All books tell stories about why or how they are designed. Some stories are good, sometimes even interesting. But every time unexpected problems occur and need a smart response from rejected design proposals to technically impossible solutions -- there is always drama. In the end these stories do not matter; what does is if book actually works or not, that is, if
you managed to get everything the way you wanted. If you were able to link the content to your concept and the concept to a form, you have succeeded.
Mevis, A.(2009)'Every book start with an idea: notes for designers', in Bondt, S. D.,Muggeridge, F.[ed.]The form of the book book. London : Occasional Papers, pp. 89.
An awareness of over-interpretation needn't imply a kind of unattainable (and undesirable) objectivity, but rather a thoughtfully subjective approach, which does not involve second-guessing the artist. When content and materials are interpreted and combined in a balanced way, the result can be greater than the sum of its parts.
Goggin, J.(2009)'The matta-clark complex', in Bondt, S. D.,Muggeridge, F.[ed.]The form of the book book. London : Occasional Papers, pp. 31.