Advice on "Should I Write This Book and Tell My Story?"

or, Book Proposal 101

A few days ago, I received an e-mail from a person who is uncomfortable being called a "writer," but who feels compelled to write and share a very personal story. The e-mail briefly outlined the situation and the person's involvement in the story. It then asked my advice on the viability of this non-writer undertaking such a project.

These sorts of letters are not uncommon. I routinely get several e-mails a month from "non-writers" who want my opinion on whether or not a project that they are crazy about has merit.

To be fair, I rarely say "No." But then, I am not a publisher.

(Book industry joke: Q: How does a book get published?
A: Someone forgets to say "no.")

On the other hand, my advice is rarely full of warm fuzzies, either. Here, in a nutshell, is the gist of what I suggest...

I firmly believe that the most important thing for any book, movie, or other undertaking is a passion to see it through to completion. That must drive every project. With it, every project has a chance of success. Without it, every project -- no matter how valid or potentially interesting -- is doomed.

If you hope to write a successful book or screenplay, you must have a real passion for it. If it is a non-fiction project, you must want to share your experience with others in the hope that you can benefit those who identify with you and who share your experiences. If you have such a passion, then I would encourage you to follow this project through. (If not, drop it. Now.)

The only thing that makes a person a "writer" is that the person writes. You don't need to be a fast typist or an eloquent speaker. If you have a great story to tell, you owe it to people who could benefit from that story to tell it.

Some advice on the writing aspect of producing a non-fiction book:

Determine what you want to say. Since your story is true, it will have a very personal feel to it. Decide how closely you will adhere to the truth and where you wish to change names, dates, places, times, or anything else you feel the need to change in order to protect your privacy or the privacy of those you love.

As you develop this project, keep in mind your reasons for writing it in the first place. Articulate these. Keep them before you as the project progresses. They will help keep you focused and on track.

One of your first priorities is to construct a working outline. Don't let this scare you. Jot down 10 to 15 topics that you want to talk about in your project. Underneath each topic, make a list of the things you'd like to discuss about it. Each of these, then, will become a chapter. Your outline will become your working Table of Contents.

Take the chapter or the section that most interests you and write it. Say all the stuff you want to say about it. Pour your heart out. Explore all the avenues you wish. Show it to people you trust. Get their advice. Incorporate the advice you like. Throw out the advice you don't. Make that the best chapter you possibly can.

Then, write a short paragraph explaining what each of the other chapters would be like. Explain what their contents would be, giving examples where relevant.

When those two steps are done, you have the beginnings of a book proposal. You’ll have outlined the entire project AND you will have written one complete chapter.

The next step in the process is essentially writing up a marketing plan to show the publisher, editor and / or agent how timely, viable, and salable your book is. Again – don’t let this scare you. You can finish it in a day, but it’s not the place to begin… Don't do this until you have proven to yourself that you really do have something to say about this subject, and that you can make yourself write at least one chapter -- a good one -- that is worthy of publication.

Now, some comments on marketing -- the other half of the book business:

You can sell a non-fiction book on the proposal. The book does not have to be completed before it is sold. As you develop the project, however, bear in mind that the thing publishers really look for is a platform. They want to know how an author is going to get the word out about a book, and how the author can help drive sales. (Publishing is a business. It’s all about the bottom line.)

Start planning for this and developing your platform now. Tell people you are working on a book project. Look for organizations, individuals, speakers, celebrities, or others with a wide-reaching audience who could get excited about your book and help you move it.

If you write a book just by yourself, no matter how good it is, you will need help getting the word out. But if you have a well-known speaker, or national organization, or advocate for your topic in your corner who will gladly tell the world about how wonderful and important your book is, publishers will sit up and take notice.

Start a list of people who might give you a written endorsement (those blurbs on the covers of books only get there because someone asked someone else to write them). Start another list of people who you wish would give you a written endorsement. Start educating yourself about the realities of the publishing industry. The more familiar you are with it, the less likely you are to be intimidated by it or to be taken advantage of by unscrupulous predators.

In my experience, people are often amazed about how involved they need to be in the business and marketing aspects of their books. Those who are aware of the need for a platform early in their projects often have a leg up on those who have drafted a manuscript and then find themselves swimming in a sea of "Now What?"

In short, I tell writers (and non-writers with good ideas) that if you have a great idea, you owe it to that idea to give it an audience. That means educating yourself about both the craft of writing and the business of marketing. Then, act on that knowledge and make it happen!

How to Get a Book Deal When You Suck at Pitching

I am good at many things. Pitching a project, however, is not one of them.

I have a friend who is an amazing pitcher. She is ready, at any time, to say a few sentences that rivet your attention and leave you craving more.

Me? Before I go to a pitch fest or writing conference where I'm a participant instead of faculty, I practice my pitches for a month. I practice everything, from "Hi, I'm Ami Hendrickson" onward, saying the words out loud and timing myself. It's true. If I don't, I know from heinous experience that I blather. I skip over important bits or go haring off on interesting rabbit trails instead of presenting the inciting incident in a way that makes an iota of sense. In fact, practicing out loud is one of my go-to Tips for Surviving the Pitch Session.

If I don't practice to within an inch of my life,
my pitches become Giant Sucking Vortexes of Awful. 

Not everyone has to practice like I do. Some people are pitching rock stars. Sadly, I must have been in the cosmic little girls' room when God was doling out pitching talent.

Fortunately, though pitching is an important skill in a writer's career -- one that every writer, no matter how pitch-challenged she may be, should strive to master -- it is possible to get a book deal signed even if you can't pitch your way out of a paper bag.

Everyone's road to publication is different. I can only tell you what worked for me.

1. Put yourself out there. Get out of the studio. Get away from your computer. When you are at a conference or networking event, for the love of God, get off of your freaking phone! Go where you know people who work in publishing will be. Attend their classes. Shake their hands. Ask knowledgeable questions. Meet. Greet. Repeat.


2. Be yourself. Do not posture. Don't compare yourself to a famous author, living, dead, or fictitious. Don't talk all about yourself. Just be yourself. Be the person your best friends love to hang with. At no time should you remind the people you're talking to of a strutting rooster or a hot air balloon. If you already know you suck at pitching your book, then don't pitch your book. Not at first. Pitch yourself instead. Best way to do that? --


3. Pay Attention. See, once you stop talking, then others can start. And since they're in the industry you want to break into, they probably have a ton of information that you need. So listen. Show genuine interest in what the publishing pros have to say. Engage. Pay attention. You'll discover who is looking for what and where different agents' and editors' tastes run. That knowledge, plus the personal connection, can be invaluable.


4. Know what you can do. You may not be a pitch-meister, but you sure 'nough better be able to write. Don't say you can write a book if you have never finished a book. Don't claim to be able to write a screenplay if your hard drive is full of half-finished scripts, but you've never typed "FADE OUT." Knowing what you can do, and saying what you can deliver isn't bragging; it's networking.



A writer who doesn't network is as fulfilled as a cat in an aquarium.

These are the tenets that worked for me. I got my first book deal -- and nearly every writing gig since -- by following them. I was participating in a horse training clinic and shooting the breeze with the trainer (whom my horse nearly killed, but that's another story) when he asked me what I did. I told him I was a writer. This was true: at the time, I wrote for several local newspapers and magazines and had worked in an advertising agency. But my passion was for my novel and my recently finished screenplay.

That encounter led the trainer to call me some time later when a publisher approached him about writing a book and he knew he needed help doing it. I was 9 months' pregnant at the time, but when he asked if I wanted to write his book with him, I said "yes." You can't always choose the circumstances of your break.

The publisher was initially reluctant to take a chance on me, an "unproven" writer, but the trainer insisted I was who he wanted to work with. Though he had never seen a word I had written, he knew me. He'd seen my work ethic at his clinic. He knew we could work together.

The resulting book is a perennial bestseller for the publisher. That project led to others... which led to others... I have been blessed to write books and other materials for world-class experts in their field -- and I still suck at pitching.

In my last post, "The Problem With Pitching," I lamented the fact that some writers pitch better than they can deliver. I'm working right now on a project that sold on the basis of a pitch, but which is currently languishing in Development Hell because the writer didn't deliver anything usable. So the director called me. I may not be able to pitch. But I sure can produce.

I'm not for a moment suggesting that you give up on learning to pitch well. I believe that pitching is like any skill: no one is born knowing how to do it. It can be learned like anything else.

However, some people just "get" how to pitch better than others. If you're like me, and are still struggling with perfecting your query letters, elevator speeches, and pitches, take heart! Even if you don't pitch a perfect game, you can still play!

Get yourself out there, play nice with others, pay attention to what the pros say, and be confident in your abilities. In my experience, those four things can build a solid writing career while you continue to perfect your pitch.

A Publisher's Perspective on Pitching Projects

A Q & A with Managing Editor Martha Cook, Pt. II

Managing Editor Martha Cook often works with unrepresented first-time authors who are experts in their field. She also evaluates the project proposals that Trafalgar Square Books receives.

Trafalgar Square is very proud of its many talented authors. Those who have joined the Trafalgar Square list over the years include: Jane Savoie, Linda Tellington-Jones, William Steinkraus, Dr. Gerd Heuschmann, Mary Wanless, Clinton Anderson, Charles de Kunffy, Conrad Schumacher, Sylvia Loch, Klaus Ferdinand Hempfling, Geoff Teall, Dr. James Warson, Betsy Steiner, Kyra Kyrklund, Alois Podhajsky, Paul Belasik, to name but a few.

In the first part of Ms. Cook's interview, she discussed the importance of a non-fiction author's platform. Here, she comments on how to get the publisher's attention with your pitch:

Q: How much should a writer know about a publisher before pitching a project?

A: I’m often taken aback by how some writers sending us submissions seem completely unfamiliar with us. At the very least, before you submit anything, visit the publisher’s website and familiarize yourself with the books published. Also, visit a bricks and mortar bookstore to look at the publisher’s books and take note of the design, photos, art, and price.

There is no excuse for a submitting writer to ask me if we put color photos in our books – yet this happens all the time. Questions like these only tell me that the writer didn’t bother to do the most basic research for the proposal. They certainly don’t encourage me to take a chance on offering the writer a contract.

A final note about pitching: You should know what books the publisher publishes that may be in direct competition with yours. Be ready to field a question like, “We have a book by XXXX on the same topic. How is your book different?”

Q: Do publishers generally look for projects similar to books they already publish? Or is it better to avoid pitching a project that is in direct competition with something already in a publisher’s list?

A: Again, be familiar with the publisher’s list. Be prepared to say, “I know you recently published XXXX, but my book is different because it approaches the topic from another perspective,” or “…because it explores the subject further.” I definitely notice during a phone call or in a submission letter if a writer is on the ball enough to be up to speed on what we’ve recently published.

One of the big slip-ups I see more than I should is a writer who makes a laundry list of competitive titles, noting all the things wrong with the books (many published by us!) and explaining why his or hers is better. The first thing that pops into my mind is, “This author didn’t do the homework.”

We are niche publishers so we don’t expect to receive proposals that are wildly different – they all have to have something to do with horses – but your chances of getting a further look are much improved if you have something unique to say, without disparaging the books to which we have already committed.

Q: What are the hallmarks of a “perfect” proposal?

A: A great proposal includes the following:

1.) A well-crafted introductory letter that demonstrates writing proficiency, shows a solid command of the subject, states why the topic proposed is a necessary addition to what’s already published on the subject, and offers a short overview of the writer’s experience and qualifications.

2.) A thorough outline that shows the writer has given careful thought to the book’s organization from start to finish.

3.) Two or three polished sample chapters. (Don’t say, “I’m sending you a couple of rough chapters.” Put your best writing forward! This is your chance to convince the publisher your work is worth publishing.)

4.) A bio or CV.

5.) A concise market view. List books you see as direct competition, state who you think is the customer for the book, mention connections you have that may help promote and sell the book and what you can do to aid in sales or promotion, include suggestions for outlets that will sell the book, etc. Nothing in this section needs to be explored in great detail, but it is essential to demonstrate that you have done some thinking about how the book will be sold.

These elements are the best way I know of for an unpublished author to get the attention of a publisher, and to convince a publisher to take a chance on him or her.


Q: What are some common mistakes you see writers make that ruin an otherwise interesting pitch?

A: Sloppy, shoddy work that doesn’t deliver as promised is an instant turn-off. As mentioned above, don’t send anything but your very best writing and well-organized, relevant, high-quality supporting materials.

Always inquire before you send an entire manuscript and never send original photos or art without first asking the publisher.

A couple personal peeves: Don’t start off by telling me you have a bestseller. Also, beware of telling me that your idea is so unique that it has no competition. If you say nothing like it has ever before been published, you’d better be sure because from my position, I probably know if it’s true or not.

The Business of Books

I received an e-mail update from Janet, a writer friend of mine who is in the process of researching her first contracted book while finishing up the proposal for a pet project.

In her update, she commented on a "light bulb moment" she recently had:

I have almost finished my book proposal - that is certainly not an easy task for an unfinished book, is it? It did help me pick up steam, better determine my audience, and examine several others along the way. Published books are really successful business projects, aren't they?

Ah! So they are.

Most books that get in print these days are really businesses. The sooner a writer realizes this, the better! Too many writers treat their books like hobbies, or pets, or illicit affairs, or toys. They don't take the books or themselves seriously. They fail to realize that publishing is a business and are all too often lax about learning how that business operates.

One of the things I encourage writers to do is to set goals for themselves. I encourage writing goals ("I'll write X,000 words a day." "I'll finish X chapter(s) a week."). I encourage business-building goals ("I'll submit to X new markets each week." "I'll research at least one relevant manager this month."). In all things, however, I encourage realistic expectations.

Sometimes, overly ambitious goals can arise from an unfamiliarity with the rigors of the writing profession. As with any job, some days are more productive than others. If an unfamiliarity with the ups and downs of any business venture does not inform our writing goals, we tend to set those goals while dazzled by the glow of an exciting new project. However, if our goals are contingent upon our being brilliant every day, we not only set ourselves up for defeat -- but we also pave the way for burnout.

New York Times bestselling author Marie Bostwick has some excellent advice on how writers can stay motivated without burnout.

One of the things she suggests is that writers build in a certain number of "sick days" and "personal days" when developing their goals. Doing so, Bostwick suggests, allows one the writing equivalent of calling in to the office and taking a day off when necessary for one's life, liberty, and general well-being.

Bostwick's approach to the business of writing is well worth considering.

If you are a writer, I encourage you to come up with a plan that will make this next year the one that develops your Pet Project (you know: The One that's just begging for your attention). As you plan, however, I suggest that you consider the business you are in. You are in the business of creating. Of living your life. Of learning, and loving, and growing, and expanding your horizons. Beware of becoming a workaholic. Treat your writing, and your books, like any other business venture. Build your goals around a schedule that allows you to grow your business and remain "open for business" for many years to come...

Scripting Christian

or: File This Under "Problems I'd Love to Have..."

So, Christian Bale is reported to have "forced" the writers of Terminator Salvation to have written a larger part for John Connor... and this is reported upon in such a way as to make the Dark Knight seem petulant and diva-like.

What a very dreary life some writers must lead:

*****

PHONE RINGS

WRITER: Hullo?

AGENT: Hey! Bale says he'll sign on to do your script, but only if you make his part bigger.

WRITER: Oh, man! I have to do more work? Writing words to be uttered by one of the more interesting and watchable actors working today? Are you kidding me? That could take hours. Days even...

AGENT: Right now, the part of John Connor is kind of small. You think YOUR name on the one-sheet is going to put butts in seats?

WRITER: ::grumble::

******

All I have to say is: Cry me a river!

Remember what they say -- "Directors are replaced because of a difference in vision. Writers are replaced because... it's Tuesday."

In Other News

I have a phone conference tonight with the subject of the biopic I've been working on for the past few months with my friend and colleague Paul Martin. We're going to discuss the possibilities for putting together a book that would expand upon the life story that the movie will explore.

I have a wonderful agent who has agreed to take a look at the proposal when it's ready. So... fingers crossed.

And if Christian calls, tell him I'll write him as many lines as he wants...

Marching Foreword

It has been several months since I last posted. Profound apologies to regular readers. When work is running full-bore, with multiple clients needing writing services, it is difficult to find the time and the inclination to work up a blog post.

New month's resolution: more frequent posts -- even if they have to be short and sweet.

In the gap of postless time, I have put most of the finishing touches on my big, two-year project for the USHJA. They have been, without exception, a dream client in every way: professional, appreciative, and dedicated to producing a product that is exceptionally worthwhile. I am honored to have been included in its creation.

I also finished the rough draft of the screenplay for the biopic I started at the end of 2008. Now the polishing process begins. I helped steer a friend of mine through the editing of her non-fiction book proposal. (At the time, her project is under serious consideration from the first agent she sent it to. Fingers crossed, and time will tell.) And I spent some concentrated time drafting chapters for Ryan's book. That will be my main focus for the rest of the month.

The key, as all writers know, is to keep pushing forward. Keep writing. Keep editing. When one project ends, you can't afford to rest on your laurels. It is utterly imperative to keep on keeping on.

You never know where your work will show up. In 2005, while I was working on Geoff Teall's book on Riding Hunters and Jumpers, I posted some thoughts on writing forewords. I later worked those ideas up into a more formal approach to the topic and posted it as a free article on how to write forewords on Muse Ink, my writer's website. Thanks to the amazing interconnectedness of the internet, those remain available to those who might need them.

Several times a month, I receive a note from someone who was called upon to write a foreword, had no idea where to start, and was able to work up something wonderful following the simple steps suggested. Since I love teaching and working with writers, and since I don't get to do nearly enough of it one-on-one, I always love getting those e-mails and feeling like I've done something worthwhile that day -- without half trying!

Yesterday, Georganna Hancock kept the Foreword ball rolling in her Writer's Edge blog on "Linked-In and Forewords". Not only did Ms. Hancock give a nice plug for the content of the Forewords post, but she also had kind words to say about Muse Ink in general. What a wonderful warm fuzzy to start my week with!

On Muzak, Squirrels, and Mega-Mouths

Ernest Hemingway wrote an immortal ode to "A Clean, Well-Lighted Place." One would think that clean and well-lit is all one should require for getting decent work done.

One would be wrong.

Every day I take my little girl to kindergarden and sit in a nearby cafe that, blessedly, has wireless internet access, where I work for the few hours she's in school.

On the surface, this is a great plan. I get three hours of billable work, uninterrupted by the distractions of home, dog, laundry, well-meaning friends, and political telemarketers. In reality, however, it has some very real snags that I had failed to take into consideration beforehand.

For one thing, the configuration of the server / internet access allows me to receive e-mail and get online to do research, but it prevents me from sending anything. If I know that my work will require on-the-spot messages, I have to plan ahead and drive 10 miles down the road to Panera's. Inconvenient, but not insurmountable.

Another thing involves the twin evils of fluorescent lighting and it's bigger, more annoying brother Muzak. Oh. My. Everloving. Head! Some days I just HAVE to leave. I have no idea how the poor saps who work here can stand it. It's insidious. It's persistent. It gets into your head, into your subconsciousness, and sucks your soul dry. The cafe here at Apple Valley plays the same CD over and over and over and over. Until you know that "Lara's Theme" is followed by "Memories." And driving off a cliff suddenly seems like a warm and fuzzy alternative way to spend an afternoon.

These glitches are nothing, however, compared to The Mouth. I don't know his name, and I don't want to. But he works here, and EVERYTHING that goes on in his head comes out of his mouth for others to share and enjoy. Unlike most sound projecting equipment, he does not come equipped with a volume control. And he is incapable of speaking a sentence -- any sentence -- without using the word "like" more than twice.

Today was no exception.

I, and every other person in the cafe / store within a 100 foot radius, was treated to a lengthy story about a friend of his who, like, stayed at this friend's house and, like, went to eat, like, breakfast, but, like, the milk was kind of lumpy. And he thought, like, "Well, maybe this is buttermilk, and they, like, like it that way." So he, like, poured it on his cereal and was, like, eating breakfast when his friend came down and was like, "Dude, that's disgusting..."

This narrative gem was immediately followed by, like, a story about this flying squirrel that was, like, trapped in a garage and these two friends were, like, trying to get it out. And they, like, moved into one corner -- but the squirrel, like, moved past them into the other corner.

I tried headphones and iTunes and favorite songs. But even Bon Jovi's version of "Hallelujah" couldn't win over Muzak and, like, squirrels.

Clearly, I need to find another place to work. Which sucks. But I guess it's better than, like, eating breakfast with spoiled milk.

Project Updates

The Major Project for the V.I.P. client continues and appears to be on track. A major segment of it should be out of my hands by Friday, which leaves only two other major components to be completed.

Earlier this week, I did a "help me in a hurry" infomercial script for a client who throws small jobs my way from time to time. I've written several of them for the client over the years and, must confess, I've never seen the final product. It'd be kind of interesting sometime to see how they turn out. Maybe I'll ask for the YouTube version -- just for grins and giggles...

Also earlier this week, I had a producer ask to see one of my screenplays. Which is exciting, but I'm holding off on the yee-ha'ing until an honest-to-God option comes along. Crossing my fingers and holding my breath, but refusing to turn blue.

I also did a little work for a director / independent producer friend of mine. We're trying to come up with the best way to sequence his current project. I had some ideas and sent them his way. I plan to talk with him tonight, to see what paths he wants me to pursue.

Finally, my friend, who I've been mentoring as she puts together a proposal for a riveting memoir, has finished the proposal and is awaiting my edit / commentary / polish on the project. I'm very excited about the possibilities for her book, and am honored to be involved in the creation of it. I'm also terribly impressed with her work ethic and her stick-to-it-iveness as she learned everything she could about putting a proposal together. She followed my instructions (imagine!) and has created a very professional looking package. Further bulletins as events warrant on that front.

That about covers the writing end of things here. The eternally growing "Sera Bear" got spayed and microchipped this week, so she's laying about the house recuperating. And Robert has been working on developing several websites for various clients, so there is no shortage of things to do in a day.

Thank God I don't have to, like, capture a squirrel. I wouldn't, like, have the time.

Forewords vs. Testimonials

I have been corresponding via e-mail with an author who read the article on forewords on my writer's website. He liked the article, but had this question:

Would you say people offering testimonials enjoy some of the same benefits of people writing forewords?

To which I responded:

I'd answer with a qualified "yes." The operative words are "some of the same benefits." To my mind, writing a foreword can benefit both the foreword-writer and the book's author, whereas giving a testimonial primarily benefits the person receiving it. (I'm not negating the goodwill fostered from saying nice things about people who have helped you. I'm merely saying that I consider giving testimonials more as networking, while a good case could be made for considering a foreword as marketing.)

In my opinion, the best personal result one can hope for from offering a testimonial is keeping one's name and reason for fame in front of the public without actually producing something new. In the world of fiction, for instance, Stephen King is brilliant at giving testimonials. He puts his seal of approval on an emerging author while simultaneously reminding the world who the true writing master is.

I believe that forewords hold more value than testimonials, however. I would argue that forewords hold more innate credibility than a testimonial. Anyone can write a few lines of glowing review. Not everyone is asked to pen a foreword. If done correctly, providing a foreword can bring the writer's work to the attention of a whole new audience while still introducing the larger work.

That's my two cents' worth, at any rate.

I spent most of the afternoon working with a writer friend and helping her polish a sample chapter for her non-fiction book proposal. The project she's working on involves telling part of her very remarkable life story. I find it utterly fascinating. I'm honored to be included in some small way to help make this project happen.

Tonight, I'll finish up a rough draft of a chapter for Ryan Gingerich's book. Then, tomorrow begins with a phone consult with a potential client and concludes with a drafting of a section for my Very Important Major Client.

It's good to be busy. And I must say that it's interesting work keeping all these projects afloat at once.

I generally like to work on only one Major Project at a time, but events have conspired against me. Due to reasons beyond my control (and the fact that I have difficulty saying "No" to valued long-term clients who come perilously close to begging for my help...), I've got several irons in the fire. Right now, all is copacetic. I just pray that I don't get burned...