Taming the Book Proposal: The Basics

Oh, that most maddening of documents! For so many of us eager to move forward with our nonfiction projects, it looms large like a guard at the queen’s castle, blocking the path to publication. Its perfection eludes us yet it stands there teasing, “Complete me, or your manuscript will never see the light of day, mwahahahaha!”

In truth, that’s a lie. Every author has the option of self-publishing. However, there are advantages to writing a book proposal instead of a whole book.

One advantage is that it usually takes less time than writing a whole book. Two, it creates the possibility of getting paid to write your book, perhaps just a few thousand dollars, perhaps tens or even hundreds of thousands. Three, it forces you to get clear about what you’re doing with your book, on a number of levels.

Even if you want to self-publish, a book proposal serves as a sort of business plan for your book. The time and energy spent on research, evaluation and comparison of your ideas at the outset pays off down the line many times over. After all, wouldn’t you rather find out now that someone else has said similar things more eloquently and have a chance to amend your manuscript, than publish the darn thing only to read terrible – or worse – no reviews?

The process of polishing your book proposal is also an exercise in discipline and focus. It brings the purpose of your book, its scope, depth and message into sharp relief. It will get your thinking muscles into the best shape ever to produce the most marketable book of which you are capable. However, you must dedicate the necessary time and energy to educate yourself, move through multiple drafts and polish this behemoth of a document to perfection, or else hire someone who knows how to do just that.

Here are some answers to questions you may be asking right now:

What is a book proposal?

A book proposal is a document intended to sell a publishing staff on publishing a particular nonfiction book. It is the way most nonfiction books get published by major publishers. It reads very much like a business plan about the book proposed. It can be anywhere from 10-100 double-spaced, 12-point, 8 1 / 2 X 11 pages – most are 20-60 pages, including sample chapters. It generally uses a very specific format and specialized language to make its case.

What does the book proposal do?

It answers a series of typical questions that different departments of book publishing companies need answered when deciding which tiny handful of proposals, out of hundreds, to take a chance on. It acts on your and your book’s behalf to answer questions like, Why this book over all the others in its class? Why now? Why this author?

Who sees my book proposal first, an agent or a publisher?

It depends on whether you choose to have an agent represent you, or go directly to publishers. Many publishers will not accept unagented material, so make sure you check a given publisher’s guidelines first.

What does the book proposal contain?
Generally, a book proposal contains a cover sheet, table of contents, along with the following sections: overview, author bio, author’s marketing plan, market analysis of buyers, comparative and / or competing books, outline, sample chapters.

The overview contains a hook, or means of enticement, draws the editor in, and gives a general summary of the book’s purpose. It’s sort of like an article about the book. It should make you want to read the whole thing!

The author bio puts any and all of your experience related to writing the book, in its best light. It’s different from a resume or CV. It looks a lot like the “about the author” blurbs you see in the back of published books, below the author’s photo.

The author’s marketing plan, or “what the author will do to promote the book,” shows the publisher that you know what it takes to sell your book, and details how you plan to do it. These days, ironically, publishers don’t put much money into publicity, unless you’re already famous. An author with a well-thought-out marketing plan will stand out from most of the others who pay far less attention to this section, thinking instead that the publisher will take care of it.

The complementary and competing books section identifies and describes books that both directly compete with and also that complement the proposed book. The purpose of this section is to show the editors what has been done before, and how your book fits in. The reason for this section is twofold: One, many editors are too busy to keep up-to-the-minute records of what’s being done in every field, and so rely on the author to educate them about what else is out there. Two, just as many editors know exactly what’s out there, and want to know how your work purports to compare.

There’s a paradox here: On the one hand, you want to point to X, Y and Z books as evidence that this topic you’re writing on is really hot. On the other hand, you want to make a strong case that yet another book – namely yours – is still necessary, and why. So you have to point out strongly yet tactfully – you never know what relationship the person reading your proposal bears to your competition – what yours will do that others haven’t.

The market analysis makes the case for the size of the book’s audience. It usually covers a broad view of current interests and buying patterns in the larger culture that bode favorably for the book. It may include recent movies, documentaries on television, facts about memberships in organizations or clubs, social or ethnic groups whose constituents would be likely buyers of the book. For example, a book with an exercise theme might cite the circulation of major fitness magazines, membership in health clubs or recent TV shows on related topics. This approach can be adapted to whatever the subject: parenting, cancer, gardening, dogs, mental illness, business, or entrepreneurship.

But a book, above all else, is a medium. It encapsulates information (of one kind or another) and conveys it across time and space. Moreover, as opposed to common opinion, it is – and has always been – a rigidly formal affair. Even the latest “innovations” are nothing but ancient wine in sparkling new bottles.

Consider the scrolling protocol. Our eyes and brains are limited readers-decoders. There is only that much that the eye can encompass and the brain interpret. Hence the need to segment data into cognitively digestible chunks. There are two forms of scrolling – lateral and vertical. The papyrus, the broadsheet newspaper, and the computer screen are three examples of the vertical scroll – from top to bottom or vice versa. The e-book, the microfilm, the vellum, and the print book are instances of the lateral scroll – from left to right (or from right to left, in the Semitic languages).

In many respects, audio books are much more revolutionary than e-books. They do not employ visual symbols (all other types of books do), or a straightforward scrolling method. E-books, on the other hand, are a throwback to the days of the papyrus. The text cannot be opened at any point in a series of connected pages and the content is carried only on one side of the (electronic) “leaf”. Parchment, by comparison, was multi-paged, easily browseable, and printed on both sides of the leaf. It led to a revolution in publishing and to the print book. All these advances are now being reversed by the e-book. Luckily, the e-book retains one innovation of the parchment – the hypertext. Early Jewish and Christian texts (as well as Roman legal scholarship) was written on parchment (and later printed) and included numerous inter-textual links. The Talmud, for example, is made of a main text (the Mishna) which hyperlinks on the same page to numerous interpretations (exegesis) offered by scholars throughout generations of Jewish learning.

Another distinguishing feature of books is portability (or mobility). Books on papyrus, vellum, paper, or PDA – are all transportable. In other words, the replication of the book’s message is achieved by passing it along and no loss is incurred thereby (ie, there is no physical metamorphosis of the message). The book is like a perpetuum mobile. It spreads its content virally by being circulated and is not diminished or altered by it. Physically, it is eroded, of course – but it can be copied faithfully. It is permanent.

Not so the e-book or the CD-ROM. Both are dependent on devices (readers or drives, respectively). Both are technology-specific and format-specific. Changes in technology – both in hardware and in software – are liable to render many e-books unreadable. And portability is hampered by battery life, lighting conditions, or the availability of appropriate infrastructure (eg, of electricity).

II. The Constant Content Revolution

Every generation applies the same age-old principles to new “content-containers”. Every such transmutation yields a great surge in the creation of content and its dissemination. The incunabula (the first printed books) made knowledge accessible (sometimes in the vernacular) to scholars and laymen alike and liberated books from the scriptoria and “libraries” of monasteries. The printing press technology shattered the content monopoly. In 50 years (1450-1500), the number of books in Europe surged from a few thousand to more than 9 million! And, as McLuhan has noted, it shifted the emphasis from the oral mode of content distribution (ie, “communication”) to the visual mode.

E-books are threatening to do the same. “Book ATMs” will provide Print on Demand (POD) services to faraway places. People in remote corners of the earth will be able to select from publishing backlists and front lists comprising millions of titles. Millions of authors are now able to realize their dream to have their work published cheaply and without editorial barriers to entry. The e-book is the Internet’s prodigal son. The latter is the ideal distribution channel of the former. The monopoly of the big publishing houses on everything written – from romance to scholarly journals – is a thing of the past. In a way, it is ironic. Publishing, in its earliest forms, was a revolt against the writing (letters) monopoly of the priestly classes. It flourished in non-theocratic societies such as Rome, or China – and languished where religion reigned (such as in Sumeria, Egypt, the Islamic world, and Medieval Europe).

With e-books, content will once more become a collaborative effort, as it has been well into the Middle Ages. Authors and audience used to interact (remember Socrates) to generate knowledge, information, and narratives. Interactive e-books, multimedia, discussion lists, and collective authorship efforts restore this great tradition. Moreover, as in the not so distant past, authors are yet again the publishers and sellers of their work. The distinctions between these functions is very recent. E-books and POD partially help to restore the pre-modern state of affairs. Up until the 20th century, some books first appeared as a series of pamphlets (often published in daily papers or magazines) or were sold by subscription. Serialized e-books resort to these erstwhile marketing ploys. E-books may also help restore the balance between best-sellers and midlist authors and between fiction and textbooks. E-books are best suited to cater to niche markets, hitherto neglected by all major publishers.

“E-Book” is short for Electronic Book — an organized set of content delivered in an electronic format. There are many different types of e-books including packaged executables, PDF, and formats for the handheld computer.

As with so many of the original e-books, your e-book doesn’t have to be about Making Money or Internet Marketing — people are interested in many other things. What makes an e-book valuable to a wide audience is that it provides information that people cannot easily find elsewhere.

Over the years, I’ve had the pleasure of writing numerous printed books and working on several electronic publications. From what I’ve seen, the e-book medium supports the greatest creative flexibility. Images can come alive, you can provide interactive forms and content, the user can access remote databases, and you can support dynamic updates whenever the content changes. There are, however, several steps involved in the process to properly develop and promote an e-book to your audience.

The Process

When developing an e-book, you have to perform several important steps to create quality content. Each step allows you to fine-tune your idea and the end-product so that readers will learn from and enjoy the content you provide.

- Brainstorm an Idea

Ideas are cheap, but good ideas take time to develop. To develop a good idea, you have to jot down as many ideas as possible, then go through the list to make sure that:

* You’re interested in the idea;

* You’re knowledgeable on the topic;

* You’re hitting the greatest, potential market;

* People will purchase the information; and

* You can market to those interested.

Once you reduce the list to a few solid choices, go back through and examine the remaining topics to determine which topics you can write, by:

* Determining what you know about the topic;

* Performing market research to ensure that you have a market and an angle for that market; and

* Performing competitive research to find your competition’s products, successes, failures, and target markets.

While fine-tuning your product, remember that people will buy the product if it:

* Solves a problem;

* Improves an existing product;

* Hits on a hot trend;

* Creates a new niche; or

* Fills a current need.

- Develop an Outline

Once you come up with the idea, you’ll have to create an outline or table of contents to develop the idea. The best way I’ve found to do this is to break the idea down into blocks of contiguous information — similar to assembling a pyramid. At the top is the IDEA with each successive level providing a more detailed sequence of points that ultimately explain the top-level IDEA.

The outline itself should be at least four levels deep so that you can understand what you’ll say for each section or chapter. Research each section and collect pertinent information so that you can develop a coherent outline and understand the depths of what it is you are writing.

- Develop the First Draft

The first draft is merely a “brain dump.” Follow your outline and write as much as possible about each section. Don’t worry about format, spelling, or grammar at this point, as you’ll focus on resolving those issues later.

- Substantive Edit

A substantive edit is a review of the manuscript where you fine-tune the content. You have to make sure that the content is complete, contains pertinent information for the topic, and provides enough relevant information to explain the topic. At this point, you can perform additional research to verify the content or enhance the information for the reader.

- Content / Technical Review

Find some experts in your manuscript’s topic area and have them review it for accuracy and readability. This type of review ensures that the information is correct and that the target audience will be able to understand the content. Many times, experts will take credit in the acknowledgements as opposed to a fee, but this is something you’ll have to work out with them.

Whether you book publish your own book, try book publishing on demand, or try traditional publishing, you should look into the details of the deal before you leap.

What’s the Best Path to Publish Your Book?

Your print or ebook is soon to be finished. You wonder if you should try to get an agent to represent you to the publisher. Maybe you’ve already sent out your query letter to some agents. You dream “how great it would be to be taken under a publisher’s wings.”

What’s wrong with this picture? Even if an agent has given you the go and asks for a book proposal that has specific marketing information in (it takes three-seven months to write), you still have to face reality.

FACT: Like Oprah, publishers and agents choose only 1-2% of proposals submitted.

Let’s say for now, you are chosen. The point is, are you fortunate to be chosen?

Are you willing to wait on the traditional publishing process two years? Are you willing to accept around 2-5% of the profits? Do you realize that after a few months of one initial book tour (of which you must pay all costs from your book sales), you are on your own? And, if you don’t put a lot of time into promotion, your book will fade away within two months from the brick and mortar book store shelves. All unsold and coffee-stained books left will be returned, and the cost is deducted from the author’s royalties. Unless you are a favored celebrity or famous author, publishers put little time or money into your book’s promotion. Without that benefit, why go this way?

Get the Right Help the Right Way

Who says you can’t publish your own book? It will certainly cost you less than you imagine, under $ 1000 for a print version and close to nothing for your eBook. Self-publishing will bring you all the profits. It will put you in charge to make suitable and favorable writing, publishing, and promotion decisions.

With a little help from professionals! These entrepreneurial experts such as book coaches, book designers, and eBook specialists can guide you through publishing success. These people may give teleseminars, small group coaching experiences, and other inexpensive ways to learn the ropes. These pros will shorten your learning curve too, so you get the right help right away to write the right book right away.

When you think you still have to promote your books, even with a publisher, why not keep most of the profits and do some of the work yourself? Learn from your bookcoach’s experiences, “Do What You Do Best-and Hire the Rest!” (That doesn’t mean you can’t barter for services). Check out the methods below and see which one suits you best, is more rewarding, and far more profitable.