>> i'm the executive art director for the signers schuster fred. >> what does that mean? >> i oversee and design with simon & schuster imprint. there are many different imprints. scribner, toes go in a true gallery. there's all different directors for those. >> so you do the covers of books? >> yes. >> what goes into the cover of a book? >> the first thing when we hear about this project, usually from the editor, we find out what the book is about. there is a manuscript for sometimes there isn't. sometimes there's a little bit
to read and you get a flavor of what the voice of the author is. and from mac, we kind of have a discussion with the editor, the publisher and the author to find out, do they have any preconceived notion of what they are looking for? it's always good to hear that up front. even if they don't, you get a sense of their aesthetic and you can do some research. in the bookstores, see what the competition is like, what books will be facing in the bookshelf space. >> i want to start with this one. this is former senator, james five. his new book, i hurt my country collie. how does this develop? how did this cover developed? >> this is actually pretty straightforward in that it is the story of his and his father's years in war.
he had photographs and so we knew we wanted to kind of give it a little book, a nostalgic feel so is marrying the two photos together so that they were cohesive. >> what went into your five partnerships? this is a new book, right? >> yes, this is a new book. it is not a sin, so kind as to calls for having his photo on it. because of this subtitle, the five partnerships come you kind of need to explain what does that need a new are the people. in this case it worked out nicely that we had five beautiful portraits of the five people that matter. >> one of the other books he
worked on was the bully pulpit. we all know at this cover looks like. here is the cover of the book and not the finished product. but what was this flag >> when they first did a book, we did a little expiration to what the photographs are out there. they're a great photographs of the two of them together. and so, we thought that was a great opportunity to design something with that. but when we started to look at it, it didn't have the big book that we wanted, the ethics feel. and use the topography has the feel of that historical feel. but then we started to think maybe it just needs to be classic. so we tried some different
bonds. we tried adding a little color. so that's how we ended up. >> did doris kearns goodwin have any say in the convert? does not forget to say gayer name? >> absolutely. they're supposed to. obviously i'm not there who has worked on their baby. i go on the road selling a book, so you want them to be happy. when they are, it is wonderful. they are very appreciative. there's give-and-take with doris. she didn't want her name on it. she wanted it on the bottom. she wanted to see a little bit more of the faces. so we played without a little bit. >> two color schemes come in and out of fashion as well? >> yeah, sure, sure.
sometimes even fashion itself, the color on the runways can effect what is on a book cover. yeah, definitely. obviously that is always a sure shot. it has always been on the green, not necessarily unless you are a book about all thin money finance book. so i think blue sells really well. >> john mccain, senator mccain has a new book coming out. here's the cover you are currently working on. >> does actually work in progress because we are we working a couple of the retailers have told us that they like to see a more classic historical photographic treatment. we do get feedback like that from places like arthur noble
and sam sam cosco and they feel that their market, that something isn't quite to their market. >> so you respond to that as well? >> absolutely. sometimes we don't change it in sometimes we do. it's really a publisher's decision to make that kind of vision. >> is very cover? his cover? his or her work you are extremely proud of her that you really worked hard on quiet >> well, the steve jobs spoke is one that i really thought -- we worked closely actually with the author on the hardcover, which has an older photographs and i was definitely a classic photo. we were fortunate when it came to paperback that mr. jobs likes
to pose because it was the exact same pose some 30 years ago. we started as a marketing opportunity to get a fresh look. maybe when people wanting to have the item as paperback. >> why black and white and gray quiet the mac that just happen to be -- it all has to do with photographs and it's not a conscious decision. you have a photo you up@ >> jimmy carter, call to action, his most recent book. tonight he takes the subject very much to heart. this book came about very quick way and it's his passion about women's rights. so we needed to be very straightforward. nuttiness embellished. it's a hard subject matter.
the blue color is done to soften the tone. >> has there ever been a time when a book is going to print and for whatever reason the cover has to be changed? >> yeah. i am running a blank on that now, they guess absolutely. that has to. usually it's not so at the point is going to the printer. feedback from the retailers or there's another cover out there has the exact same photographs were very similar. you know, we didn't realize then we need to change.
hegseth. >> afternoon. welcome to the heritage heritage foundation in our little auditorium. we of course welcome those joining us on c-span in the future on booktv. we have everyone in-house have everyone in how severe would be so kind to check their cell phones have been turned off as we prepare to begin and of course our program will be posted on the heritage home page following the presentation for your future reference as well and our internet viewers are always welcome to send questions or comments, simply e-mailing email@example.com. hosting a discussion on beha