Tag: book proposal

  • How to Write a Book Proposal: A 19-Step Guide for Nonfiction Writers

    How to Write a Book Proposal: A 19-Step Guide for Nonfiction Writers

    how to write a book proposal

    As a literary agent at Trident Media Group, a plethora of nonfiction book ideas come across my desk.

    So many people think they have a book in them, but it takes more than merely being audacious to see a book through to publication.

    What’s unique about nonfiction is it can be sold on a proposal-basis to book publishers. That’s because it’s idea-driven, as opposed to fiction, which needs to be sold on a fully-written and polished manuscript.

    How to write a book proposal for nonfiction

    Want to write your own nonfiction book proposal? Use these guidelines as your template, with each section on their own page(s).

    Here’s what you should include when you write a book proposal.

    1. Title page

    This is simple enough. Add the title and/or subtitle (separated by a colon or on a new line) and “A Proposal by” followed by your name.

    2. Contents

    As with a book’s table of contents (TOC) listing the chapters, a nonfiction book proposal will have a TOC page listing the individual sections and page numbers of the proposal.

    Look at most any TOC inside a book to get a sense of what this page will look like.

    3. Proposed title(s)

    Slightly different from the Title Page section of the book proposal, this is where alternative titles and subtitles can be proposed in a list format.

    4. Author(s)

    The author(s) name(s) of the book proposal will be listed here. Titles and suffixes can be excluded.

    5. One-sentence description

    In a one-sentence tagline/hook sort of fashion, capture what the book is about in its entirety.

    This can be a stressful practice for authors as storytellers by nature, but it’s good to learn to speak about your book concisely.

    6. Categories

    Categories and subcategories the book will fall into are listed here.

    For example: motivational self-help, personal transformation/growth, philosophy, positive psychology, etc. You can find a more indepth guide on keywords and categories, or purchase a tool like Publisher Rocket.

    7. Quotes

    This is a section for inspirational or framing quotes that one would see in the opening pages of a book.

    In a business book, a writer might want to quote Warren Buffet, or in a technology book, Steve Jobs. A poem or short passage from a book could even go there.

    Limiting this section to a few quotes is ideal.

    8. Audience

    In a paragraph or two, add the target demographic(s) for the book.

    A testament of the public’s powerful desire and current trends around the topic could also be listed here.

    9. Purpose and need

    On a much deeper level, this section tells us why we as readers need to read this book, and why now? In a simple way, the reader has a problem or a yearning, and this book fulfills that need with its purpose.

    It’s OK to take a page or so to explain.

    10. Unique angles

    Explain how the book will carve out its place in a busy marketplace of similar books. Some of the takeaways that can only be experienced from this very book should be shared here, perhaps in bulleted format.

    11. Reader benefits

    What will the reader gain from reading this book? This section answers that question with a number of benefits to the reader.

    Will the reader experience joy? Will they feel a part of something bigger than themselves? Tell us here in this section along a short list.

    12. Potential endorsers

    This section is devoted to people of note who could provide advance praise/blurbs for the forthcoming book.

    They might even be people of note who would be willing to write an introduction or forward to the book. Not only names should be listed here, but titles and why these are important endorsements.

    13. Book structure overview

    List the format, eventual word count (preferably within normal or appropriate range), page count, and deadline by which a finished manuscript could be turned into the publisher (should you get a contract).

    14. About the author(s)

    Can you guess what you do here? Write a little something about yourself!

    It can be as simple as one paragraph or a couple of pages. Relevant writing experience, credentials, awards/accolades, previous publications, fun facts, links to author sites and social media pages (as well as the number of social media followers, if impressive), fun personal facts, and contact info can be listed here.

    For nonfiction, it’s not enough to have a good idea to write about. The author must be an authority on the subject matter. In other words, author platform is key. (This is different than fiction, which is less reliant on author platform.)

    15. Sales history of previous books

    For authors with previously published books, this is a list of titles, along with publisher name and publication date.

    Below that should be the total sales numbers on the book, from publication-to-date.

    If a book from this list was translated into other languages, had a film/TV adaptation, or was turned into an audiobook, that can be mentioned here, too.

    16. Chapter outlines

    Provide a sparse outline that breaks down each chapter by name and number into a one or two-sentence description, followed by bulleted chapter contents and/or very short description.

    17. Bonus content

    Have ideas for any fun bonuses, such as activities or interactive/online content having to do with the book? Add those here.

    18. Marketing plan

    The sky’s the limit!

    Share what you and/or the publisher might do as marketing and publicity behind the book’s publication. For a full book marketing plan, check out this article.

    19. Sample chapters

    Include 3-5 fully-written and polished sample chapters from the forthcoming manuscript.

    How long should the book proposal be?

    With all of this information, you’ll likely end up with a book proposal that’s dozens of pages long.

    Nonfiction book proposals can top out around 50-75 pages, not including sample chapters. Add in those samples, and you’ll have a complete proposal ready to be considered by a literary agent!

    Need guidance for how to write a book proposal?

    This course on Book Proposals from Chad Allen is one we recommend for authors. We have found it extremely helpful.

    This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

  • Before You Pitch Literary Agents, Watch Out For This One Dangerous Trait

    Before You Pitch Literary Agents, Watch Out For This One Dangerous Trait

    As a young undergraduate in Dublin, I once eavesdropped on a barroom conversation among some off-duty prison officers.

    These uniformed men one-upped each other with war stories about the prisoners they were paid to guard or serve. I recall lots of beer-fueled guffaws and anecdotes that skirted or violated privacy laws. Clearly, these men no longer saw the incarcerated as individuals.

    Instead, around that bar stood a pack of male Marie Antoinettes who regarded the people in their care as the faceless peasantry begging to storm the castle gates.

    Recently, I encountered a small-press publisher whose online blog posts about submitting writers instantly reminded me of those tipsy, irritated prison officers.

    I’d love to be able to say that this publisher is an anomaly. But I fear that a “You dumb authors out there” posture is becoming a trend.

    Take for instance a Twitter pitch-a-thon that acted like a virtual open house, during which agents invited new authors to pitch their books. Sounds very gallant and democratic, right?

    Except for the one agent who tweeted his rejections, plus a set of sneering remarks about his submitting authors’ works. Now, in any other industry, using social media to publicly grouse about — or insult — that industry’s customers would instantly get him fired.

    Thinking the two examples I cite here are extreme and rogue? Please tell me this is the case.

    Why checking up on potential agents and editors matters

    In the rest of the world, in other businesses, success and reputation are driven by how we  conduct ourselves in public, online and behind the boardroom doors. Sadly, a handful of practitioners assume that the publishing world is exempt from otherwise standard business practices.

    In and beyond the writing and publishing industry, the way someone uses social media is often a window into that person’s work attitude and style, and a signpost as to how a potential working relationship will evolve.

    Trust me when I tell you that the “You dumb authors” stance is not one you will want to work with for short- or long-term projects.

    Do yourself a favor. As a writer querying your next agent or publisher, watch for those Marie Antoinettes who regard you as yet another dang and dumb author trying to storm the publishing gates.

    This attitude is not always detectable via a Publisher’s Marketplace search or any of the other ways in which we pre-check and vet a target editor or agent, but you can and should do your own due diligence.

    How to spot red flags before you query an agent or editor

    Here are four tips for avoiding unkind or cruel members of the publishing community.

    1. Evaluate public submission requirements

    Read through the list of submission or pitching requirements, to which you should of course strictly adhere. As you review, pay particular attention to the tone and tenor of how the outfit speaks of its authors.

    You’re a writer. Your specialties are tone and word choice. Use these skills to weed out the amateurs.

    2. Scope out social media accounts

    Check the editor or agent’s social media presence and postings, including blogs. Again, pay close attention to what gets said about prospective or rejected authors and how it’s being written.

    Take a pass on anyone who seems to get a thrill — like those prison officers — out of using recently considered authors as Exhibit A in how put-upon and barraged her editorial life is.

    3. Industry blog? Or personal diary?

    There’s nothing more civic and civil than someone who maintains an industry blog with information, statistics, tips and commentary on the industry as a whole. Alan Rinzler’s “The Book Deal” is one gold-standard example, but there are lots more.

    Then there are those that read like a teenage diary rant. These are not industry blogs.

    At best, they speak for one outfit and its editorial preferences. At worst, they’re just digital spew or someone’s after-work rant session.

    4. Listen to your gut

    Search for online interviews or writing conference videos that feature your target agent.

    Watch this person’s delivery and demeanor. Forget how desperate you are to be published. Forget the skewed power dynamic. Forget a so-called downsized publishing world.

    Apply the same standards you use when choosing any other business partner.

    The bottom line: Especially for book-length projects, the road from contract to editing to publication can be a long one — too long to walk with someone who will never treat you as an equal or worthy project partner.

    Have you ever discovered the hard way that a publisher or editor was a terrible fit? How did you react?