ACKNOWLEDGMENTS

The trick to writing a short book is to take a long book and squeeze the air out of it. I take secret delight in seeing one of my books with highlights, underlines, and notes on every page.

I couldn’t achieve this without the help of many, many people. Some of them I’ve never met except through books, and others I’ve had the pleasure of working with side by side. I’ve grown richer with each experience.

Among these experiences are many happy encounters with the people of Liquid Agency, where I’ve worked for the last six years. My thanks go to Scott Gardner, co-founder and CEO; Alfredo Muccino, co-founder and chief creative officer; Dennis Hahn, chief strategy officer; Katie Wagner, director of client services in our Portland office; Hunter Marshall, director of strategy in our Portland office; Martha Bowman, director of strategy in our San Jose office; Tony Cordero, creative director in our San Francisco office; and Lisa Peyton, a friend of the agency. Together they helped me work through the imaginary case study of Koko Maya, using the Brand Commitment process that I outline in the book.

Thanks also to my early readers, who offered encouragement at various stages of the process. These included Nancy Dillon, a good friend and former editor who read the book with a kind and critical eye; Niraj Dawar, author and marketing professor at the Ivey Business School; Ric Grefé, executive director of AIGA, the professional association for design; Robert Jones, brand strategist at Wolff Olins in London, and professor at the University of East Anglia; Greg Petroff, chief experience officer at GE; Michael Schrage, author of insightful books on creative collaboration (you should read them); John Spence, business guru and author of books on leadership; Kit Yarrow, Ph.D., author and professor of consumer psychology; and Doru Bere, founder of Dreambox. I’m grateful to all for taking time from their busy schedules.

A book is only a lifeless manuscript unless it’s designed, illustrated, and crafted as an experience. I’m indebted to Irene Hoffman, who not only helped design and produce the books, but cast a critical eye over the typography, layout, pacing, and continuity of the text. She brought an author’s sensibility to the flow of ideas, and caught many logical errors that would have normally slipped by.

Special thanks to Cya Nelson for giving freely of her talents and designing the final Koko Maya package. A bow to Anthony Smith, British designer who surrendered part of his American vacation to lend me his advice and drawing skills. (He’s the one who inked those amazing monkeys.) My appreciation also goes to photographer Jay Farbman, model Melinda Greene, and designers Jenny Lee and Brooke Klass for their various contributions.

Finally, a book is not a book until a publisher prints and distributes it. My thanks goes to Peachpit’s former publisher Nancy Aldrich- Ruenzel, who stuck with me and sometimes challenged me over the course of six books and related products. I’m grateful for the guidance of editor Nikki McDonald, who led me safely past the pitfalls of titling, cover design, and legal omissions. It was a pleasure—as always—to work with David Van Ness, whose kind attention during the production phase makes every project easier. Thanks once again to Liz Welch, a master proofreader; Rebecca Plunkett for the index; and Lupe Edgar for being a constant advocate and manager of great ebook design.

I’ve saved the most important acknowledgment for last. My wife Eileen is the person I most try to please with my work. She allows me to borrow from her library of literary knowledge, as well as her wisdom about subjects beyond business. While she may not have taught me how to write, she continually inspires me to listen, learn, and appreciate the highest achievements of culture and the arts. Here’s lookin’ at you, kid.