What Happens to My Book Proposal When It Goes to a Publisher?
Recently I received these questions from reader Traci Rhoades: “What happens when a writer’s agent sends a book proposal to a publisher? What is the process? What do the various titles of editors mean? It seems to take a long time to review a proposal. Is that due to high volume, or do various people/committees consider it?” Great questions! In this post I’m going to take you inside a publishing house and show you how things work. Of course, no two publishers are identical, so the process can vary a bit, but what I share will be typical for a large trade publisher. The Book Proposal Arrives Many larger publishers have a “no unsolicited book proposals” policy. This means the only way a writer can get a hearing is if she has a direct connection with an acquisitions editor or is represented by a literary agent who has such a connection. This, incidentally, may be one of the most valuable reasons to attend writer’s conferences—for the opportunity to meet with editors and agents. (I wrote a guest post a while back that will help you prepare for a meeting like this. Click here to read it.) An even more effective way to make these connections is by referral—when an already published author friend puts in a good word for you. So let’s assume you have an agent who submits your book proposal. In most cases your agent would be sending it to an acquisitions editor. The first job of an acquisitions editor is to bring books under contract for the publisher. Oftentimes acquisitions editors also do or at least supervise the developmental edit of the manuscripts they acquire. More about various editors and their roles in a bit. The Book Proposal Is Reviewed The acquisitions editor will review your proposal and decide what to do next. For some of my more popular blog posts on book proposals, click here, here, and here. The acquisitions editor certainly has the authority to decline proposals without taking them any further. But let’s say the editor thinks your proposal has some potential and wants to take it the next step. In some houses the editor may prepare the proposal for their publishing committee (“pub comm” or “pub board,” for short), but in many cases the proposal goes first to an editorial board (“ed board”). Ed boards are usually composed only of editorial staff—often the publisher or editorial director and acquisitions editors. The purpose of the ed board is to decide or help each acquisitions editor decide which proposals to take to pub board. Pub board is usually made up of sales, marketing, and editorial personnel. The role of pub board is to decide what to publish. Back to our fictional proposal. Let’s assume a pub board wants to publish your book. Typically what happens is the pub board, or the key stakeholders of a pub board, agree to a sales projection, often how many copies of your book they expect to sell in the first 12 months. This number becomes the foundation for the rest of the financials, represented in a profit-and-loss statement, sometimes called a pro forma. Click here to read my article “How Much Money You Can Expect to Make from Your First Book Contract.” Why Does It Take So Long? Traci asked, “It seems to take a long time to review a book proposal. Is that due to high volume, or do various people/committees consider it?” I suspect turnaround time on book proposal reviews varies quite a bit from house to house. When I was in acquisitions, we tried to get back to writers with an indication of our disposition within four weeks. This was not always possible, though, because, well, editors are human. They have vacations and get sick and often do quite a bit of travel. Sometimes it simply takes a while for an editor to review all that’s in her inbox. And yes, an actual publishing decision often requires the involvement of multiple people from multiple departments. It requires, in other words, a meeting of pub board, and if your proposal happens to arrive just after a pub board, it could be a while before the next one is scheduled. My recommendation here is to wait two weeks and then follow up—just to make sure your proposal is still on the editor’s radar. Then, if you haven’t heard anything, follow up again two weeks after this. Hopefully by this point you’ll have a good idea of when your proposal will be reviewed. When I was an editor, I didn’t mind agents following up with me, especially if I never confirmed receipt. I appreciated a little nudge here and there. [Tweet “”What Happens to My Book Proposal When It Goes to a Publisher?” via @ChadRAllen”] Various Types of Editors Traci asked about what the various editorial titles mean. Here’s a rundown: Acquisitions editors acquire books (bring them under contract) and often do some conceptual work with the author. AEs also regularly handle the developmental edit, also referred to as the content, substantive, or macro edit, though sometimes a separate developmental editor will be brought in to do this. I sometimes refer to developmental editing as “big picture” editing. When I do a developmental edit, I’m looking for: gaps in logic apparent self-contradiction flow or sequencing problems boring prose unnecessary repetition fuzzy thinking ways to add content to boost the value of the book ways the author can make the content more practical places where a story or metaphor would be useful permissions issues places where the author takes something for granted that shouldn’t be necessarily Ideally, copyeditors focus on grammar, punctuation, consistency, spelling, style, and sentence structure—the more technical aspects of writing. I say “ideally” because in reality copyeditors do end up doing some developmental work as well. Proofreaders go a step further into the technical review of the text. They’re looking for typographical errors and mistakes. They do not make major or developmental changes. The etymology of
5 Reasons I Have Loved Working at Baker Publishing Group
After sixteen and a half wonderful years at Baker Publishing Group, I have decided to make a move. This blog, now six years old, has enabled me to start a small business, and I feel called to dedicate my energies to it full time. I plan to serve writers via BookCamp, Book Proposal Academy, coaching, speaking, and so on. More on that later. In this post I want to focus on Baker and the things I’ve loved about working there. Generally I’m not very good at saying goodbye. I rush on to the next thing without honoring the experience or the people with whom I’ve been. Saying goodbye is painful. But to lean into that pain rather than shirk it is to acknowledge all the good of the experience, all the incredible things about the people. That’s what I want to do here. My first day at Baker was October 1, 2001. I was hired as a project editor. Project editors at BPG oversee copyediting and proofreading. By year three I was an acquisitions editor, whose primary role is to bring books under contract and prepare them for publication. In 2010 I was named editorial director for the Baker Books division, which focuses on publishing trade books for the church. The editorial director’s role is to cultivate an editorial vision and lead the acquisition team. I’m in this role now and will be until my last day on April 27, 2018. Without further ado, following are 5 reasons I have loved working at Baker Publishing Group. 1. Books! It’s been sheer joy to participate in the art of book making. The Internet proliferates short-form content, and I’m a huge fan. This blog post is an example! But it also underscores the importance and value of long-form content, namely, books. The immersive experience of a book has the power to change lives. You’ve seen authors post pictures or videos on the day their book arrives from the printer. One of the great joys of working in the publishing trade is this glorious day occurs every month, sometimes twice a month. And to hear stories of transformation because of a book we published…who could possibly deserve that! 2. Authors! So many of the authors I’ve worked with have become friends. (You know who you are.) The intense process of working on a book has a way of bringing two people together. The author-editor relationship is a sacred trust, and I’m honored every time an author sends me a manuscript for editing and feedback. 3. Colleagues! The people who work at Baker are some of the smartest, most genuine, kindest people you could ever meet. Baker has a way of attracting humble people who are in this business for all the right reasons. They view their work as a way to contribute profoundly to the betterment of humanity. I’ve had the joy and honor of leading a group of them, and it’s not hyperbole to say I love these people. 4. The Mission! The mission of Baker Publishing Group, which our president and CEO, Dwight Baker, recites boldly and often, is “to publish high-quality writings that represent historic Christianity and serve the diverse interests and concerns of evangelical readers.” That has been Baker’s guiding light for decades, and it’s proved both durable and challenging. This mission demands the best of Baker’s team, and day after day they rise to the task. 5. The Leadership! Dwight Baker is deeply committed to running a company that serves the church. He is determined in his willingness to invest in opportunities to do exactly that. Add to this a profound sense of responsibility for his employees and his company’s work, an irrepressible playfulness, a consistent concern for the environment, and what you have is an amazing leader. I also want to say a word about my three most recent bosses at Baker, Don Stephenson, Jack Kuhatschek, and Jennifer Leep, all of whom served (Jennifer currently serves) in the role of publisher. Don was the guy who picked me up from the airport for my first interview at Baker. Later he took me on acquisitions trips and generally showed me the ropes. He gave me my first shot at acquisitions, and for this I’m forever grateful. Jack took over after Don retired, and we regularly went out to lunch. Invariably we’d start talking about publishing and end up talking about life. He gave me some great advice, but what I really value is his example. I saw Jack make unpopular decisions because of his convictions, and whether I share those convictions or not, I hope I have the guts to go against the grain when it costs me. Jack does. Jennifer Leep, my supervisor as I write this and Baker’s trade books publisher in Grand Rapids, is one of my heroes. She knows the business as well as anyone, and she’s also a brilliant leader. She and I have often remarked on how different we are from each other but always with a sense of respect and even awe for each other. I’m going to miss our conversations. I Could Go On… These are just five reasons I have loved working at BPG. I could go on to talk about Baker’s commitment to resourcing the church, the creativity of the work, participating in the dynamic growth of the Baker Books division, all the lessons I’ve learned about business and life, and on and on. Hopefully, though, the above list gives you a sense of my gratitude for all Baker has given me, my grief in having to depart, and my great hope for the company’s future. One last thing. If you’re interested in learning more about the Baker story, to commemorate its 75th anniversary the company commissioned Ann Byle to write a brief history. It’s a fun and informative little read. Click here to learn more.
7 Ways to Make It Easy for Publishers to Offer You a Book Contract
Recently my wife texted me while I was at work just after a snow storm. “We started to shovel,” she said, “but it’s too much. Can you blow it?” “I’d love to!” I replied. I wasn’t being sarcastic. I love operating my snowblower, not least because it makes an otherwise grueling job a relatively simple one. What used to take hours now takes 10 minutes. That’s awesome! We all enjoy finding the easy way to do something, and publishers are no different. They love to find book projects that are an easy yes. Did you know it’s possible to make it easy for publishers to offer you a book contract? Following are seven ways ways to do just that. 1. Get 10,000 or more email subscribers. If you can grow your email list to 10,000 subscribers, in most cases you’ll have an audience to which publishers will be eager to help you publish. Publishers like to be sure of the market before they publish. Bringing the market with you knocks down a huge hurdle to getting a book contract. 2. Sell 5,000 or more copies of a reasonably priced self-published book. If you can demonstrate you don’t need a publisher’s help to sell a significant quantity of your book at a reasonable price, they’ll be eager to help you leverage and expand on that already existing influence. (To find out how much money you can expect make from your first book deal, click here.) 3. Come up with an amazingly compelling book concept. A great concept is one that is so timely or so tuned in to an audience’s need, and so well captured in a title, that as long as a publisher can get it on shelves, the book will virtually sell itself. Hindsight’s 20/20, of course, so I’m cheating here, but examples of books with particularly compelling concepts include: 7 Habits of Highly Effective People How to Win Friends and Influence People Start with Why Secrets of Closing the Sale 90 Minutes in Heaven Laugh Out Loud Jokes for Kids How to Talk So People Will Listen 50 People Every Christian Should Know I Became a Christian, and All I Got Was This Lousy T-Shirt The Life-Changing Magic of Tidying Up His Needs, Her Needs The 5 Love Languages The Circle Maker The Purpose-Driven Life Have a New Kid by Friday Saving Your Marriage Before It Starts 4. Develop a powerful and detailed marketing plan. Want to make it hard for publisher to ignore you? Demonstrate your ability to hustle with a robust and detailed marketing plan. The one section of a book proposal it’s virtually impossible to make too long is your marketing plan. Consider starting with a line such as “My personal goal is to sell [number] copies of this book in the first twelve months.” Then back that promise up with a solid plan. [Tweet “7 Ways to Make It Easy for Publishers to Offer You a Book Contract #askeditor #getpublished #amwriting”] 5. Coauthor your book with someone who already has a significant platform. Do you know someone with a significant audience who may or may not have thought about writing a book? Why not approach them about coauthoring a book, letting them know you’re happy to do all the heavy-lifting? All they can do is say no, right? They just might say yes. 6. See to it that your most recent traditionally published book sells well. If you land a book deal and want to publish again, it’s really important for your first book to sell well. Make it your mission to move as many copies as you can. If you succeed, you may get a book contract without even having to write a book proposal! 7. Combine two or more of the above ideas. Why stick to just one of the above methods? If you can bring a compelling concept to a potential coauthor with a platform, go for it! Why not get 10,000 email subscribers and provide a detailed marketing? Combining the methods above will only increase your chances, not to mention the financial value of the offer a publisher sends to you. [callout]Do you have an idea (or several!) for a book but don’t know where to begin? A great place to start is writing a book proposal, and I would be happy to send you the same book proposal guidelines that have helped hundreds of authors win book contracts. To download your copy of the guidelines for free, click here.[/callout] Which of these seven methods is the best fit for you?
How to Develop a Book Concept That Has Bestseller Potential
Recently a writer friend told me about her desire to write a book that wakes people up. “Everybody’s asleep,” she said, “they need to be woken up!” “OK,” I said, “but look at it from your readers’ perspective. What’s the need they would tell you they have that you want to help them with?” We talked for a while and figured out that the need this writer wanted to address is a lack of fulfilment. She wants to help readers get more intentional and experience a thriving, meaningful life as a result. Let me ask you. Which is more appealing to you: a book that will “wake you up” a book that will help you live a more fulfilling life The second option, to my mind, is a much better way for this writer to frame her concept. Why? Because it meets a need that real people really have. The problem with writing to a need readers don’t have, or don’t believe they have, is you end up writing a book few people want to read. But if you write to a need readers have, now your book has bestseller potential. How do we identify a need readers have and still get to say what we want to say? That’s what this blog post is all about. Acknowledge the Gap The first step is to notice when a gap exists, and it often does. On the one hand is what you want to happen for your reader when they read your book. On the other is the need readers actually have that will bring them to your book. Notice the gap, be honest about it. [Tweet “How to develop a book concept that has bestseller potential #amwriting #askeditor via @ChadRAllen”] Don’t Judge Their Need At this point we can be tempted to get on our high horse and think, “Well, that’s not the need they should have. They should want this instead.” But we don’t get to determine what other people want or need. All we get to do is decide whether we’re going to serve their need or not. Develop “I” Statements Often it’s helpful to develop “I” statements to help us get inside the minds of our readers. Taking the earlier example as a case in point, we might ask, what are some “I” statements a reader might have just prior to picking up my book and buying it. The need that book is addressing is a need for fulfillment, so some relevant “I” statements might be: “I feel like I’m missing something in my life.” “I’m just going through the motions. I’m not really enjoying life.” “I wish I had a sense of purpose and meaning.” As we develop “I” statements, we’re getting an even clearer picture of the need our readers have, so that hopefully we are even more likely to address it. Research How Other Writers Address the Need Do searches on Amazon, Google, and YouTube. Look for how others are addressing the need your book is going to address. The goal here is to understand the context in which your book will live. What seems to be working in this space already, and how will your book be distinctive? Ask Readers It’s also a good idea to ask your audience about the need they have. Ideally you’ve cultivated a readership already through a blog or email list or both, and you can go to them and ask, “Do you have this need?” Use both multiple choice as well as open-ended questions to get as clear a picture of this as possible. If you can get on the phone or go out to coffee with some people in your audience to hear directly from them, this can be extremely clarifying. Frame Your Concept Now that you know what your readers want, develop a handful of working titles and subtitles for your book that speak as compelling as possible to this need. Sketch out a structure for your book that contains within it the promise of meeting the need readers have. You can start by simply listing relevant topics; eventually, of course, you’ll want to develop chapter titles and subtitles. Bring Them Along It is at this point that you can think about how to take readers from the need they have to where you want them to go. In other words, having done the hard work of listening and understanding their need, now you can take them where you believe they should go. Work this into your book structure as well. What was most helpful to you in this blog post?
6 Takeaways for Writers from the #1 New York Times Bestseller *Originals*
As I’ve gone about my travels recently, one book has stood out to me again and again. For one thing the cover is irresistibly head-turning; the promise of the title is also compelling. I’m referring to Originals: How Non-Conformists Move the World, the #1 New York Times bestseller from respected Wharton business school professor Adam Grant. I recently picked up Originals and was pleased to read it, noting six actionable strategies for writers. 1. Write. And when you get scared, write some more. One of my favorite quotes comes early in the book: “The people who choose to champion originality…feel the same fear, the same doubt, as the rest of us. What sets them apart is that they take action anyway. They know in their hearts that failing would yield less regret than failing to try.” Grant goes on to explain that successful originals aren’t the best judges of their own ideas. Thus their best strategy to improve their chances of hitting on greatness is to do a “huge volume of work,” quoting This American Life‘s Ira Glass. The reality is that the work of creative geniuses is not inherently better than that of their peers. Creative geniuses are simply more prolific, which significantly increases the variety of their output and their chances of successful originality. [callout]Takeaway: Fall in love with the process. Fall in love with trying. Fall in love with showing up again and again. (Want some help designing your writing process? Click here.)[/callout] 2. Get feedback from your peers. Because we are not the most reliable judges of our own work, we need help from people Grant calls “fellow creators.” Folks involved in work similar to ours have an understanding of the possible pitfalls, but they also know ingenuity when they see it. “They’re open to seeing the potential in unusual possibilities,” says Grant, “which guards against false negatives.” We can translate “false negatives” here to mean choices writers make that might seem unconventional. One thinks of the work of Austin Kleon, for example, or even Baker author David Kinnaman’s impulse to enlist others to comment on his chapters in unChristian. [callout]Takeway: Get connected with some fellow creators and solicit their input.[/callout] 3. Broaden your stimuli. Did you know scientists are more likely to win the Nobel Prize if they take up a form of artistic expression, like playing an instrument or painting? And did you also know that fashion designers become more innovative when they travel to and steep themselves deeply in a foreign culture? As we strive to attain our creative best, we would do well to broaden our field of experience and diversify the stimuli that hit our cerebral cortex. Ways this could look are infinite, of course, from attending a religious service different from our own to traveling to a far off land to reading something we normally wouldn’t. [callout]Takeway: Commit to a practice of consistently shaking up what is presented to your grey matter.[/callout] 4. Argue against yourself. Grant provides a fascinating profile of how entrepreneur and Babble cofounder Rufus Griscom pitches his business ideas to potential investors. We’d expect Griscom to highlight the strengths of his ideas, but he goes the other way. He starts by telling his possible partners all the reasons they should stay away from the opportunity he’s presenting. This has a disarming effect on Griscom’s listeners. They go from sitting through a sales pitch to collaborating on how to solve a problem. One way a writer can take this practice to heart is by telling publishers why they shouldn’t publish her book. Or at least a writer could be clear about her project’s weak spots so she can be sure to address these as compellingly as possible in her book proposal. Another way to build this practice into one’s writing is to ask, “Why might readers criticize or be left wanting after reading my book?” Once you’ve identified a problem within your manuscript, you’re in a position to do something about it. [callout]Takeaway: Preempt your weaknesses by beating them to the chase.[/callout] [Tweet “6 Takeaways for Writers from the #1 New York Times Bestseller *Originals* via @chadrallen”] 5. Vary your motivation depending on where you are in your project. Often at the beginning of a book project we’re high on adrenaline and our level of commitment is off the charts. We live out our cry: “Let’s do this!” In these moments Grant’s research-based advice is to focus on how far we have to go. We’ll be that much more motivated to “close the gap,” he says. But when we’re midway and the honeymoon of our initial commitment wanes, it’s time to shift our focus to how much progress we’ve made. Having come so far, how can we stop now? [callout]Takeaway: Know where to focus in order to give your motivation a boost.[/callout] 6. Keep pursuing a thoroughgoing understanding of your audience’s problems. Again and again ask the people you want to serve what their struggles and pain points are. If you always rush too quickly to answer-giving mode, you’ll end up with a stunted perception, and your ability to help will be limited. This is one of the reasons, Grant points out, that the Segway failed as a product despite embodying unquestionably brilliant technology. The Segway was the result of excitement and brilliance, not of a careful listening to what transportation consumers really wanted or needed. [callout]Takeway: Let’s not create the literary equivalent of the Segway, amen?[/callout] [callout]Want some help customizing a writing process for yourself that optimizes your creativity and helps you develop a strong writing habit? I’ve designed a worksheet titled “My Writing Process” to help. To download it, click here.[/callout] As you think about your own writing life, which of these strategies do you want to put into practice?
5 Literary Agents Tell You Exactly How to Secure Representation for Your Book
I travel a bit for work, and one part of the process that always causes me a bit of anxiety is getting into my hotel room. The process is rarely without incident. Often I feel like a complete doofus as I swipe my key card a dozen times waiting for the green light to flash at me. Sometimes, even when I see the green light, I have to fight with the door knob, which I do frantically before the green light goes out! Occasionally the key doesn’t work at all, forcing me to do my own version of “the walk of shame” back to the reception desk. I know, I know, first-world problems, but there you are. Sigh. Sometimes publishing can feel like trying to get on the other side of a very stubborn door. One of the most difficult doors to open, I think, is that of securing representation from a literary agent. Agents play such a crucial role in the traditional publishing process, yet trying to secure literary representation leads many would-be published authors to throw up their hands exasperated and defeated. Who better to help with this publishing conundrum than literary agents themselves? Below is the advice of five of the best literary agents working today. The Research Method Angela Scheff Angela Scheff, who at one point acquired for Zondervan and now works with the Christopher Ferebee Agency, encourages writers to do their homework. She writes: I would do a TON of research. I’d find all the books that would be my competition and I’d take a look at the copyright and acknowledgments pages and see which agent is representing these authors and find the ones who are mentioned the most. Then I’d find out which books are selling the best and see if there’s a common publishing house that is best serving this genre. I’d cross reference to see if it matches with one of the agents I’ve identified. Then I’d research that particular agent or two and find out what their submission guidelines are or see if they represent someone I already know (assuming I’m active in my field). If they attend conferences, I’d make sure I attend one and try to get a 5-minute meeting. When I have my chance to get in front of them, ideally I would have their client pass along my proposal or submit my proposal based on their guidelines. I’d begin by stating why I thought that particular agent would be a good fit. Then I’d make sure I could clearly articulate my book idea in a sentence or two and then submit the best proposal possible. I know that sounds stalker-ish, but I’d prefer to call it being prepared. Why put in the effort of querying a hundred agents who could care less about the topic I’m writing on? I would want to make the few queries I make count. The Authority Method Rachelle Gardner Rachelle Gardner, who works with Books & Such Literary, urges writers to build credibility. Get out there and establish yourself as an authority on your topic. Become a “go-to” person on the subject. Have a blog, a Facebook page, and other social media sites that suit your topic (such as Pinterest). You might write articles or guest posts, or speak to groups. This is how you build a platform around your area of interest; then you can create a book for the audience you’ve already gathered. [callout]Want to know how publishers review book proposals? My friend and copywriting expert Ray Edwards and I are hosting a free webinar on November 17, 2016, called “How an Acquisitions Editor Reviews a Book Proposal,” and we’d love you to join us. If you have a nonfiction book idea, this webinar is for you. We’ll teach you how to get a publisher’s attention, key elements of a great book proposal, and how you can make a significant amount of money from writing a book. To learn more and save your spot, click here.[/callout] The Network Method Esther Fedorkevich Esther Fedorkevich, who founded The Fedd Agency, writes: If you are a first-time author who has no contacts in publishing, the best advice I can give you is to network, even (and especially) if it’s outside of your comfort zone. Meet people, talk to others, share your story, go to conferences, and connect with others that are trying to do the same thing you are doing. Networking is invaluable in the publishing industry; I can’t stress that enough. Beyond that, there are always ways to get in front of an agent. You just need to make sure you’re prepared and that you really believe you have something unique. I once had an author be so intentional that she went out of her way to make contact with one of the pastors I represent in her city. She convinced the pastor to read her book and then asked him to introduce her to me. I thought that was really a smart way to go about it. That pastor called me and said, “Esther, I read this proposal and met with this new author and I really feel like it’s something you should look at.” I take those kinds of referrals seriously, because it’s all about relationships. It turns out the pastor was right. I ended up signing that author, who is now working on her third book. Pretty cool, eh? The Referral Method Christopher Ferebee Chris, who founded the Christopher Ferebee Agency, also focuses on the value of referrals from people he knows and trusts. He writes, Most agents receive hundreds and hundreds of unsolicited calls, proposals and submissions; the “slush” pile. Some agents religiously review these, but most do not because there just isn’t time. But I cannot tell you how seriously I take the recommendations of my friends, clients and colleagues in the industry. As you do the work of building a platform, connecting with others, developing your craft, you’ll start to meet people further down the
3 Ways to an Acquisitions Editor’s Heart
I recently had conversations with two first-time authors, and I feel very hopeful about both of them. Whether the publisher I work for pursues them or some other publisher, I’m quite certain these authors will be offered contracts. And as long as the publisher doesn’t overpay, chances are good these books will be successful for everyone involved. The authors with whom I normally interact have multiple published books already in the marketplace. Not so with these two authors. Knowing many readers of this blog are in the same position, I thought I would pause long enough to share the three reasons I’m so hopeful about these writers and their book projects. Steadily Growing Audiences Over the years both of these authors have worked hard to develop an audience. One of them has done so in the context of a full-time job, which is to say the job itself helped her develop an audience. The other did so “on the side,” as it were, but this “on the side” platform has grown steadily over the years. What can you learn from them? The amount of time it takes to build an audience is counted in years. It is the result of steady, consistent interaction with your tribe. Listen to what they need, do your best to help, do that over and over again, and get better at it as you do so. It takes time, but you can work smarter not harder by following and applying the advice of people who’ve “been there, done that” already. People like Michael Hyatt, Bryan Harris, Ray Edwards, and Jeff Goins come to mind. Incidentally, Jeff Goins just opened registration (I’m writing this October 24, 2016) for his Tribe Writers course. If you’re trying to build an audience, it’s a great option. To find out more, click here. Meeting Real Needs Both of the authors I spoke with shared concepts that meet real needs that real people really have. So often publishers receive proposals for concepts that address imagined needs or needs the author thinks the world should have. This is important. You may have something to say, and that’s awesome. The key is figuring out how to shape what you have to say so that it engages people where they really are. I love the quote from Frederick Buechner: “The place God calls you to is the place where your deep gladness and the word’s deep hunger meet.” Sometimes we’re so enamored with finding our voice that we forget to find the world’s hunger. How do you that? Here are some ideas: Ask questions. Take time to see which of your blog posts are resonating. Set up a Facebook group specifically for the purpose of understanding what your audience is looking for. Keep your ear to the ground and notice when multiple people express the same anxiety or ask for the same thing. [Tweet “Sometimes we’re so enamored with finding our voice that we forget to find the world’s hunger.”] The Passion Factor I sensed from both authors a real passion for the projects they were pitching to me. Their passion was not so much for getting published. It was for the message they want to get into the world and for the people they want to serve. Writers can be like martial artists. The inexperienced martial artist stares at a block of wood and tries to chop it, only to end up bumping the wood and bruising their hand! The veteran martial artist knows that to break the wood, one has to aim beyond it. They know breaking the wood is just a means to an end—not an end in itself. Getting published is like the block of wood. It’s a means to an end. Getting published is gratifying. It’s awesome to hold your own book in your hands. But this satisfaction is fleeting compared to that of conveying a message that’s burning within you and seeing it reach the people you want to serve. [callout]On November 17, 2016, my friend Ray Edwards and I are hosting a webinar titled “How an Acquisitions Editor Reviews a Book Proposal.” In this engaging webinar you’ll learn how acquisitions editors review book proposals so that you’ll know the ins and outs of how to get published. You’ll discover the number one reason publishers turn books down, the first thing editors look at in your book proposal, the elements of a great book project, and a proven method to secure a literary agent. We hope you’ll join us. To learn more and save your spot, click here.[/callout] What’s one practice you’ll take from this article and implement into your writing work?
How One Writer Went from Blogging to Book Contracts in 5 Years
If you’re a writer with a book inside you, a platform builder, or someone who simply wants to have an impact in the world, this interview is for you. Join me today for a conversation with author and blogger Natasha Crain. Over the past five years Natasha has steadily grown her blog traffic and subscriber list. Her first book released earlier this year, and more are on the way. This is not the story of someone who experienced crazy over-night success and rode off into the sunset. This is the story of someone who felt called to serve, went after it steadily, and now is experiencing success and impact. Translation: you can do this! In this interview Natasha and I talk about the key to growing your email list, how your blog can help you hone your voice and develop books, the hidden gifts of rejection, and more. Enjoy! [youtube id=”zmclw0KqIXc”] To learn more about Natasha Crain, visit www.ChristianMomThoughts.com. Can you think of someone who would find this interview helpful? Consider sharing it with them! [Tweet “No Platform to Book Contract in 5 Years…You can do this! @Natasha_Crain @ChadRAllen”] What’s one thing you learned from this interview and plan to implement?
Unlocking Publisher Secrets
Earlier this month book-marketing expert Chad Cannon and I jumped on a video call to have a no-holds-barred conversation about all things publishing. Here are just some of the questions we covered: Tell us about the role of an acquisitions editor. What do you look for when you pursue an author or a project? What are the top three most important things that you’re looking for in a book proposal? What’s your take on the benefits and role of self-publishing? Do you make acquisitions decisions based more on intuition, data, writing, or platform? How can an author put him/herself on agents’ radar and get them interested? Cannon transcribed the call, curated it, and did a great job of highlighting the best parts of our talk. To read it, click here.
How to Be an Author Publishers Fight Over
Recently I was talking with an author who is now working on his third traditionally published book. I was curious how the process worked for him. “How did you pitch the second book to your publisher?” I asked. “Oh, I didn’t, really. The first book was doing so well they came to me and asked if I’d thought about writing another one. I sent them an email that described the idea, outlined the content. That was all they needed. I got a contract the next week.” The way to get a publishing contract without writing a book proposal is for your first book to sell much better than the publisher’s expectations. Shifting What You Aim For This happens all the time in the publishing business. In fact, most of our biggest deals go to authors who have already written books that have performed well in the marketplace. That doesn’t help you break into traditional publishing, I realize, but it does point to a possible shift in focus—one that could serve you well. Here’s what I mean. A lot of writers try to get published. That’s where their focus is. Maybe that’s where your focus is. Maybe you’ve already spent a lot of time, money, and energy on this goal. What if instead you took the contract for granted and focused instead on making sure your first book exceeded your publisher’s expectations? What if you wrote your first proposal with that goal in mind? How would it influence the way you write your book? How would it change the way you approach your platform and promotional efforts? When martial artists break boards with their hands, they don’t aim for the board. They aim for a few inches beyond the board. The same principle applies here. Aiming for the board is trying to get published. Aiming beyond the board is making sure your book’s performance knocks the publisher’s socks off. Sometimes writers focus so much on getting published, they forget to think about what it means to be a good publishing partner. Yet writers who make sure publishing their book is a win-win-win for publisher, author, and reader—these are the writers who don’t have to worry about writing a book proposal or getting a contract. Publishers fight each other to work with them. [Tweet “Writers, “aim beyond the board” to get publishers to fight for you. #amwriting”] How to Be an Author Publishers Fight Over How can this be a reality for you? I’ll give you some ideas: Develop a fresh concept that meets a real need. That to my mind is the definition of a compelling concept. As you develop your concept I encourage you to get feedback from others, but you can do a lot of work on your own. For an infographic and video training on developing a great book concept, click here. Build your platform. I write that sentence as one who has been building his platform for the past four years. I also write it as one who has been frustrated with how slow progress is at times. But I also write it as someone who over time has developed at least a bit of a following. If you haven’t already, read Platform by Michael Hyatt and look for the next time he opens Platform University, then join! Hone your craft. Yes, some folks seem blessed with more natural talent than others. But I’m convinced that just about everyone can improve as a writer and get pretty good if not really good. Like so many things it takes commitment and practice. There’s no silver bullet here. Read a lot and write a lot. Also, see my recent article on narrative if you haven’t already. Upcoming Webinar Want to learn how an acquisitions editor reviews a book proposal? I’m hosting a webinar on Friday, August 5, in which I’ll share how publishers make decisions, what the main elements of a book proposal are, what steps I take when I receive a proposal, the ONE thing you simply must do to get a publisher’s attention, and other elements that really make a proposal stand out. Join us! All registrants receive a replay. To save your spot, click here. What is one thing you can do to “aim beyond the board”?