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Craft of Writing

Donna Sundblad

Organizing a Book Proposal

Correspondence provides an important avenue in the submission process. Your query or book proposal works as a tool to open the door of opportunity while making that ever-important first impression. The ratio of rejections versus acceptance letters makes it all the more necessary to put forth correspondence of professional quality. Before I started the submission process, I took a class on how to write a query letter. In that particular class I heard mention of “book proposals,” but at the time I focused on learning what the heck a query should be.

Logically I could understand that “query” would be asking a publisher if he or she would possibly be interested in my wonderfully creative idea. You too may be asking yourself how query letters differ from book proposals. The terms sounded redundant in my mind, but when I finished my novel, I set out for clarification by attending a seminar on “How to Get Published.” In this article I pass along valuable information that not only tells you how the two differ, but provides definition of the elements included in a proposal and how to organize it.

Let me put it this way. A query letter can be compared to seeing someone across the room and being told, “There’s so-and-so." You don’t really know them, but you know what they look like and whether or not you may be interested in meeting them. A query letter does the same. It’s a brief pointer to you and your idea. It says, “Here’s so and so and their idea. Are you interested in meeting them?”

The book proposal, on the other hand, gives you much more information. It’s like going up and introducing yourself with a handshake and holding a brief conversation. Remember that a handshake involves two people. The proposal is most often “requested” based on a previous communication, whether verbal or written. After you shake someone’s hand, you get to know much more about the person, but not every detail. A book proposal is like this short conversation. It offers concise information about you and your book. Note the important words in this paragraph, “brief,” “short,” and “concise.” This is key to a successful proposal.

Bite-Size and Easy to Digest
Acquisitions editors and publishers receive volumes of paper. You don’t want your precious idea to get lost in that pile of slush, but how do you draw their attention without risky gimmicks that backfire? Your goal is to deliver a proposal in bite-size pieces, easy to digest. The editor’s time is precious. If he can glean information quickly from what you’ve written, he’ll keep reading. However, if an editor opens a proposal and the first thing he sees is a two-page cover letter expounding the wonders of your book; it won’t get read. Don’t think shrinking the font to 10 or 11 pt. so it fits on one page will help. Remember, I said easy to read.

Earlier I compared the book proposal to a handshake. Handshakes make different impressions and so do proposals. If you shake a limp hand or a hand that squeezes too hard, it tells you something about the person before they open their mouth. It’s best if the initial handshake remains less noticeable and the conversation more memorable. You want your proposal to invite the editor or publisher to remember what he reads, and get to know enough about your book that he wants to see the entire manuscript. Gimmicks like colored paper or hard-to-read fonts will most likely land your hard work in the slush pile of the “unread.”

Putting It Together
First, be sure to use white paper and a twelve-point font that’s easy to read, like Times New Roman or a courier style. You’ll need a paper folder equipped with a pocket on each side when open. I chose one that accommodates a business card. In fact, I color coded my folder with my business card and website.

When an editor opens a proposal, they expect an order to the information presented. They’ll know where to look for what they want to see. In general, this article provides a quick, easy reference for the placement of each required item. Some editors may add or subtract from this list. It’s important to read guidelines or talk to the editor; be sure you know what they want.

Right Folder Pocket

• Cover letter – Try to keep this to three paragraphs. Do your homework. Know the editor’s name. In fact, if you haven’t been in touch with the editor, I suggest you make a phone call to confirm the editor’s name along with the correct spelling. Editors move around a good bit. If you’re not sure, make the call.


Include a brief description of the book in your introductory paragraph, including manuscript details (page count and how quickly the book can be completed). In the next paragraph, give the editor a bit about you as the author. Close with a brief concluding paragraph. Keep it in short, bite-size pieces. The cover letter is not the main course. Its purpose is to make a quick introduction to you and your work. If you’re not sure how to put together a cover letter, I highly recommend How to Write Attention-Grabbing Query and Cover Letters, by John Wood.


• Table of Contents – This chapter-by-chapter overview serves as a short synopsis. Condense each chapter to a one-sentence summary. If you must, you can make it a two-sentence summary for longer chapters. This compact version of your manuscript works like a storyboard. It allows the editorial staff to experience the beginning, middle and end of your story while quickly absorbing features of your book. It proves your ability to put a book together.


Be sure to include the end of your story. I’ve heard anecdotes from editors about authors withholding the end of their story in hopes that the editor will contact them begging to know what happened. The editor’s time is valuable. You don’t want to do anything to jeopardize your opportunity. Gimmicks such as this may cost you the break you’re waiting for.


• Sample Chapters – usually three to four chapters. Again, it’s important to check the guidelines. I recently submitted a book proposal for the same novel to two different publishers. One asked for the first three chapters, while the second asked for the first sixty pages. Send what they want. Don’t staple these chapters; use a paper fastener of some sort to secure them. If an editor requests the entire manuscript, rubber band it or put in a box to prevent pages from becoming separated.


Be sure to check your chapters for spelling errors, grammar and typos. As an editor, I recently read the first one hundred pages of a manuscript because the story interested me, but it contained so many errors I couldn’t recommend it. Don’t allow a sloppy submission to block your road to publication.

Left Folder Pocket

• Bio – Keep this to one page or less, 12 pt., on white paper, Times New Roman, and written in third person. If you’ve published a lengthy list of articles or short stories, don’t include them individually. Instead, mention them as a group and offer more details upon request.
  
  If you don’t have clips to offer, make your bio interesting. If you work in a dry cleaning shop, use it to your advantage. Explain how what you do gives you a unique perspective and contact with a variety of personalities.



• Marketing and Publicity – In today’s marketplace, publishers expect authors to actively promote their work. This section of your book proposal allows for creative thinking.
  
  A. Special Features of the Book – What makes your book unique? Do you use visual icons to highlight specific information within the chapter? Does your book include a glossary? Is it a “Pop-Up’ children’s book? Tell the editor what makes your book marketable.
  
  B. Endorsements – Short blurbs by someone with credentials. Offer a quote regarding what they said about your book along with their name and relevant qualifications.
  
  C. Market – Whom do you think this book will appeal to? Is it for young adults or someone else? This section provides the opportunity to mention intentions for a series if realistic.
  
  D. What you will do for the book realistically? What are your plans? For instance, I put together a two-hour workshop to help promote my writing book, “Pumping Your Muse.” I’ve designed handouts and plan to make copies of my book available. This workshop for writers’ groups opens doors for me to promote my book. This is the place to share similar ideas with the publisher.


This is also a good place to list the various writers’ groups with which you network, newsletters that offer an opportunity to mention your book and possible chat networks where you can self-promote your book. Contact your local library and book clubs for other sources of marketing your book.

In this day and age, another common avenue for promoting your book is a personal website. If you don’t know what you’re doing, find someone who does. You’ll want a website you can update on a regular basis.