Conversely, of course, the book has to have broader appeal. “We are always thinking about why a reader would want to buy the book,” Jayes says. “What need does it fill for them?”
How you get that story in front of editors and publishers also matters. Having a literary agent can help with access, contracts, and pitch development, but it isn’t always necessary. When developing books at Rizzoli, Jayes looks for “a short pitch letter that grabs my attention.” Preferably, she says, a one-page description of the book concept, a biography, press clippings, and images from multiple projects. (Check out Rizzoli’s submission guidelines for more details.)
Understand the timeline
“It is never the perfect time to write a book,” Hoerr says. “You’re always going to be busy.” The solution is to organize tasks and teams like you would any other work project, he says. Timelines for completing a book vary, but most illustrated books will take at least one year to complete.
“Conceiving a book can quickly become a second job, and it is important not to let that come at the expense of your or your client’s needs,” Varney told AD PRO. “Coming up with the big picture idea is easy and always a treat. The hardest part is actually having the discipline to sit down and actually write it.”
To streamline the process, textile designer Lisa Fine, whose 2019 book, Near & Far: Interiors I Love (Vendome), delves into the sources of her inspiration, advises maintaining close relationships with editors and photographers. “Without that compatibility and respect, the project could be overwhelming,” she says.
Be ready to make the investment
While every publishing deal is different, a designer-author should expect to handle some expenses out of pocket. Photography, writers, fact-checkers, and other services are unlikely to be covered by a publisher.
These costs, in addition to advances and royalties, are typically negotiated on a project-by-project basis. Photography is one of the biggest associated costs, and even firms with solid archives will frequently return to projects “to capture moments that had never been seen before,” says Achille Salvagni, whose 2019 monograph, Achille Salvagni (Rizzoli), organized nearly two decades of work thematically instead of chronologically. Many designers suggest including these expenses as part of a firm’s public relations and marketing budget.
Blakeney also recommends taking the time to research and find the right publisher and editor that fits for you. “Go to bookstores and pull all your favorite books,” she says. “Start a list: What do your favorite books all have in common? Is it the production value? Is it the beautiful cloth binding and metallic lettering? Is it the group of designers that work with that publisher or editor? Then peek inside the books to see who the editors are, look for them on Instagram, give them a follow, and start relationship building.”
Consider the copy
Some designers are comfortable putting pen to paper, while others prefer to leave it to a professional, hiring either a ghostwriter, author, journalist, or critic with whom they work closely. Hoerr, for example, hired Douglas Brenner, an author who was “already fluent in architectural language,” which was critical to the process, he says.
