BEHIND THE PANEL WITH PATRICIA JERES
Patricia Jeres, DC's manager of Marketing Communications lends her time to have a few words with PopImage's Jonathan Ellis.

Patricia Jeres is DC's Marketing Communications Manager. Patty's group is responsible for all communications to comics specialty retailers and their customers. This includes DC's section in PREVIEWS, DC information to and through Diamond, writing and disseminating two weekly newsletters (one to retailers, one to the comics and related genre press), programming at conventions, industry awards, presentations for retailer and consumer events (slide shows, video wall, booth, etc.), as well as acting as liaison to the comics and related genre press.

"Fortunately, I have two terrific people to assist me in all these endeavors."

PopImage: That's a lot of work, more or less you're pretty much responsible for a lot of what we see, how about what we don't see? Any greats to cross your desk that never made its way to the fanboys?

Patricia Jeres: Occasionally a project will be approved but for one reason or another not be produced but that's the rarity. Most often things don't reach my desk unless they're ready to go public.

What kind of education does it take to become a part of the marketing communications team? I see from some of your responsibilities that some tasks would take certain knowledge, editing for instance-with the video works, working with design programs, etc.

One needs good writing skills, strong knowledge of comics, a good visual acuity, and great communications skills (including interpersonal). My education was in Communications. As for my team, Ivan Cohen's degree was in journalism/creative writing; Dan Goldman's, film and fine arts. Since we have a great design team, it's not necessary for us to do the onscreen work with the visuals ourselves but we need to know how to communicate what we need to the art and creative directors. Then we need to know how to best take advantage of the communications vehicles available to us in order to disseminate information and generate enthusiasm.

How did you come to this job?

While working as a freelance writer, I initiated Operation Comic Shield, a nationwide effort to send comics to the military in the Middle East, through which I became aquatinted with several people in the industry among them Maggie Thompson. DC had an opening for a press liaison/marketing copywriter and she suggested me. When I got the call, I was sure someone was playing a joke on me since I had absolutely no business background. But I responded to the opportunity by deluging DC with samples of my weekly column reviewing comics. Despite what appeared to be an odd fit at first, I took the job and it continues to expand.

So where else did your writing career lead you?

I edited comics by Matt Howarth of Howski Studios for a number of years, including THOSE ANNOYING POST BROS. and SAVAGE HENRY. With Howski, I participated in a number of minicomics and anthologies, editing, writing text, and scripting comic strips. Mostly I did a ton of basic copywriting: everything from business journals to menus.

Were you aiming for something in the comics industry or were you aiming for the position and the comics industry just happened to come with it?

Freelance writing was getting a little slow and I was going through those "maybe it's time to get a real job" mental mechanics. I have read comics as long as I can remember and during my freelance career, I kept my fingers and toes in it. So, yes, it occurred to me that I'd prefer a job in comics rather than lot of other fields. But a job in comics *marketing* really didn't occur to me until I got that call. I always figured I'd end up in Editorial.

What is the best part of your job?

Without a second thought, the best part is seeing new material come in. Even after nearly nine years, it still gives me a buzz to see cool new pages or read an exciting new project synopsis.

Worst?

Over the tough recent years, watching people lose their businesses or jobs.
And writing obituaries is just dreadful, particularly when it's someone you know well. Neal Pozner's death, Archie Goodwin's, Lou Stathis'... those days were harder than I ever thought a workday could be.

Could you describe an average day for you?

LOL!!! Part of the nature of this job is that there are no average days in this job. I start the day relatively early and quietly, checking email and searching out comics news on the net. Once my staff gets here, I touch base with what they're up to. The rest of the day, depending on where we're at in the weekly newsletters cycle, monthly solicitation cycle and yearly events cycle, I could be on the phone talking to the press, sending out review copies, going to meetings, beating up editors for information... oh, and sometimes I actually still get to write copy but more often than not I am the group's editor. It's a rare day I can leave eight hours after I get here.

What aspects of the DC universe are you directly connected to?

I work in the Direct Sales department and work closely with the editorial departments of all our imprints, as well as the Design and Creative Services departments. Another cool aspect of my job is that at one time or another I get to interact with just about everyone.

Of choice: drink of choice?

Jasmine tea.

Restaurant of choice?

Although it seems I always end up at Pasta D'Oro, I prefer Tapika, which features Southwestern nouvelle cuisine or Heartbeart, heart-healthy food with a gourmet flare.

Past time?

Can't give one answer here: listening to music (alternative pop, electronic, ambient, and so on), hanging with friends, and reading, reading, reading.

Movie?

Ever? Off the top of my head, I have to say Bladerunner. But later on I might have a bunch of other answers.

If there was a movie about the DC offices, who would play you?

Janeane Garofalo. But if we were being more age-appropriate, Carol Kane.

Interesting...you a fan of 'WHY I HATE SATURN' too?

As a matter of fact, yes, and I have had people tell me that the main character and I have a great deal in common.

What is working for DC really like?

It's not as much fun as it looks from the outside... but there's a level of cheerful, productive chaos and frenzied, creative conflict that is as palpable as a splash page.

What's the one thing everyone should know about your job?

It's impossible to do it well unless you love comics.

What are your favourite DC titles?

That's too much like asking a mom her favorite kid... but I'll try. TOP 10(and all the ABC books honestly but I went with my current fave), TRANSMETROPOLITAN, NIGHTWING, PLANETARY, FLINCH, BATMAN: DARK VICTORY, 100 BULLETS, and a large assortment of graphic novels and trade paperbacks, most recently THE SANDMAN: THE DREAM HUNTERS, SON OF SUPERMAN, JLA: EARTH 2. And the work of Will Eisner.
And I do read comics from other publishers: PENNY CENTURY, HEART OF THE EMPIRE, EIGHTBALL, WHITE OUT, BLAB, BLACK HOLE, the work of Moebius, Crumb and Miyazaki.

Favourite moment while working at DC?

Can't give you one....
Recording ancillary voices for the KINGDOM COME audio drama. I did the line: "It's a plane" and few others, but best of all... Several of us, including Mark Waid and Denny O'Neil were closed up in a tiny booth, walked in a circle around a giant-head-microphone and screamed and screamed and screamed. It was the perfect activity for a Friday night after a stressful week. I can actually pick out my screams in the background.
More specifially related to my job, I have many incredible moments during conventions: watching the 4-year-old boy meeting Batman and posing as Robin, witnessing Phil Jimenez and George Perez meet for the first time and crying "Son!" "Father!". Grant Morrison doing cartwheels, having lunch with Alex Ross' family and trying not to treat his dad like the character in KINGDOM COME, hearing applause at a panel after making an announcement that's news to everyone else in the room, and so much more. That's when I get to talk to fans about comics and I realize I just might have the coolest job in the world.

If you could change one aspect about your job, what would it be?

More hours in the day. No doubt about it.

So you're in the office one day, answering the phone, going through what seems like an endless list of e-mails, and the big wigs come in, praising the excellence in your work and they decide that it's time you did a project. Your DREAM project. Complete creative control, using any writers, artists, creators you want, using whatever characters you want from whatever companies you want-in and out of the DC Universe, the ability to do anything you want in the realms of the comics medium, the chance to do your dream project, Your Dream Project! Now, what do you do?

We're assuming it doesn't have to sell at all, right? I'd do a book of my poetry illustrated in various media by a dream list of comics artists.

Favourite characters, Heroes, Villains...

The Spirit. Catwoman. Rainmaker. Nightwing. Batgirl. Elektra. Rorschach. Superman.

...Fictional music band comprising comic characters?

Black Canary heads up a Siouxsie and the Banshees-like band with the The Mist on sampling, Big Barda on percussion, Arsenal on guitar, and Cliff Steele on bass. Costumes and sets by Shade the Changing Man. (I had help on this answer...)

Favourite old school artist? Writer?

Most of my "old-school" faves are cartoonists. Eisner, of course. Then the EC stalwarts: Jack Davis, Wally Wood, Graham Ingels, Harvey Kurtzman.

Most under appreciated creator currently in the biz?

Matt Wagner.

Worst fanboy experience?

It's always difficult to explain to someone why his/her favorite book has been cancelled or character has changed. The whole Hal Jordan/Kyle Rayner controversy was very difficult. I admired the fans' devotion but when Kevin Dooley got death threats, it spooked me.
Next to that, having fans storm the DC table trying to get autographs at a NY convention after the Death of Superman. I'm only 5'1" and had to control the crowd, fearing someone would be physically hurt.

Current titles everyone SHOULD be reading?

HOURMAN, JLA, the Superman titles, all the ABC books.

Favourite character(s), title(s) to hopefully some day work on?

I got that wish when we announced the chronological Spirit Archives. A bit off the question, I'd love to be able to work projects by Moebius or Crumb.

What have you not done yet, that you can't wait to happen?

And I got this wish when DC acquired Wildstorm and I read the ABC proposal. I thought I'd never be able to work on a new Alan Moore project and WildStorm made that possible.

How do you feel the recent AOL/Time Warner deal will affect the DCU? The running of the offices? The future of how the medium will be packaged and presented? Any concerns, worries, hopes, based on this recent joining?

I doubt the merger will affect the everyday business at DC at all.

Any closing advice for the hopefuls trying to be a part of the medium?

Doing work you love is a double-edged sword. The danger exists that you'll learn so much about aspects of the medium and the business that it will colour your appreciation of the material itself. That caution expressed, there's no substitute for the satisfaction earned by being able to contribute something positive, even in a small way, to a field that brings so much entertainment, enlightenment and genuine joy.

On behalf of PopImage I would like to the wonderful Patricia Jeres for participating in this interview and for all her help.

All characters, titles, images mentioned or shown are copyright and trademark their respective creators.

Jonathan Ellis is Interviews Editor of PopImage.

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