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Diana Schutz
Diana Schutz (born February 1, 1955) is a Canadian-born comic book editor, serving as editor in chief of Comico during its peak years, followed by a 25-year tenure at Dark Horse Comics. Some of the best-known works she has edited are Frank Miller's Sin City and 300, Matt Wagner's Grendel, Stan Sakai's Usagi Yojimbo, and Paul Chadwick's Concrete. She was known to her letter-column readers as "Auntie Dydie". She was an adjunct instructor of comics history and criticism at Portland Community College.
Diana Schutz was born on February 1, 1955 in Canada. She read comics as a child. By her early teens, she began drifting towards romance titles, and then away from comics altogether until college, where she studied philosophy and creative writing. Finding comics, including Steve Gerber's Howard the Duck a welcome diversion from—if ultimately not a polar opposite to—"Plato, Bertrand Russell and Immanuel Kant," she found herself pulled back into the world of comics. Frequenting the comic shop called "The ComicShop" (owned by Ken Witcher and Ron Norton) in Vancouver, British Columbia, she ultimately dropped out of graduate philosophy (with an undergraduate degree in creative writing) to move (in 1978) from being one of the ComicShop's few female customers to being one of its few "counter people," where she says she found herself "learn[ing] social skills I never learned in the ivory tower of academia."
Witcher, Norton, and The ComicShop swiftly proved able sources for Schutz to discover comics, including "Barry Windsor-Smith's Conan; Jim Starlin's Captain Marvel; Craig Russell's Killraven; and Dave Sim's Cerebus, of which she was "one of the first 2,000 readers to actually buy issue 1."
Schutz worked in comics stores for six years, moving from Vancouver to California and from The ComicShop to Comics and Comix in 1981. By 1982, she was making the move from retail towards publishing by means of a "bimonthly, 32-page newsletter that [she] put together for Comics & Comix entitled The Telegraph Wire which was modeled on The Comics Journal (each issue containing an interview, reviews, news and adverts), and its production swiftly became her role at C&C.
Working on The Telegraph Wire "put me in touch with creators whom I would interview [and] publishers from whom I would solicit advertising to help underwrite the cost of this "newsletter" that we would give out for free at each of the seven Comics & Comix stores." These contacts were added to by her attendance at an increasing numbers of conventions, including the Creation Conventions and the San Diego convention:
Creation, at that time, used to run a comic book show virtually every weekend in some part of the country. It was then that I met my future ... husband, Bob Schreck, who was working for Creation in those days.
In addition to meeting and mingling with publishers, distributors, promotion teams and all manner of creators, Schutz started freelance work for "various other fan publications", including Comics Buyer's Guide, The Comics Journal, Amazing Heroes and Comics Scene, from which she graduated to a very brief—four-day—job with Marvel Comics as an assistant editor.
Recommended by friend Chris Claremont, Schutz was to be (at age 29) Ann Nocenti's assistant editor on the X-Men, but found herself entering her new job with "unrealistic expectations"; ultimately handing in her notice after a mere four days. Several months later (in 1985), she (and Bob Schreck) began work at Comico, which "with its opportunities for creator ownership, and the fact that it was much smaller and more personable, was much more [her] style". Schutz's first comic book editing credit was Robotech: The Macross Saga #3. Having picked up in her brief tenure at Marvel some knowledge "from Virginia Romita how to create and enforce production schedules", Schutz took over as Comico's primary editor. (Schreck oversaw "all the marketing and publishing type aspects".)
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Diana Schutz
Diana Schutz (born February 1, 1955) is a Canadian-born comic book editor, serving as editor in chief of Comico during its peak years, followed by a 25-year tenure at Dark Horse Comics. Some of the best-known works she has edited are Frank Miller's Sin City and 300, Matt Wagner's Grendel, Stan Sakai's Usagi Yojimbo, and Paul Chadwick's Concrete. She was known to her letter-column readers as "Auntie Dydie". She was an adjunct instructor of comics history and criticism at Portland Community College.
Diana Schutz was born on February 1, 1955 in Canada. She read comics as a child. By her early teens, she began drifting towards romance titles, and then away from comics altogether until college, where she studied philosophy and creative writing. Finding comics, including Steve Gerber's Howard the Duck a welcome diversion from—if ultimately not a polar opposite to—"Plato, Bertrand Russell and Immanuel Kant," she found herself pulled back into the world of comics. Frequenting the comic shop called "The ComicShop" (owned by Ken Witcher and Ron Norton) in Vancouver, British Columbia, she ultimately dropped out of graduate philosophy (with an undergraduate degree in creative writing) to move (in 1978) from being one of the ComicShop's few female customers to being one of its few "counter people," where she says she found herself "learn[ing] social skills I never learned in the ivory tower of academia."
Witcher, Norton, and The ComicShop swiftly proved able sources for Schutz to discover comics, including "Barry Windsor-Smith's Conan; Jim Starlin's Captain Marvel; Craig Russell's Killraven; and Dave Sim's Cerebus, of which she was "one of the first 2,000 readers to actually buy issue 1."
Schutz worked in comics stores for six years, moving from Vancouver to California and from The ComicShop to Comics and Comix in 1981. By 1982, she was making the move from retail towards publishing by means of a "bimonthly, 32-page newsletter that [she] put together for Comics & Comix entitled The Telegraph Wire which was modeled on The Comics Journal (each issue containing an interview, reviews, news and adverts), and its production swiftly became her role at C&C.
Working on The Telegraph Wire "put me in touch with creators whom I would interview [and] publishers from whom I would solicit advertising to help underwrite the cost of this "newsletter" that we would give out for free at each of the seven Comics & Comix stores." These contacts were added to by her attendance at an increasing numbers of conventions, including the Creation Conventions and the San Diego convention:
Creation, at that time, used to run a comic book show virtually every weekend in some part of the country. It was then that I met my future ... husband, Bob Schreck, who was working for Creation in those days.
In addition to meeting and mingling with publishers, distributors, promotion teams and all manner of creators, Schutz started freelance work for "various other fan publications", including Comics Buyer's Guide, The Comics Journal, Amazing Heroes and Comics Scene, from which she graduated to a very brief—four-day—job with Marvel Comics as an assistant editor.
Recommended by friend Chris Claremont, Schutz was to be (at age 29) Ann Nocenti's assistant editor on the X-Men, but found herself entering her new job with "unrealistic expectations"; ultimately handing in her notice after a mere four days. Several months later (in 1985), she (and Bob Schreck) began work at Comico, which "with its opportunities for creator ownership, and the fact that it was much smaller and more personable, was much more [her] style". Schutz's first comic book editing credit was Robotech: The Macross Saga #3. Having picked up in her brief tenure at Marvel some knowledge "from Virginia Romita how to create and enforce production schedules", Schutz took over as Comico's primary editor. (Schreck oversaw "all the marketing and publishing type aspects".)
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