| A surprising number of authors find crafting a | | | | chapter. |
| proposal is a great deal harder than it is to write a | | | | Hook: You should make every effort to develop a |
| book. Most of us are poor salespeople, but strong | | | | powerful hook (also called tagline) for your book. This |
| writers, and that's what is needed make an agent or | | | | should be a short statement about the book |
| publisher hunger for your masterpiece. The proposal | | | | preferably in one, but never more than two, |
| is the show piece that allows you to move up to the | | | | sentences. It should be both punchy and informative. |
| next rung on the publishing ladder. | | | | Overview: This is one place the experts disagree. |
| When To Propose | | | | Some believe it should be a narrative that discusses |
| A propos not required if your book is a novel, but | | | | the need for the book, its uniqueness and why you |
| key parts of it can be very helpful in convincing the | | | | are the ideal writer to tackle this task. Others feel |
| agent or publisher that representing your book will be | | | | the overview should be a detailed précis of |
| profitable. It gives you the chance to outline the | | | | the book, offering the reader a real understanding of |
| market for the book and the way you intend to | | | | its content. |
| reach those readers, and that information is | | | | Author Location of this segment may vary depending |
| extremely important to a publisher. Complete | | | | upon your credentials. If your track record as a |
| proposals are a must when your book is nonfiction. | | | | writer is impressive or if your status as an expert in |
| The reason for this difference should be obvious. The | | | | the subject matter has been established, you will |
| key to a novel's success is its style, pace and | | | | want to place this segment directly after the |
| characterization. These cannot be relayed in a | | | | overview. If you are inexperienced with modest |
| proposal. Conversely, the principal element in most | | | | credentials in the field you are writing about, I |
| nonfiction books is content, and that can readily be | | | | suggest moving the segment to a location after |
| demonstrated. | | | | Marketing and Promotion. |
| Your nonfiction proposal can be submitted well | | | | Marketing Potential: Your challenge is to convince the |
| before you complete your book. You will need | | | | agent that a substantial population exists that is |
| several sample chapters to send as part of the | | | | waiting, indeed eager, for a book like the one you |
| proposal. No fiction manuscript will be finally accepted | | | | are proposing. This is key, since both the agent and |
| until it can be read in its entirety, although an agent | | | | the publisher will equate potential profit with the size |
| may ask for a synopsis of your novel prior to | | | | of the market. This is one of the most important |
| receiving the completed book. | | | | sections of your proposal. The decision the agent will |
| Sell, Sell, Sell | | | | ultimately make will depend in great part on the |
| The proposal is really a major expansion of your | | | | information you supply here. |
| query letter. Now that the query has opened the | | | | Competition This is a double edged sword. A large |
| door, it is essential that you seize this opportunity to | | | | number of books published on the general topic you |
| give the agent or publisher the confidence that your | | | | are writing about can indicate the subject has been |
| book will be a profitable investment. The key | | | | surfeited or it can substantiate the wide popularity of |
| question is always whether or not a profit can be | | | | the subject. Your book takes on great importance if |
| made. Therefore, flowery praises from family and | | | | you can convince the agent that it and the approach |
| friends have no place in the proposal. Nor do | | | | you use are unique and bring a new level of |
| meaningless adjectives. Only hard facts will sell. Your | | | | understanding to the subject matter. |
| proposal must offer: | | | | Head to the library and check Books in Print, |
| * A solid analysis of the market for your book. | | | | published by Bowker. This publication will give you a |
| * An evaluation of the competition your book faces. | | | | list and short description of every book currently in |
| * The uniqueness of your book. | | | | print. Forthcoming Books, another Bowker publication, |
| * The effort you will undertake to build sales for the | | | | lists books that are in production, but not yet |
| book. | | | | released. |
| These are the issues that matter, and must be | | | | Promotion:This too is a key component of the |
| described thoroughly. | | | | proposal. No book can succeed without strong |
| Setting It Up | | | | promotion, and today that onus falls directly on the |
| There are many sources to guide you as you | | | | author. When selecting books to represent, the level |
| develop your document. Look for Michael Larsen's | | | | of promotion you, the author, are willing to undertake |
| How to Write a Book Proposal, Peter Rubie's Writer's | | | | and finance weighs heavily on an agent's or publisher's |
| Market FAQ's or many of the other guides that you | | | | decision. |
| can locate on the Internet. As Michael Larsen points | | | | Endorsements While perhaps not classified as |
| out in the opening of his book, publishers are hungry | | | | promotional activities by purists, endorsements and |
| for new books and new ideas. "The challenge," he | | | | testimonials sell books. If you are unable to list any |
| points out, "is to get the proposal to the right editor | | | | because you are writing the proposal before the |
| at the right publisher at the right time." I would add | | | | book is finished, include every realistic possibility and |
| that it must be the "right" proposal. One that both | | | | the reason why you consider an endorsement from |
| describes the book and entices the agent who reads | | | | that specific person a strong likelihood. |
| it. | | | | Chapter Descriptions: Done properly, these will |
| What To Include | | | | demonstrate to the reader the flow and continuity of |
| Opinions vary somewhat among the experts on the | | | | your book. This should resemble a TOC with the |
| sequence of the different segments of the proposal, | | | | chapter title followed by a brief, but inclusive, |
| but all generally agree on the overall content and that | | | | description of the chapter's content. |
| the document must be looked upon as a selling tool. | | | | Sample Chapters: The samples you include will give |
| The average book proposal runs between 35 and 50 | | | | the reader the chance to evaluate the style and |
| pages. It should be sent with a very brief cover | | | | quality of your writing, so choose the best and most |
| letter that serves principally as an introduction to | | | | informative. Include two or three chapters. They do |
| remind the agent who you are. | | | | not necessarily have to be in sequence, although |
| Title Page: Place your contact information in the top | | | | frankly, I feel they should to give the reader a better |
| left hand corner. The book's title and author's byline | | | | sense of the flow of your book |
| should appear about half way down the page. | | | | Follow this basic outline and prepare a strong, straight |
| Table of Contents: There should be a TOC to help | | | | forward proposal and you will likely be delighted with |
| direct the reader through a proposal of this many | | | | the response. |
| pages. It should contain a brief description of each | | | | |