- Where’d You Go Bernadette?
- Self Help
- The Vacationers
Where to start? In this particular case, the reader should feel free to judge a book by its cover: the contents may turn your worldview upside down, or at least challenge you.
Designer Paul Sahre and art director Jason Booher hit it out of the park – this book could sit under glass at the Whitney and fit right in. Great design is such a helpful tool for a publicist to get the media’s attention as well as to stand out in a bookstore.
Now that we’ve gotten the reader to pick the book up, what should they expect between the covers? This is where the fun really begins. Chuck is a brilliant cultural commentator, not only in the way that he makes a point or constructs an argument, but in how he gets the reader thinking. But What If We’re Wrong? has something for everyone: literature, music, politics, science, philosophy and more. I’m not a sports person, but the chapter on football is fantastic and now I can drop that knowledge on my brother-in-law (finally). Other readers will likewise learn a few things, without question.
How would you describe your job and how you worked on But What If We’re Wrong? to a layman? What are some of the steps you take when you first start working on a title?
I’ll start with the end goal of my job: to have a reader discover a new book and get interested enough to buy it.
Booksellers, media and social media influencers are my outside partners to help me reach this goal. Booksellers have events. The media does reviews or interviews. Social media allows us to talk to readers or those they care about directly. My job, alongside my brilliant team, is to pull all of these levers for a book’s publication.
When a dynamic and popular writer like Chuck pens a provocative, forward-thinking book that can be read by a wide variety of people, I’ve got a lot to work with. I collaborated with author, publisher, editor and agent to set goals of how we wanted to reach readers and the message we wanted to convey. We started working on this early –about nine months (or more) ago. It’s exciting to be almost at the point of publication after all of this anticipation in-house.
Describe the book in one sentence.
A book that makes a persuasive case for the importance of doubt – sorely needed in an age where we think we know everything.
Do you have a favorite line from the book, or a section you particularly love?
While there is no material benefit to being right about a future you will not experience “there are intrinsic benefits,” Klosterman writes, “to constantly probing the possibility that our assumptions about the future might be wrong: humility and wonder. It’s good to view reality as being beyond our understanding, because it is. And it’s exciting to imagine the prospect of a reality that cannot be imagined, because that’s as close to pansophical omniscience as we will ever come.”
How closely do you work with the editor, art department, etc. when working on a title?
All members of our imprint work closely together. Publicity and marketing is the midwife in a book’s birth. The book has been gestating for a while– being written, edited, designed, printed, sold in by reps etc. – but then the labor begins, in the form of a publicity tour which can be physically exhausting and maybe even painful at times. But publicists are there at the crucial moment of publication day (a book’s birthday!) and when it’s well-received and sells lots of copies, I personally feel happy and proud by association.
(I might be saying this because my daughter kept me up last night and Chuck and his wife just had a baby, but I think the analogy is apt!)
Read first post in this series here, and find out more about But What If We’re Wrong here:
You’ve worked with Chuck Klosterman for years – how has your approach to designing his cover changed over time?
It’s remained remarkably consistent. This comes from the systematic approach I have always taken with his covers. There are a number of rules that have evolved over the years, cover to cover: starting with the typeface, HELVETICA BOLD (all caps). There is usually some structure involving the typography that either interacts with or is set apart from a conceptual image. All of the images we have created for Chucks covers are oblique is a way that I think feels right for the author.
The new cover is a departure in that there is no imagery and we went upper and lower case with the type. But then again, this book is a bit of a departure for Chuck so the cover reflects that. He is dealing with some big ideas here so there is a monumental quality to the cover design that is inverted. Yet it still feels like a Chuck cover.
What were some of your other ideas for this cover? Why did you choose to pursue this particular one?
There was a cosmic thumbs up (or down) depending on how you held the book. There was a typographic design superimposed on a photograph of the cosmos. There was a pretzel in the shape of an infinity symbol and there was a fallen over question mark. I think the best cover won out.
Do you interact with the author when planning your design?
We have never had any direct contact during the design process. His reactions/concerns are communicated through the publisher (editor and the creative director). They sort of act as a buffer, which I’ve come to view as a good thing. When designer and author get together it often ends badly.
What is your favorite part of your job? What’s the hardest?
Covers are interesting because they need to do a number of things at the same time that are sort of at cross purposes.
On a purely functional level a jacket is there to protect the book, but I also like to think of a book cover as a door. It’s the beginning of the experience of reading.
A book cover should be appropriate, it should feel right (in an unexpected way) but it should also create an experience of its own.
Then there is the packaging (selling) of a book. Covers help sell books, but as the designer I can’t be concerned about that when I am designing the book. This is the publisher’s job. For me this concern translates more as trying to draw people to the cover in some way. So a good cover should engage.
Read first post in this series here, and find out more about But What If We’re Wrong here:
An art director of any imprint does a number of things. But one of the most important is choosing what designer will work on each cover. In this case, Paul Sahre has always designed Chuck Klosterman’s jackets. And so the question was really, do we hire Paul to design the jacket, or do we do something else since this is Chuck’s first book with Blue Rider Press. It wasn’t a difficult decision, since Paul is one of the best book cover designers and his covers for Chuck are consistently fantastic.
Getting good work out of someone like Paul Sahre consists of letting him do the good work. And, at some level, having him feel that if he works to make something interesting, we will go with it, even if it is a little risky. So fighting for something that is interesting or risky is part of what I do, and I knew Paul was definitely going to deliver something that is smart and bold and different. In this instance there was certainly a risk in an upside down cover, but everyone here loved and thought it was perfect.
Working with and trusting my publisher, editors, sales and marketing and gaining their trust is another huge part of my job. Like any team working towards an end, there are many pieces that are cumulative, and the jacket can be a focal point of a lot of things. So fostering an environment with my designers and pushing my design to bring things to the table that I believe in, and then working with my editorial team to massage those jackets into something even better. That’s the goal.
As for a surprising thing someone outside of publishing might not know about my job; perhaps that I’m a reader and lover of books, and not just some art guy. Or that a graphic designer is more like an engineer or general problem solver—the end result just happens to be visual form. A design can be thought of as a set of constraints or parameters. In book design, these consist of things like the conceptual literary content of the book, what makes the book unique in the context of other similar books or all books, how the author is (or is not) known, the expectations of the book from the point of view of the author/editor/sales force/readers, the context of book jacket in the contemporary moment, the context of book jackets in the last 10 (or even 20) years, visual pop culture. Or something that is obvious and not obvious is working with type is very difficult. And it perhaps the most specialized thing that graphic designers bring to that general problem solving into form.
When you first start working on a book, what does that mean – what are your first steps?
There’s a combination of reading the manuscript, and listening to the editor talk about the book. As an art director, I have to dip into almost all the of the books to see what they are like before deciding to whom to give each title. As a designer (if I’m working on that title’s jacket) it’s always different with every book. But as a general process I will read the book, and think and sketch, and sketch, and reread, work though a number of ideas, throw most of them out, stay with others, reread, take a walk (much harder when you are also the art director), try to come up with something new. Those are the first steps.
Please explain why you like the cover of But What if We’re Wrong? What did you most want it to convey?
As soon as I saw this design, I knew it was the best solution for the jacket. Fantastic.
The cover is simple and direct, but at the same time so “wrong.” It disrupts the expectation we have that things should be right-side up. And that’s exactly what the book questions; what do we assume to be right or decided about the world (take gravity for instance) and asks the simple question, “But…” The package brings you immediately to that kind of query and lets you know that Chuck is going to have some serious fun with the idea. It’s quirky but bold; not a gimmicky trick as much as a statement. Perfect for the book.
After everyone else saw it and also thought it was great, we talked about things like color and so on. But it would complicate the intent, bringing perhaps something else to muddy up the main thing. Keeping it black and white, keeping the type all the same typeface and size, moving the subtitle to the back, allows the one big move to be the clear and immediate thing that is experienced.
You read the manuscript to figure out your approach, and on this book you collaborated with a freelancer. What is that working relationship like? Do you brainstorm together? Do you suggest concepts?
When I work with a freelancer (as well as with my in-house designers), I like to see what they come up with without any input from me. Not only are you more likely to get something special and surprising, something you couldn’t have thought of yourself (which is why art directors work with a variety of freelancers in addition to their in-house staff), but you are sending a signal of trust. If a designer knows what “kind” of design they are expected to deliver, they might not push very far or hard. But if they take ownership of being the first arbiters of what the package of the book might be, there is more of a chance for something brilliant. I’m just trying to maximize the talent I have working with me.
With my in house staff, it is similar but there might also be a concept that is floating that we will work with. Or occasionally I’ll work with one designer or my whole team to come up with ideas together. That’s an exception though, and cover design is generally a sole enterprise in the initial stages. Then it becomes a collaboration when I see comps, and goes from there.
Who approves the cover design? Who has a say in the final cover?
It always depends. What we are really trying to make is a unique and powerful package that connects to the soul of the book. By the time we work through that process in-house, it’s hopefully the jacket that feels just right to the author and anyone else surrounding the book.
What makes certain piece of jacket art successful in your mind?
A jacket the feels unique, that stands alone and marks the book as an individual thing that is exciting and worth experiencing always wins the day. In the sea of book covers, a clever concept is not as strong as formal innovation. The great trick is to have something that is both visually stunning or startling that has a conceptual grounding or underlying connection to the book. Something that suggests something tangible but not literal about what’s inside. The jacket But What if We’re Wrong jacket is visually dynamic and unique because it’s upside down, which is also the conceptual move that leads you right into the book.
Check back next time for an interview with Paul Saher, the designer behind Klosterman’s cover art.
Read first post in this series here, and find out more about But What If We’re Wrong here:
I have the great fortune of being a Sales Manager for Penguin Adult books! In this role, I present all of the upcoming titles from Penguin Books to independent bookstores in the New York metropolitan area. In other words, I’m a bookseller to booksellers! During the course of a year, I meet with various book buyers to discuss and select the titles that will eventually be on their shelves for readers to purchase. The part about these meetings that I love so much is that I get to be involved in curating the store along with the buyer. Every independent bookstore is unique, and it is my responsibility to learn as much as I can about the stores so that the books I sell them will reflect their personalities.
I also work extensively with the other departments in publishing like editorial and publicity. Editors will often let sales people read manuscripts so that we can offer feedback or let them know about a store that will be particularly excited about the book. And then there is publicity! Publicists are dear friends to Sales Managers because we work together to setup author readings and signings at different bookstores across the whole country. In my opinion, there is no better way to spend a weekday evening than to attend a reading at your local bookshop.
When you describe But What if We’re Wrong? to bookbuyers, what is your hook? What is memorable or unique about the book? Why would they want it in their store?
You would probably laugh at how little of a hook I need for Chuck Klosterman a lot of the time! His reputation precedes him, and I often sell the book well by simply saying, “Look, it’s the new Chuck Klosterman!” But there is so much more that I get to tell my booksellers about. When it comes to But What If We’re Wrong?, I feel like Klosterman has explored a question that covers an impressive number of topics. From a conversation with Neil deGrasse Tyson about the multiverse to reasons why the NFL could potentially fail, But What If We’re Wrong? is genius in its breadth, and that is going to bring an entirely new audience to Klosterman.
There are so many different reasons for why independent bookstores love Chuck Klosterman! One thing I’ve heard that cracked me up is that many view Chuck Klosterman as a hipper Malcolm Gladwell. Now while I personally think that Gladwell is plenty hip, I also feel like I understand the deeper sentiment underneath that opinion. There is a level of access that every Klosterman book achieves, and it results in a sincere investigation about a topic. Reading Klosterman doesn’t feel like reading an author who is analyzing something from the outside; it feels like reading the carefully considered meditations of someone who is intimately involved with what they write about. That sincerity can’t be faked in a reading experience because it is simply the result of skillful writing.
What’s your favorite thing about your job? What would surprise a layman to know?
What continues to strike me about my job is that I get to connect people who all love books. My publishing house considers me a specialist on the bookstores I work with, and in turn, my bookstores view me as a specialist about the publishers and all of the different titles we bring out. It is a singular role, and I love the opportunity to continue learning from the books and the people that participate in the world of literature.
You’re a fan of Chuck Klosterman – what do you like about his writing? What do you like about this new book? Do you have a favorite moment or line?
I love that Klosterman always feels like he is writing directly to me. It creates an experience that not many authors can bring to the page. Sometimes this occurs through those passages that directly address the reader, but more often I feel addressed by a line of thought. It’s as if a good friend of mine is laying out an issue before me with perfect pacing and allowing me to fully grasp his point of view.
My favorite part of But What If We’re Wrong? is this amazing section about television’s ability to capture and portray a time period. The quick take away from the chapter is that while everyone might love Mad Men and think of it as crowning accomplishment that captured the 1960s, many historians of the future would probably disagree. The perceptions that created Mad Men came from people living in the early 2000s instead of the actual 1960s. Everything about Mad Men is too perfectly considered and too meticulously constructed with hindsight to be genuinely natural. Instead, a show like Roseanne offers a much more realistic portrayal of its time period. Like many families living in the 1990s, Roseanne showed a chubby American family trying to get by with okay jobs while living in a kind of messy house. For many, that is an accurate picture of life in the 1990s, and Roseanne was able to capture all of this unknowingly. The show was just created in the very same time period its characters lived in!
A: More than any of the other nonfiction books that Chuck has written, this one is all of a piece. I think Chuck’s reader have gotten used to reading his books like collections, reading some essays, but not others, and sometimes not in sequential order. Which is fine. But not for this book. It builds. The chapter on music is the first chapter I read because it was the first chapter draft Chuck shared with me. I enjoyed it, but I know now that I didn’t fully get it, and that’s because I wasn’t reading it in the context of the book. (The chapter begins on page 59.) My early impression became problematic when I expressed some vague concerns about the piece, which I think alarmed Chuck, because—for anyone who knows me—music is my primary preoccupation, and, if I don’t love reading something that a writer I enjoy reading has written about music, then there might actually be something amiss. But the only issue was that I wasn’t reading the material within the flow of the book. Now the music chapter is definitely among my favorites, and, having said all of this, I’m sure the chapter will be excerpted somewhere, and therefore read in isolation. I’m not too worried. I look forward to seeing how readers react to it. The chapter about TV is a challenging one. Chuck makes an argument that I have a hard time understanding, or “buying” as some people like to put it. But that’s why I like it. I don’t just read books to agree with them. Towards the end of the book, there’s a significant riff on the phrase “you’re doing it wrong” that sums up quite a lot about the problem of our collective experience at this point in human history.
Q: What do you want readers to take away from this book? A: Humility and flexibility. There is not nearly enough of those two things in the world today, unless I’m wrong about that. Read Part 1 of this Q&A here and the first post in this series here.