Section 2.4: Book Delivery: This is the “I promise to deliver the first draft of the book consisting of x amount of words on such-and-such a date” section. My section for Sweet Tooth looked like this:
It is anticipated that the book should be approximately 70,000 to 75,000 words.
Plates and Graphics
As of this writing, I would like to set aside sixteen pages for color graphics. However, this request may change as the book evolves.
“Accidental Hedonist” is a brand owned and copyrighted by Kate Hopkins. She should retain the right to all content provided on her website in regard to this project. She will license the use of her site at no cost to the publisher.
The first draft of the book can be delivered to the editor twelve to fourteen months after all the applicable contracts have been signed. Much of this is dependant upon time needed to co-ordinate travel plans.
I ended up at over 80,000 words and used no plates or graphics. I did hit the delivery date. I’m of the belief that the delivery date should be written in stone (at least in my mind). Everything else is up for discussion.
Section 3. The Book’s Market Place:
Answer this question – Who do you want to, or who do you believe will buy your book? This is the section where you make that case. And, from anecdotes I’ve heard from other non-fiction writers, this is the part that is the most difficult to craft.
For Sweet Tooth, I specified five markets (Candy and Chocolate fans, food historians, Foodies, Travel Aficionados, and online enthusiasts). I then explained each market as best as I could, and then found evidence (through magazine subscription numbers, to the amount of non-fiction books dealing with food in the Amazon top 100 list). The goal here is to demonstrate that the market to which you want to sell is big enough that the publisher should be willing to risk x amount of dollars in your project. Remember, the money they invest in you and your book, they expect, not only to make back, but also to make some measure of profit from it. If you can explain this market well enough, it should make them want to research their own numbers (which are assuredly better than yours) to support your initial assertions.
Into this section I list other similar books and when they were released. This does two things
- Publishers will check the sales numbers of these books to see how viable of a project it may be for them.
- It forced me to look at what I am bringing different to the marketplace. If my book concept is too similar to another book on the shelves, why publish it at all? There are dozens, if not hundreds, of whiskey books out there. Very few are written from the perspective of an outsider to the industry.
Section 4. Promotion: Or as I term it “How far will I go to sell this book”. Most books don’t have an extensive marketing budget. This is the section that tells the agent and publisher what new and innovative (or old, but triend and true) ideas you have to sell your book. The more ideas the better, and one may just catch the eye of the publisher.
This is important: Do not levy any requirements on the publisher in regards to promotion. This section is all about you and what you will do. It is not about expecting your publisher to pay for a publicity tour, and getting you on the Today show.
Section 5. The Book (Sample Sections): You should have written at least some of the book already. Place a chapter in here that demonstrates both your writing skills, as well as the premise of the book. I’ve placed anywhere between 3000 to 5000 words in this section. For 99 Drams, it was one full chapter. For Sweet Tooth, it was two separate sections.
Section 6. The Author: Again, more up-selling of yourself in this section. Who are you and what experience do you have? I’ve typically placed two to three paragraphs in this section, pretending that this was the section that would end up on inside of the book flap.
I have also added 1 or 2 small samples of additional writing in this section, mostly to convey my sense of humor as well as the “voice” in which I write. Both samples came from other published work. I would never put samples of unpublished work in here, for a variety of reasons.
When all is said and done, the proposals should be anywhere between fifteen to twenty-five pages, depending. I add a cover page that reads:
The Accidental Hedonist’s Quest for the History of CandyA Book Proposal
…along with my contact information in the lower left corner.
I then send the proposal to an editor friend who ensures that my problems with grammar and spelling aren’t apparent. Following that, I print the document (never handwritten, and never printed in a font that’s more flamboyant than arial), and then send it on its way to the proper people.
I am not saying that this is the perfect proposal, but it has worked twice now. And I’ve purposefully avoided discussing the current state of the publishing industry, as well as the idea of self-publishing. Those are posts for later times. Right now, all I wanted to convey is how I write a book proposal.
My key points:
1) Write the book you want, but make sure that the proposal is written in such a way that it makes an agent want to sell it and a publisher want to publish it.
2) Writing is a professional business. That means that the proposal should be approached in a professional manner.
3) The proposal is the means by which people sell your book. It’s how you sell your book to an agent, how the agent sells the book to a publisher, and how the publisher sells the book to others at their publishing house. The more effective you are at explaining how interesting/novel/exciting your book is, the greater the probability of selling that proposal.
Now go off and do magnificent things.