Hey Publishers... Give Me a Break On Your "Sell Out" Hype.

Dear publisher (you know who you are),

You sold out of an issue on (or before) release and you think that is brag worthy?

Really?

Remember when the last Harry Potter book came out and nobody could buy a copy because it sold out before it shipped?  Remember going back to the bookstore(s) week after week without finding a copy and having to pay over cover to buy it on eBay? Me neither.

C'mon guys.  If you're going to hype a sell out, at least tell us how many you printed?

You don't want to say?

Yeah, I wouldn't either, because

• selling out of a print run that you had total control of
• to a market that tells you how many they want to order 4-6 weeks in advance

means you did a poor job of estimating demand.  Doing a lousy job is really not something to be celebrated, is it?

This was YOUR BOOK.  You created/facilitated it, you believed in it enough to print and solicit it, you knew EVERYTHING about the book and then expected retailers to take an inventory position on it that your weren't willing to do yourself.  Congratulations!

How many hundreds or thousands of sales did you lose, just so you could announce a sell-out and maybe get a few hundred more people to buy the second printing.  And those lost sales not only come from this issue but also the sales that might've come from subsequent issues that won't be bought because you made it to difficult for consumers to buy into your series.

Now if you're a company that generally sees sub 50k sales on your titles and you sold through 75k or more, moving you well into the Top 10 comics, I take it all back, you really did a phenomenal job.

But if you are a company who is licensing huge franchises /and/or creators and selling out of print runs of 50k or less, you are failing!!!

Failing to establish a market and failing to convert the millions of fans that got you hot and bothered enough to grab that license. This applies to the bigger folks that own their licenses and still play this game and yes I am looking at you DC comics.

How in the world, do you decide that things in your universe are so untenable that you need to chuck EVERYTHING to recreate all of your trademarks to make them interesting enough to not only woo back lapsed readers but create new readers from the millions who have never read comics and then not print enough copies for these new readers to buy?

Did nobody in all of DC have a target that took any of your recent event books and multiplied them by 2 or more?  Because folks are deriding retailers who had to buy this work without much info or protection and still ordered multiples of their recent #'s on similar books.

I will look more at the DC vs DM numbers next week, wait til you see my wild assumptions about that.  Gotta go set my e-mail filter to shit- can e-mails with the phrase "sold out".

An Interview With...Me!

As I become more tech and social media savvy, I've been using Google to keep an eye out for mentions of my name as well as Comickaze.  Recently it turned up an interview I did in early 2009 for a student project that ended up posted to YouTube. 

It's longish, at almost an hour but still relevant and interesting (if I do say so myself) and I really don't think I'd answer anything differently today.

So, submitted for your approval, me!

Hey Small Press Publishers, Wanna Go Steady?

Recently, Dan Vado, head of SLG Publishing made the following statements regarding SLG's struggles within the Direct Market, in response to my last posting. And I wanted to address them separately so as not to further stray from the topic of that posting which was the ability of creator ownership to save the industry.

If I didn't HAVE to sell at conventions or online, I wouldn't. Chicken and egg situation perhaps, but the fact of the matter is that if I could make our monthly nut by just selling to the direct market, I would. The tremendous hassles associated with selling at shows or online would be well worth shedding if I thought people would buy our books from stores like yours.
I can't speak for other publishers, but from my experience I have NEVER seen a greater sense of direct market retailer apathy towards SLG than in the past couple of years.

My complaint isn't that the direct market can't sell our books, it's that it doesn't even seem to try anymore.

We sold more copies of one our most recent graphic novel releases at Comic-Con this year than the entire direct market ordered. That direct market order was less than 200 copies. Sure, we had the benefit of having the creator at our booth, but even if he hadn't been it would have meant that we would have sold a sizable fraction instead of outselling the ENTIRE direct market on that book.

I know this is affecting more publishers than SLG and you can say that the DM definitely shares similar feelings about many publishers as well. This is a serious problem but one that I think should not be difficult to reverse for SLG and other publishers in the same boat.

So in an effort to promote discussion about solving these problems I offer the following ideas:

Don't know if any publishers here who run deep discount sales direct to the consumer would care to discuss this but in light of the most recent round of McSweeney's, Top Shelf and now Picture Box sales (among others) I was wondering if the following would be attractive to you at all.

Speaking only for myself, other retailers feel free to chime in, these kinds of sales seem to undermine my ability to sell these books. Even if I were to blow them out at cost, I'm still well above the price you are offering these titles at, which means I'm still at a competitive disadvantage. Also I'd like to remind you that the only retailers who might be affected by this are ones who are supporting your work. Stores who don't stock your titles could care less what you do but those, like me, who take an inventory position on your work have to start looking at whether or not they should resort to minimal orders up front to keep from being harmed during these kinds of sales and/or wait on such sales myself to (re)stock up on the cheap.

Now obviously I'm not aware of (all of) the reasons that these sales are necessary nor do I expect you to make me aware of them but I do want you to consider that any time you capture sales directly from existing comic customers, you do diminish demand in the marketplace and good retailers will recognize this and order accordingly. You may see a higher markup on some items than you would by wholesaling to a distributor or retailer but that gross margin may pale vs the cost of losing sales into the DM and book markets where you have access not only to comic readers but also to the casual consumers who have no idea you exist and will never see your website or e-mail campaigns.

You become the proverbial snake eating its tail where sales will like these will dry up any outside venues for your work and you will have to work harder and harder to make up for that volume all by yourself until there is not enough business or margin left to support you.

What I'd like to see is more of a partnership with you utilizing stores like mine as your sales force. I'd like to give you the opportunity to send fans of your work(s) into a shop where they can touch and experience the work and also be shown the other work you publish as well as being confident that we are also doing the same with non comic folks who come in to see what the heck is in this weird shop to increase sales beyond what you/we have now.

With that in mind, I'd like to see these types of sales (as well as con sales) worked in concert with all retail outlets (not just the DM). Maybe a buffer that allows us to stock up on these sales books so that we can run a sale in tandem with you, where you can alert your current customers of the shops that have agreed to honor your sales prices and still sell to customers who have no local participating shop.

This goes for conventions too, where working with us on what books may be debuting could allow us to provide customers an opportunity to pre-buy the book through their normal channel and those retailers can provide bookplates or something similar so the customers can still obtain signatures at the con even though they haven't picked up the book yet, and we are still actively sending customers to your booth to buy other books, t-shirts, prints... and hopefully you are actively informing con attendees of the local shop(s) that you know will be there to fully support your work after the con is over.

Trust me, I run my business by looking for reasons TO CARRY an item not reasons NOT TO. By (re)introducing new customers to my shop and supporting sales of your work, you would be giving me a huge reason to continue to carry your work and even highlight it over other publisher's work.

So, are there any publishers who see this type of co-operative effort as something they are interested in working on and any retailers who would like to be part of something like this?

Kirkman, Making the Industry Invincible?

A few days ago, Robert (Walking Dead, Invincible) Kirkman released a video explaining that he was leaving Marvel Comics and becoming a partner at Image Comics to "save the industry". Robert Kirkman, Huh?!

OK, I've occasionally referred to myself as an apprentice savior of comics but RK, seems to be serious. Well here's the video, you decide.



Now while I do sell a lot of Walking Dead and some Invincible and other Kirkman work, proving that a lot of folks think he can write, with all due respect, almost every point Kirkman makes about the industry is just flat out wrong.

The most important being, that increasing creator owned work is somehow going to "save comics", whatever that means. It makes good sound bites but that's about it.

Robert, people do watch movies and aspire to only ever make Pulp Fiction 2 and yes people do read novels and decide to only ever write Moby Dick 2 and yes there are people who have decided that they only want to write the WFH Superheroes. But that is neither here nor there, as it has NOTHING to due with the ills of the industry.

She probably didn't mean it this way but Lea Hernandez proves it with her comment, "Here’s hoping that Kirkman saying what I and others have been saying as long as I’ve been in comics (... twenty-two years...)".

Why, if this was known twenty two years ago, is this STILL an issue? Because it is not THE ISSUE, it is an excuse that has been handed down from small press creator to small press creator like a cherished heirloom. But in reality there has never been more creator owned work commercially available (and viable) in the marketplace than there is now and even more is available online. Book publishers are fighting to lure creators away from comic publishers and establishing their own imprints to publish them.

Jeff Smith, Kazu Kibuishi, Ariel Schrag, Jeffrey Brown, Craig Thompson, Roman Dirge...

So, why are we still hearing the same tired refrain from creators?

I've been in the industry (as a creator, publisher and retailer) longer than Kirkman has been alive and despite the unprecedented level of creator owned work on the market, the one constant remains, the blaming of work for hire, particularly via Marvel & DC and retailers inability to embrace any work beyond the Big 2.

Well, I'm not sure how folks like Lea, Ellis or even Kirkman have missed it for twenty two years but Marvel, DC, WFH or retailers have not damaged the industry nearly as much as creator owned work (and the publishers who love them) has. OK to be fair it's not the work but the lack of professionalism surrounding the work that is the culprit.

From unprofessional and nonviable work by folks with to much cash in hand to fantastic work with untenable publishing schedules and utter lack of business/marketing savvy, this work leaves not only a frustrated consumer with no lack of alternative entertainment options but a also a line of business partners (distributors & retailers) who become increasingly gun shy over such product because it cannot be counted on to pay the bills and not to actively piss off their customers (and to be fair, the Big 2 share some of these same problems).

D&Q, Fantagraphics, Slave Labor, Top Shelf... all produce a staggering amount of creator owned work. Warren Ellis touted both financial and critical success of Fell. And yet the aforementioned publishers have had to go begging hat in hand and must fight retailers for sales at conventions because the work isn't selling as well as needed and who knows if or when Ellis will reward us with more Fell, which now seems to be on an annual schedule.

No, folks, the problem lies not in whether the work is WFH or creator owned. Nor does it lie in whether its interior sports slice of life or brightly colored spandex.

The problem is whether or not creators/publishers want to meet the responsibilities associated with running a business. If, Kirkman wants to save the INDUSTRY, he can start by using his new position as a partner at Image to educate creators publishing through Image Central as to the benefits of having a strong editor, in not rushing product to solicitation, in marketing and PR to build a demand for the work prior to publication and establishing and meeting realistic and appropriate publication schedules.

Creators capable of doing this will not have to worry about anything or anyone else and I can guarantee that they will have distributors and retailers beating down their doors for their work.

Or they can continue to treat the work as a part time job, fail to market it, solicit unrealistically and deliver haphazardly and wait another 20 years or so for the next Kirkman.

The Golden Age... of Excuses

I love the comic industry but sometimes I wonder why? It's dysfunctional, slow to change, needy and belligerent. But it can also be wonderfully creative and loyal to a fault.

Overall, I can't think of another way I would have preferred to earn a living over the last 15 years, than running my shop, Comickaze Comics books and more and I hope it remains as fulfilling for another 15 years.

But, as with the recent dustup between some direct market comic retailers and small press publishers and the bloggers who love them, the seeming inability of folks to empathize with others they disagree with even as they rely on them for their much of their success, I'm not so certain that another 15 year run is going to come to fruition.

While I was looking for some historical context for ;)an interview I recently did with Alan David Doane (Comic Book Galaxy's ADD) I came upon this piece I wrote for ICv2 back in 2004, in response to a few retailers who I felt that, in attempting to safeguard their business, were missing the bigger picture. You know, that forest and trees things.

I was very disappointed to see the comments of Joe Krolik and Ilan Strasser in their recent Talk Back contributions. Partly because they seem to be under the impression that things that don't fit their business plans are bad for everyone else but mostly because of their ironic conclusion that the best way to protect a Direct Market that is too small to support line growth in things like graphic novels, and more specifically manga, is to make it even smaller.

The direct market is finally beginning to emerge from the hole it dug for itself in the early to mid 90's. Much of the reason is because publishers have finally grasped that there is an even larger market for their previously published work than just back issue buyers. Trade paperbacks, the repackaging of previously published work, allow everyone access to classic and/or hard to find stories in complete story arcs at reasonable prices, and the (re)introduction of first run graphic novels allow long form complex stories to be told in a fashion that now makes comics attractive to book readers previously unenamored with the "juvenile" format. Even better for the direct market retailer, stock was easier to replenish (even Marvel's!) than the flighty back issues, the higher unit price really contributed to the bottom line, and it's working as consumers are buying more and more both in and out of the DM.

Now to specifically focus on Krolik and Strasser's concern over the (over) abundance of Manga. Mr. Krolick states it will, "...leave in its wake desolation and ruin in chains and independent stores alike as the boom becomes a bust. A very fast bust. A very big bust." and, "Better a smaller stable market for quality product than no market at all after an indiscriminate glut." Mr. Strasser believes, "product gluts (Magic: The Gathering, Pokemon, comics) lead quite quickly to declining sales."

There's a very simple answer. If you don't like the topic on a talk show, change the channel or turn it off, and if a product line isn't performing for you, don't order it. Quit running around like Chicken Little, raging against the falling sky and essentially asking for the publishers to help keep the Direct Market small. Or perhaps you could study why something that is working so well for many of us isn't working for you and perhaps you could begin to enjoy the success that we are. I also feel that Strasser is doing a huge injustice to comics by comparing them to sales of "collectibles" like M:TG and Pokemon, although that could be a reason for his difficulties with manga. Manga consumers "read" their comics and even share them with others; they are not treated as collectibles and I have never had a manga customer ask which titles were more likely to go up in value.

I for one owe a considerable amount of my growth to the introduction of a wide selection of graphic novels, and most certainly manga, to my product mix. This graphic novel category now accounts for approximately 40% of my comic sales volume and is up 24% over last year's record sales at Comickaze.

Where manga is contributing the most to my store is in helping me capture hundreds of new customers, especially females, who never felt there was a reason to visit comic shops. Manga is a format, not a genre and within the format there are as many or more genres represented as there are in Western comics, but unlike most Western comic publishers (excluding DC Comics), manga publishers offer an incredible range of product from beginning readers all the way to adult. Manga offers us a chance to sell books to an entire family, at increasingly consumer friendly price points and on far a more regular basis than most Western comics. Where customers are complaining about $7/issue for "fan favorite" JLA/Avengers, I have customers flocking in monthly to spend $10 a pop for not just one manga GN but two, three, four+ every week. And its kids, young girls, and moms!!

In other words, new customers, far outside the normal demographic of the Direct Market, and those we so desperately need if we are to increase the customer base and grow this industry. A byproduct of this new business has also been the opportunity to introduce my manga customers to comics like Oni's Scooter Girl, Pounded and Blue Monday as well as SLG's Outlook Grim, Ghouly Boys, Serenity Rose, Lenore and many more.

Look, I'm not unsympathetic to the fact that there is an awful lot of product coming and most of us have very little knowledge in this area but we can't allow that to scare us into submission. It's time to engage your customers, ask them what their favorite titles are and make sure you keep those in stock. If you're not tracking sales so that you know which titles are moving and which aren't, it's time to start. And if your bookshelves are screaming under the weight of trying to carry every volume of every title, try cutting back to the first two or three and most recent two or three volumes and leave the middle volumes for special orders. I'd also suggest talking to other retailers where possible. I get a tremendous amount of info on manga from retailers in the CBIA Forum (www.thecbia.com), where retailers like Chris Butcher of The Beguiling in Canada have offered rundowns of all titles offered in Previews each month. Other CBIA members include manga publishers Tokyopop and ADV Manga and in the past have included Viz, ComicsOne among others. We also have the ability to buy, trade and/or sell overstock with other retail members so even when the best laid plans go awry, it doesn't hurt so much.

Speaking of Tokyopop, I have to thank them for their new layout in Previews, pointing out the demographic, genre and key selling features of each title offered in a quick, clear fashion. They are also offering a fantastic 40-pocket spinner rack, similar to the one being used by a major book chain, for those who meet a minimum order level for backlist titles in the month of October. I haven't seen an offer like this in 10 years, when DC and Marvel had rolling graphic novel metal racks for a minimum STAR System order. These are the kind of things I expect from the Big 3 publishers but am frequently left wanting. Thanks Tokyopop!

One of the best things about owning your own business is that you get to decide how it is run and I would never consider suggesting that your choices are wrong, for you. I just want to let those of you who are frustrated with this or any other category you stock know that there are many ways to overcome those frustrations if you wish, and if not, please don't hamstring those of us who do, by asking our vendor partners to move backwards.

In closing, I'd like to share a bit of wisdom given to me in one of my first management positions. In the world, there are three types of managers. Those that make things happen, those that watch things happen and those that wonder what happened. I believe we are poised to make a huge push into the entertainment marketplace taking back sales that have drifted away to DVDs, CDs and Video Games but only if more of us choose to be the folks that "make things happen" and I challenge each of you reading this to be such a person.

Six months after this piece, as another local retailer whose strategies seem fairly in line with the 2 above, shut down one of his three locations, we decided to expand Comickaze to dedicate more space to what I feel is the best selection of comics and graphic novels in San Diego. Same center but twice the space (and twice the rent!).

Not coincedentally (if you ask me, at least) 6 months later we won the first of 3 consecutive Best of San Diego (Comic Shops)from 2 local magazines. And yet here I stand, making the same arguments that I was 4 years ago and retailers and publishers alike stare at me like I'm a martian. The scary difference is that today, it is no longer a matter of do we all need to make changes in the way we do business but can we make them fast enough to stay ahead of the changes wrought by format changes and the embrace of online and digital content. Oddly enough, that previously mentioned retailer closed another location leaving him with one, at the same time, we began preparing to open a 2nd location!

I remain the eternal optimist. What? Why are you looking at me like that!

The More Things Change The More They Stay The Same

Goodness Gracious! Hot on the heels of another retailer sore point, Boom! Studio's decision to bolster weak orders of their new title North Wind by posting the entire series for free online but only AFTER taking three issues worth of irrevocable orders for the book from Direct Market Retailers, comes the ComicsPro Position Paper on Convention Pre-Sales.

The last few weeks saw the blogosphere jump as a group of retailers, the newish trade group ComicsPRO, dared to publicly propose that comic publishers stop selling new releases at comic conventions, before the books are available to the comic retailers also. Their main concern was that this head start frequently takes sales that would normally be made in DM shops leaving retailers with product that becomes more difficult to sell. Most of the hue and cry came from pseudo journalists who seemed to be looking to drive traffic to their respective sites or possibly to maintain the incoming flow of free review product from publishers. Can't kill the golden goose now. Unfortunatley the incestuousness of those blogs causes the same erroneous information to appear in so many places that the old adage, "repeat a lie often enough and it becomes the truth", comes into play.

Now for those of you who don't know me, let me quickly say that I am the founder of the Comic Book Industry Alliance, the largest and probably longest running group of Comic Industry Professionals, including retailers, publishers and distributors. The group has accomplished a lot over its 10+ years as well as garnering some animosity (deserved and undeserved). I am also a member of ComicsPRO. Not a full member, I can't vote on things but I endorse what they are trying to do enough to offer some financial support. With all of the complaints levied against comic shops as being unprofessional it really is hard to understand the uproar over a group actively seeking to work together to raise not only their own standards but the standards of the industry.

Too, the group was borne out of direct response from publishers and distributors who claim that it is too difficult to work with 2000+ individual retailers, and stating their desire for a group that could speak for retailers with one voice.

ComicsPRO is a new and relatively small group. ~100 dues paying members to date, give it somewhere between $10,000 and $30,000 of operating captal (depending on whether members are full or associate). This means that most of the work is done by member volunteers and as such they are going to stumble as they move from crawl to walk to run. And yes, this paper was a stumble, not in intent but in execution. To assume ill intent, such as these retailers wanting to harm the very publishers that they're investing so much time and money in, is ridiculous.

Truth to tell the ideas behind the paper are not new, I addressed them right here almost two years ago as I broke down what I felt were the responsibilites of creators, publishers and retailers within the market. Check this out, just one of the points you can read by clicking the publishers link above:

Stop debuting projects at conventions AND use conventions for what they are really for, OUTREACH. The only shops that are damaged by convention debuts are shops that ARE ALREADY SUPPORTING YOU. As hard as it can be to get shops to carry your work, why make life less rewarding for those who are buying in to you? You should know what conventions you're attending in advance, create a flier listing all known area retailers who suport your product line and in conjunction with these retailers develop a bounce back reward program that will drive these motivated buyers into those shops. These shops are your sales reps for these communities the other 361-364 days of the year, don't cut them off at the knees by selling into their customer base and running off at show end. Sow the seeds, tell the customers that you know that Comic Shop A will be there for all of their current and future needs and if they take this flyer in this coming week, not only will they discover a great shop but they'll get an exclusive freebie.

So just to get everyone on the same page lets just lay a few things out. Publishers believe that pre-selling their work at conventions, seeds the market helping retailers sell more books. The problem with that is that most publishers making this claim year after year, are the same ones claiming that they must sell at conventions because so few of their books are being sold in the Direct Market. So which is it? If this outreach is really working, doesn't it seem at some point, we'd actually see the proof?

It's also odd that some publishers claim that they are selling to new customers or customers who don't have a comic shop. I have to wonder, if these folks have no outlet for or knowledge of the product, where is the need to have the newest product available for them in advance of any other retail outlet? Wouldn't everything be new to them?

The truth is that every book pre-sold (especially those sold without prior warning) affects a retailers ability to sell their copies. If a publisher tells me that they are offering me a NEW RELEASE, I look up my sales history to determine how many copies I've previously sold of books with a similar theme, creator(s), character(s)... If history shows I should sell 15 copies in the first month but 5 of the customers who historically would have bought it from me get to buy it weeks or months early at a convention, I'm potentially looking at reduced sales of 33%. It also means that the publisher is no longer delivering a NEW RELEASE, at best it is a recent release. Don't force retailers to start using preorders to force customers to buy in store, unless you want to start seeing zero orders when nobody turns in a preorder.

Sure, over the next month or two, I may sell them but I may have sold more. No matter whether they eventually sell or not, I never catch up to what would have sold and by tying up the money invested in those 5 unsold copies (x all of the other titles pre-sold at the show) a series of harmful results is triggered. Ironically, harmful to the publishers as well as the retailer.

1. It keeps me from being able to spend that money restocking other books, books from many publishers, possibly even the one pre-selling.
2. It negatively impacts sales history. Now, the next book in the series will get orders based on affected sales. This could prevent Diamond from accepting the listing or increase the cost of printing based on a lower than optimal print runs.
3. It makes retailers suspicious of all future offerings and they could just decide to forego that publishers work. Decreasing the venues carrying that publishers work.

Have you seen Previews lately? Its not getting any thinner. There are plenty of listings and the ones from publishers not actively competing with retailers for consumer dollars are going to be rewarded with more orders.

In the mean time, any publisher soliciting through Previews that would like to make more money in the direct market and at conventions while also eliminating a lot of stress and expense, give me a call or an e-mail. If you're willing to talk honestly and listen to a few suggestions with an open mind, I'm positive we can work out a WIN-WIN scenario that will give you the results that are currently eluding you and forcing you to do things like pre-sales and airfreighting titles at the last minute all to break even year after year.

Of Bottlenecks and Rock Stars...

Larry Young, chief of AiT/PlanetLAR and I go back a ways, I first met him at an industry gathering as he was getting ready to release his infamous Astronauts in Trouble. While we don't always agree on things, he always makes me think about why I believe the way I do about the comic industry.

Recently he posted links to some blogtalk on Newsarama that I found interesting, if not a little disappointing because again, folks would rather shout down those that disagree with them rather than consider the information and learn from folks who have been where they would like to go.

If you'd like to see the context for my rant below, the links above will fill in the backstory. In any event, none of this should suprise any of you that have read prior posts here but maybe it will register better this time. I'm constantly suprised when people I've worked with for years, finally see the light re: my quixotic quest to get publishers and creators to be more responsible in the marketing of their work, as if it's the first time I've ever mentioned it.

So here's my latest answer to why small press is so often small press (for those that haven't looked at the links, this is a 3rd party response to comments by Larry) ...

“…yet another indication of the way that the current direct market retailer order system acts as a bottleneck for sales of indy comics. It means there’s a lid on sales that can only be lifted by getting retailers to understand that indy comics can bring in a new audience that isn’t being served as well by the bookstores as manga fans are.”

That is a very bizarre assesment of the DM marketplace. Not all your fault though, stuff gets repeated so often as fact, that sometimes I almost start believing it myself, almost.
There is no “bottleneck” for indy comics, well not because of the “current direct market retailer order system” anyway.

I think Larry almost touched on the the problem when he suggested that the creator consider avoiding the crowded spandex market in favor of a more wide open genre. I say he almost touched on it because he sorta missed addressing (IMNSHO) the major reason why that was such great counsel.

The bottleneck, if it does exists, exists because most creators (regardless of genre) create and run. They have aabsolutley no idea what it takes to create a viable commercial product and merely ape what they see others doing, or what they think they see others doing. Forget the fact that none of the folks they are aping are succeeding either, they continue lemming like, to create product that has very limited (if any) demand and throw it in a catalog that has limited distribution to a limited consumer base (and have the balls to blame the marketplace for not supporting them!)

I call it the “Print it and they will come” mentality. And where Larry missed the opportunity to make a fantastic point was, it don’t matter if that creator wants to do super-hero, romance, sci-fi, slice-of-life… if he is not going to create an awareness, a need, a demand for his work, he will see the same thing almost every other indy creator sees. DM orders for 0-1,000 copies.

Why, because the DM consumer base isn’t finite but DM retail space pretty much is. Even if DM retailers could afford to and wanted to order every indy title available, they don’t have the shelf space to display them. And if a publisher/creator isn’t bringing (at least some of) new faces through the DM doors on their own, then they are not going to earn that valuable shelf space over other titles that are delivering customers.

Many indy creators are doing their work on the side, this isn’t how they make a living. Not so for most DM retailers. There is no reason anyone should expect retailers to subsidize any title, no matter how much the retailer may like the book. It’s a business and retailers need their vendors to remember that and act accordingly.

If publishers/creators spent more time studying other entertainment industries instead of inbreeding and creating more retarded efforts by repeating the last 20 years of mistakes, they might see that bottleneck free up.

I’ll leave you with a couple points to ponder.
1) I have many friends in the local music scene. The ones who are constantly booked and actively sought out are the ones that have an active machine that packs their venues full of folks forking over cover charges and buying drinks.

The ones who just know they rock and sit around waiting for everyone to realize how great they are, spend more time sitting next to me in the clubs complaining how “lucky” the guys on stage are.

2) I can’t remember ever going to a theater without knowing what movie I was going to see. Sure, it may have sold out and I had to choose another but I have never just driven to a theater on a whim, just to see what was playing.

I know what I want to see (and what I don’t) because the studios have made sure I knew. They don’t need the theater to shill for them or try to get them to forgo the latest Sony, Paramount or Fox feature in favor of a little indy film.

Theaters are a destination spot as are most comic shops. Some may be in malls (albeit strip malls) and get some casual interest from walk by traffic but most won’t. If publishers aren’t sending people into those shops talking/asking about their titles, they will not be ordered.

When publishers shoulder their responsibilties in a more professional manner and begin working with the DM, there will be no more talk of bottlenecks and they won’t be able to print books fast enough. Until then, the same whine that I’ve been hearing since the late ’80s during my time in rec.arts.comic.misc and on the Compuserve Comcis forum, “Gosh darn it, if only there were less spandex titles…”