographical comic which he hopes will help others living with the disease. I got a hold of him via telephone, and this is what he had to say.

I’m curious about the circumstances around publishing this novel. Is this something you put out yourself, or did you have to shop it around a little bit?

Von Allan: I actually put it out by myself. I did shop it around a little bit. It’s a first book, and I’m an unknown creator, so it’s hard right now in publishing to get people to pay attention to you. And I didn’t shop it around to too many publishers, but I decided, you know, you sort of go through the rejection process and what have you, and it’s pretty difficult for any author, no matter how successful they are. And I just went, “it’s a pretty personal book for me. I’d like to be able to control it.” Aside from anything else, it’s pretty autobiographical. So choosing this route, doing the self-publishing route, seemed to fit it really well. And so far the reception is pretty good. Nobody seems to care all that much that I self-published it. So, “yay” for that!

Erin Ashley: Now, you’ve written “the road to god knows…” to create a dialogue about mental illness. Why do you feel a graphic novel was the best way to achieve this?

Von Allan: Well, I love comics. I’ve loved comics since I was about seven or eight years old. And I think comics have a unique power as a medium to actually communicate a little differently than how prose does and how film does. There’s been a lot of different discussion in the past about why comics work the way they do. Some people do “right brain, left brain” theory, that there’s something about the combination of words and pictures, and how they sort of just get right into your head that’s remarkably powerful.

And more pragmatically, too, is when I was sort of trying to figure out what story I wanted to do for my first one, it seemed to be something that not very many other people have tackled. So, as opposed to doing another superhero story or something like that that’s been pretty well done to death in comics, doing something more personal, doing something that not very many other people have tried to tackle, seemed to be a really good way to go.

Erin Ashley: Yeah, definitely. I know it says in your bio that you kind of dealt with a lot of the same things that Marie deals with in the graphic novel. And you actually took solace and refuge in basically the land of make-believe, like wrestling and comic books, like you were saying earlier. So what was so comforting about that land of make-believe?

Von Allan: I think the big thing is that it’s escape. I mean, one of the things when you’re going through something like this — I’m saying this now that I know this. I’m an adult and I can look back on it and what have you, but the story is really autobiographical, aside from the fact that the main character is a girl. Things are really confusing. My mom wasn’t well. I didn’t know why. My mom had went through a lot of nervous breakdowns while I was growing up. And a lot of things didn’t make sense to me. And that confusion is scary. I was scared a lot. I remember being really terrified a lot. Not so much of my mom, but I didn’t understand what would trigger things. I didn’t understand why these things were happening to her. And I was totally powerless.

You know, it’s my mom. I love her. And this stuff is happening and I can’t help. I don’t have the tools to help her. And nobody’s talking to me either. Nobody in the healthcare profession or what have you at the time was able to really communicate with me — sort of push me aside or pull me aside — and explain what was happening.

So, what do you do? You know, you’re going to school. You’re trying to do this stuff and you try to live your life. And I found a sort of happiness and joy in escapism. And I think a lot of kids probably do. So, for me, it was comics. I was lucky enough to meet up with friends who were really into comics and I just fell in love with them. Stuff as silly as pro wrestling like the book talks about. Also science fiction and what have you. It was just things where what was going on was really confusing in my own life. So being able to just sort of stop thinking about it, stop worrying about it, even if it’s only for a couple of hours, did me a lot of good.

Erin Ashley: Okay. So what’s next for Von Allan?

Von Allan: Well, I mean, I’m trying to get this book out there now. And at the same time, I’m working on my next story. So this is going to be very different. It’s called “Stargazer.” And it’s going to be more of a kid’s story with adult themes. So I’m a little this way, you know. I always like doing stories that have reasonably heavy subject matter. So it deals with a lot of themes of death and letting go of things because that’s part of life, too.

It’s funny. When I tried to figure out what to do, I was thinking, ‘what could I follow up “the road to god knows…” with?’ And I wanted to do something at least thematically similar, if not exactly the same thing. So “Stargazer” is a fantasy. But ironically, it does actually tie into that, you know, how “road” works as well. It’s just I had some more things to say.

Erin Ashley: And so when “Stargazer” going to hit shelves, do you think?

Von Allan: I don’t know. I’m 60 pages in. It’s going to start as a webcomic; barring anything weird happening, it will start as a webcomic first. So for free online. And people can find more about that in my website. And that should actually happen in the next month or so. And then we’ll see if it’s popular enough. Then it’ll become a book, as well.

Erin Ashley: Thanks a lot for joining me today, Von Allan.

Von Allan: Oh, you’re very welcome. Thanks for giving me your time.