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CVGB Works
Christopher Barillas
cvbarillas@mac.com -- 917-386-8242
cvbarillas@mac.com -- 917-386-8242
The New Yorker has long-running relationships with many of the world's best-selling authors and the screenwriters who often bring their work to the big screen. Hundreds of novels, movies, feature-length documentaries, and non-fiction ventures began with short pieces in the pages of The New Yorker. Working closely with authors and the marketing and publicity arms of their publishers— the following is a sampling of the collaborative work between various houses and the New Yorker Creative Studio.
“Cop Town” by Karin Slaughter – Random House
This promotion generated more than 17,000 reader submissions who were tasked with identifying the location of Karin Slaughter’s new story setting based on the clues in the illustration, created by artist Brett Affrunti.
“Shotgun Lovesongs” by Nickolas Butler – St. Martin’s Press
For this widely praised fiction debut from Nickolas Butler, the New Yorker Creative Studio launched a special promotional program called “Writers to Watch,” featuring a full page profile and interview of the author.
“The Tools” by Phil Stutz and Barry Michels – Random House
Conquering anxiety and self-doubt are the cornerstone accomplishments of an approach to positive self-reinforcement pioneered by authors Phil Stutz and Barry Michels. The word-cloud visual created by our creative team communicates this concept with grace and efficiency.
“Too Good To Be True” by Benjamin Anastas – Little Brown
Incorporating the book cover into a scene of disorder and mounting despair, this treatment captured the author’s struggles with a bitter heartbreak and a crumbling career—a dramatic representation of this funny and moving memoir by Benjamin Anastas.