book proposals 101 — with definitions

I haven’t been spending much time with this blog lately. That’s because I’ve been in the middle of developing book proposals, an undertaking that requires a lot of attention from me. Every winter around this time I seem to do the same thing: create book proposals and send ‘em out, so I can line up work and stay in business. That’s probably because my book deadlines usually fall toward the end of the year. Which leaves the beginning of the year my first opportunity to dive into new projects.

Book proposals take a lot of work — at least the way I make them. Way back when, when I was first working in children’s book publishing, I often would try to sell a book on the basis of a pitch letter* and art samples. A lot of times I got lucky, especially since I was only working with one or two publishers at the time. But as my work evolved and my market expanded beyond children’s books, my proposals got more elaborate. And I do mean elaborate — the proposal for The Lover’s Path was essentially the book itself, ready for press with only a few editorial changes. Ditto for the Goddess Inspiration Oracle, which included a box mock up with cards.

I suppose this seems counterintuitive to what one would usually think. I mean, wouldn’t it make sense that, as an author-illustrator* gains publishing experience, a publisher would require less hoops to jump through? In some sense, this is true — it’s definitely easier for my work to be considered seriously when I present a book proposal to a publisher. But on the other hand, my work has changed as the industry has changed. When I was first starting out, it wasn’t possible to design a book on a computer, let alone present an entire project ready for the printer. With this capacity, creative opportunities have expanded dramatically for the everyday author-illustrator.

Since I’m someone who envisions her projects from start to finish as a sort of gesamtkunstwerk, I embrace these changes and have eagerly incorporated them into my work. These days, what I provide for a publisher is basically not that different from a book packager*, where I’m contracted to provide them with art, words and design.

As well, as I’ve gained more publishing experience, I’m more aware of what it takes to make a book proposal a slam dunk for acquisition*. If I’m going to ask an overworked editor to take time to look at a proposal, I want them to have as much information as possible from me, to address any concerns that might come up if they decide to take my book to the acquisitions committee*.

Since my books are usually elaborately designed and illustrated, my book proposals are elaborate. They usually include:

1. a book dummy*. I design this to look as close to the final product as possible;

2. the pitch, including the unique selling proposition*;

3. market information — what similar books are out there. Or not, preferably;

4. promotion plan — how the book can be effectively promoted to the public. I usually break this down by media (print, online and others) and by retailers (catalogs, special markets).

5. oh and author info — my bio and publication list.

As you can tell, this is a lot of information. One recent book proposal was 64 pages long — and this doesn’t include the promotion plan or author information, which was a separate enclosure. No wonder I’m not blogging much these days! Just writing all this down makes me tired.

Oh, and if you want a look at a “celebrity” book proposal, click here. Prepare to be horrified-yet-fascinated in a “yuck” kind of way.

pitch letter: letter you write to an editor to convince her to buy your book.

author-illustrator: how someone who writes as well as illustrates their books is referred to in the biz. Instead of author and illustrator. Obvious, I know.

book packager: someone who sells books to publishers as a complete editorial and design package. They tend to create more designed-oriented projects, which a traditional publisher doesn’t have the resources to deal with. Usually a book packager spearheads the project — they hire the writer, illustrator and designer, and provide editorial guidance and liason with printers. From there, they sell the book directly to a publisher, who is not involved editorially — they only serve to distribute the book.

acquisition: when a publisher decides to publish a book. Editors who can purchase books for publication are known as acquisitions editors.

committee: when an acquisitions editor decides s/he wants to publish a book, s/he has to present it to a publishing committee for final approval. This committee can include people from marketing, publicity, as well as other editors. So if an editor says, “I love this book and want to take it to committee,” it’s a very good thing.

book dummy: your book, mocked up and laid out design-wise as close to the final product as possible. Usually book dummies only come into play with illustrated or gift books — you wouldn’t make a book dummy for a novel (unless it was an illustrated novel, in the case of The Lover’s Path).

unique selling proposition: or USP for short. What makes your book different or better than others, and how it addresses the needs of the marketplace. I mean, why would a publisher publish a book unless it had something unique to offer?

————–
Have a question about publishing, writing or illustrating books you’d like answered on Publishing 101? Send it to Kris: e-comment at artandwords dot com.

Technorati Tags: publishing, book proposals, book packagers, illustrated books, how to sell a book to a publisher

• No Responses
• Comment Feeds