The Writing Life is full of musings, observations, and reflections of a 40-year veteran of the craft. Bobbi Linkemer loves to write, to teach writing, and, most of all, to help other writers write. This is a great way to make a living and a life!
A warm welcome to guest blogger, Joan Hoffman, EdD, author of Ready, Set, Counsel A Practical Guide to Being a School Counselor In the Real World.Here are Joan's recommendations for what it takes to produce a finished manuscript for a nonfiction book.
As I thought about writing a book, I realized there are four critical factors that need to come together in order to get to a finished product. Missing any piece will make your writing more challenging and may keep you from completing your book. The first is passion—your strong emotional tie to your topic, the belief in your knowledge base and ability to write on the topic.
The second is vision, which lets you refine and focus your topic to give you a clearer picture of exactly what you want to write. Through refining and focusing, you will be able to develop your elevator sentence—a short statement about your book, the clear picture of what you want your book to be. As people ask you what your book is about, you only have a short time before they glaze over or start yawning because you are going on too long. Just because you find your topic fascinating doesn’t mean others necessarily agree. If people want to know more, they will ask.
The third factor is tenacity. You need the energy and determination to complete your project. I found I had to cope with frustration and even stopped writing for a while. My passion reasserted itself and brought me back to continue on my book-writing journey. Without this piece I might never have completed my book.
Of course, you need to dedicate yourself to the book; it won’t write itself. I found it helpful to write down short-term goals. When you write the goal, it becomes a commitment, unlike thinking about a time line. I also found it helpful to give myself small rewards along the way. It might have been a manicure, a special night out, or even a warm bath. Do whatever works for you as a motivator.
Since I had passion, a clearly defined vision, and tenacity, all I needed was a plan. I thought I had a plan by outlining, re-outlining, and writing my chapters. However, as I took Bobbi’s class, I discovered that I had much left to do and, in fact, had made this harder than it needed to be.
There was the necessary research to see if there was even a market for my book. How disappointing it would have been if I had spent all that time writing only to find out there was already a glut on the market. Thankfully, there was not. Chapter summaries would have clearly defined my walk through my book, instead of writing, rewriting, and merging topics. I encourage you to follow the path defined by Bobbi’s book. It will certainly shorten your time to get to completion.
I can’t begin to tell you how rewarding it is to complete the query letter, proposal, and book. It’s so wonderful to actually see the finished product and know that it happened because of your dedication, blood, sweat, and tears. No one else could write your book. It is uniquely you! Success!!
As you know, if you have been reading The Writing Life, I teach and coach six steps that take a nonfiction book from concept to completion. It is a huge topic, with much to cover, and there are always questions. I hope to answer as many of them as I can in the upcoming series of blog posts.
What are the three most important questions an author must answer before he or she starts writing?
What is my book about (in one sentence)? Why one sentence? Because if you can't clearly and succinctly explain what your book is about in a way that anyone will understand, you don't know. If you don't know, you can't write it.
What is my book's purpose? Why are you writing this book? What do you want it to achieve? A book needs a mission, a reason for being. The purpose might be to entertain, to educate, or to inspire. Whatever it is, the mission must include providing a benefit to the reader.
Who is my ideal reader? Think about this. "Everyone" or "every woman" is too broad. if you were having a conversation with your reader, who would that person be? To whom are you delivering the benefit you promise?
How do I know if my idea for a book is viable?
If you write a book proposal for an agent or publisher, your job is to prove that your book will sell. You do that by answering these ten questions (three of them may look familiar):
Why are you writing this book?
What is your book about?
How are you qualified to write this book?
Why is this an appropriate and timely topic?
Who are your target readers?
How will they benefit?
How will you reach them?
How big is the market? How many potential readers are there?
What else is out there on this subject? How is this book unique/special/important?
How will you help to promote your book?
Why do I need a proposal if I’m self-publishing my book?
A proposal is your plan. if you can answer the ten questions above, you have the basis for your proposal. If you don't intend to pursue traditional publishing, this may be all you need. Proposals may be organized in various ways, but they must address the basics. When you reread your answers you will know if your book is viable. You will also use all of this information as you write and promote your book.
For the second time since I have been teaching my class in "Writing, Publishing & Promoting Your Nonfiction Book," I have offered a follow-up class, euphemistically referred to as graduate school. The idea is that anyone who has ever taken the first class and is still somewhere in the process of writing a book can sign up for the second one. In the interest of full disclosure, I must add that these classes are offered by the St. Louis Community College as continuing education—in other words, they are noncredit.
That makes no difference to me; I teach both of them as if students were, indeed, receiving college credits toward a degree. Each class is two hours a week for six weeks. Despite the number of years I have been teaching, I write new lesson plans, bring in new outside speakers, and gear the course to the new people who take it. Therefore, it is a different course every semester.
To my knowledge, the community college has never offered anything like this before. It is not so much a class as a workshop or authors' support group. I try to get everyone on the same page on the first night by asking what I consider the four fundamental questions:
What is your book about?
What is your book's purpose?
Who is your ideal reader?
Where do you want to be by the last week of class?
I set a maximum of twelve students because I try to do a lot of individual coaching and editing. This time, eleven people signed up, eight from the last class and three from previous classes. On the first night, we had a great speaker who had taken both parts of the class while she was working on her book. She was informative, inspirational, and very funny.
After telling everyone what she did wrong and what she did right, she pulled out a letter she had received that day. It was from an literary agent to whom she had sent a dynamite query letter. The agent wrote that she "would be honored" to see the complete book proposal.
For some reason known only to the blogging gods, this post fell out of cyberspace and never appeared on The Writing Life. Thus, it is out of order unless I can figure out how to magically put it where it belongs, which is after the outline and before Chapter 1. If you are confused, I don’t blame you, and I do apologize.
When I teach people how to write a book proposal, I always link the outline to the chapter summaries. I attempt to make it a seamless process, but I realize it requires much thought and wordsmithing to go from bullet points to well-crafted paragraphs. The key is that outlines and chapter summaries are based on intentions—this is how I envision my book and what I intend to write. But a book is fluid and alive and may be quite different at the end than it was in the planning phase. Think of it this way: Your outline is the skeleton of your content, and the summaries are your first pass at putting some meat on the bones.
1.1968-1972 • You’ve Got Talent
It began innocuously in a night school class taught by a newspaper reporter. I remember only one thing from that class: the teacher took me by the shoulders and said, “I know talent when I see it. You’ve got talent. You’d better keep writing!” I believed her and I struggled to learn to write, get published, and fill one small portfolio. It took me four and a half years.
2.1972-1973 • Instant Editor
All it took to go from obscurity, writing at a picnic table in my basement, to being a sought-after edit or of a “city magazine” was someone crazy enough to hire me. I was barely a writer, and suddenly I was running a magazine. I knew nothing but was willing to learn from anyone who would teach me. The good news was that I launched a lot of talented writers, artists, and photographers. The bad news was that I never learned to read a profit and loss (P&L) statement. That’s a failing in someone who runs a publication.
3.1973-1978 • The Making of a Writer
My next job was at St. Louis’s well-established business magazine. My title was a comedown (assistant editor); the salary was a joke; the working conditions were abysmal; my boss was an old-school patriarch; but I did become a “real writer.” I was a one-person writing staff, and in the six years I was there, I built a strong reputation in the community and filled volumes with my articles. However, I was treated like a secretary and didn’t make enough money to go to the gas station and the grocery store in the same week.
4.1978-1980 • Corporate Culture Shock
I was not born with the corporate gene, and my first job in “big business” was a constant, often painful, reminder. The whole department was comprised of women (a mistake); the general environment was a political nightmare; but the writing and view of the park from the 17th floor made it bearable. The corporation owned 120 small companies, so the subject matter was all over the place. Eventually, there was a coup in the executive office, and our department was disbanded. We were out by 4:00, just before they locked the file cabinets and wallpapered over the door.
5.1980 • Fear & Freelancing
I never liked job-hunting, but being a single mom with two daughters made it an urgent matter. While I was circulating my resume and making sure my interview suits were clean, I was landing lucrative freelance projects and making some great contacts in the St. Louis business world. It was a heady experience. I think I knew then that freelancing would be a great life, but I needed a real job with benefits. The prospects were not looking good.
6.1980-1982 • Disappointed & Dejected
When I was just about losing hope, I had three job offers. I took the one that was the least chaotic and had the best salary. My boss made it seem like I was the best thing that ever happened to him … until the day I started the job. Lesson learned: interview your predecessor and check out your workspace before you accept the offer. Mine office was dismal, but it reflected the general mood of misery that pervaded the department, which was run by a paranoid, petty tyrant (I sure had a way of finding them.) Everything about the job was depressing except for the writing and photography. Once again, I was the whole staff, and I produced so many publications I could barely keep track. I was stressed out. I had to join a gym.
7.1982-1989 • The Best of Times, the Worst of times
I was hired away by a company that seemed too good to be true, which, of course, it was. I had multiple job titles while I was there—writer, editor, account executive, and marketing manager. The crux of the matter was some doubt on the part of the top man that I could really write, despite having hired me because I was considered to be the best writer in town. So, I spent six-and-a-half years proving I could write, produced the best work of my career, and filled in the remaining gaps in my experience and education. I lost the battle, cleaned out my office, and spent the next few weeks trying to decide what to do. I was getting good at this.
8.1987 • AMA, The Biggest Break
Hooking up with the American Management Association was the beginning of big things that created the perfect link between a full-time job and full-time freelancing. A colleague recommended me to write three “little books,” and they were little—only 50 pages each. They were like training wheels for being an author, and they led to much bigger books and many cassette-training programs. It was a great gig, while it lasted, but AMA eventually fell upon hard times.
9.1990 • Going Solo
I had dreamed of being a full-time, independently employed writer since 1980, but it took being “terminated” to make it happen. After 20 years of loving what I did but not necessarily where I was doing it, I hung out my shingle. The freelance life in the ’90s was wonderful. There was plenty of work and plenty of money. Corporate magazines were paying $1.00 a word! I landed steady corporate clients, some of which lasted for years. My motto was, "You need it; I can do it.” And I did. It was an exhilarating time, despite nounderstanding of how to run a business. I still had no idea what a P&L statement was. That’s also a failing in an entrepreneur.
10.2001 • The Bottom Drops Out
What goes up must go down, and life as I knew it ceased to be with a loud thud. The economy tanked in 2001; my clients (all very large companies) panicked and fired all their outside consultants; and I found myself with no work. That is not an exaggeration. I was already in shock when September 11th forever changed the world. The next four years were sort of a blur. I had to start over again, and this time it was going to require ingenuity and imagination. I started writing a training program on how to write a nonfiction book. The training program never materialized, but the material evolved into a workbook I used to teach classes at the community college.
11.2005 • Reinventing Myself, Again
I was finding work again when life gave me a gentle nudge in a new direction. I was hired to write a book for the CEO of a large hospital system that had won the Malcolm Baldrige Award for Excellence. I knew nothing about the CEO, the hospital system, or the Baldrige; but I took a six-month crash course in all three and wrote the book. Suddenly, I was a ghostwriter, albeit one who didn’t know what she was doing. My little workbook got fatter and fatter; I landed other ghostwriting and editing assignments, and I began to figure out what I wanted to be when I grew up. The right person came into my life at the right time—a web-marketing guru who taught me the ropes. For the first time, I was truly marketing my business, and clients were finding me on the Web. It was finally coming together.
12.2008 • Helping Writers Write
Defining one’s mission in a single sentence is not easy. Yet, in a way, I have always known mine. For most of my 40-year career, it was, I want to write. But as I find myself in a new and different place in life, my mission has evolved. Now, in addition to writing, I want to help other writers write. As a teacher, a book coach, and an editor, I have come full circle since my first real job as an editor that allowed me to publish talented writers. My students and clients are publishing their books, and one by one, they are being added to the “friends-of-Bobbi shelf” in my bookcase. I am prouder of those books than of any that bear my own byline.
I am sitting in my office staring at my desk. Well actually, I can’t see my desk. All I can see are file folders, opened mail, unopened mail, projects in various stages of completion, scribbled notes to myself, books, and computer equipment. It’s a mess, and I am on overwhelm. No doubt about it; I have a few too many plates in the air.
Yet, instead of trying to figure out what I can eliminate, I am musing over the impossible, completely irrational notion of trying to juggle one more plate, and not just any plate. This one is more like a platter. I have been struck by the desire to write another book—not a ghostwritten book for someone else, but a book for me. I have obviously lost my mind, but that doesn’t make me banish the idea to the recycle bin so I can concentrate on earning a living and managing my life.
The problem with wanting to write a book is that it’s like an itch that will drive me crazy until I finally give in and scratch, which in this case, means thinking through the questions I ask every would-be author who tells me he has a great idea for a book. Like my students and coaching clients, I don’t want to suffer through the preliminaries. I don’t want to complete the mandatory sentence, “My book is about …” I don’t want to answer ten questions that will tell me whether my idea is viable. I don’t want to organize little file folders on my hard drive before I do anything else. I just want to plunge in and start writing. What that tells me is, if nothing else, this could turn into a great exercise in empathy.
Why is the itch so persistent? What is so enticing about this particular idea that I must write it? And who am I hoping will read it? I don’t know the answer to the first question. Perhaps it is just the right time to do it. The right time, of course, has nothing to do with having time; it is more about knowing I am ready to write and making time. What I have discovered over the course of my writing career is that when I’m ready, there simply is no stopping it from pouring out.
I’ve been playing around the edges of this idea for what seems like years. My book will be a memoir of my life as a writer—40 years of learning, growing, and, reinventing myself to meet the changing needs of the marketplace. (OK, that takes care of the dreaded sentence!)
Every time one of my students says, “I want to write about my life or my unique experience,” I take a deep breath and wonder who will read it and why they would want to. I have to ask the same question of myself. Who is the audience, and what is the benefit? It’s a tough question, but so are the other nine I ask every student and potential client. When we add up the answers, we have an abbreviated book proposal. Besides being able to explain what their books are about, most of my students really resist the whole idea of writing a proposal. They argue, they stall, but eventually they realize they are going to need it for at least a dozen reasons.
I seem to be addicted to writing about writing. My last two were on how to survive and thrive as a freelance writer and how to write nonfiction book in six months. In the first case, I have survived (and pretty much thrived) for four decades; in the second, I honestly have written books within that six-month window. But I’ve never done it in public, so to speak, with people looking over my shoulder.
So, this will be a first-time experiment in which I will try to “talk the talk and walk the walk” (I’ve never liked that saying). I am going to sit here with my book next to the computer and go through the process of planning, writing, publishing, and promoting my nonfiction book just as I teach others to do it. And I am going to do it on my blog, The Writing Life.
Why in heaven’s name would I do something so crazy? First, because I can’t figure any way to juggle one more plate, so I’m going to combine book-writing time with blog-writing time. Second, if I am going to keep telling people to trust this process because it works, I have to prove it. Well, I don’t have to, but, frankly, I find it irresistible to try. And, third, every author needs a support system, and I am hoping you will be mine as I venture into the uncharted territory of writing out loud.
When I teach classes in how to write a nonfiction book I always stress the importance of developing a book proposal first. I usually get the same reaction: “Is that really necessary?” The answer is an unequivocal, “Yes.” And here are all the reasons why.
What is it? A book proposal is the most important and most difficult step in the book-writing process. It is your road map on what can be a long and complicated journey. A book proposal is a work in progress. It grows and changes until the moment you send it off to an agent or publisher or you decide it is as good as you can make it.
Why is it important? If you are interested in conventional publishing or are looking for an agent to represent you, you must have a book proposal. It may range in length from a tight cover letter to a 25-page document, but it will contain the same information and is a nonnegotiable step in the process. A proposal answers the most important question: Do you really have a book, or should you just write an article and let it go at that? A proposal organizes your thoughts, helps you think through every aspect of your book, and provides the foundation for everything else you will write.
When should you write it? Since this is a planning document, the proposal should be written, at least in part, before you write a word of the book. But there are authors who insist on constructing it after the book is finished, when they realize they are going to need the information it will contain. So, whether you write it first or last, eventually, you will have to write some version of a proposal.
Who should you send it to? If you are planning to self-publish, you won’t send to anyone, though you will keep it and refer to it many, many times. If you want your book published by a conventional publisher of any size, you will send the proposal to a literary agent, an acquisition editor, or directly to the potential publisher. To find an agent or publisher who is interested in your subject matter or genre requires research. Sending it out to “the world” is a waste of time, energy, and postage.
What should it contain? The form of your proposal may vary; sections may be in a different order; but no matter what its length or organization, an effective book proposal must answer these questions:
Why are you writing this book? What do you hope to achieve?
What is your book about (in one or two sentences)?
What are your qualifications for writing this book? What is your specific knowledge, experience, or expertise in relation to your subject?
Why is this an appropriate and timely topic? What’s the big picture, the context? The political or social environment? In other words, why this book, now?
Who are your target readers? What do you know about them? What do they read, do, watch on TV? Where do they surf on the Web?
How will your audience benefit? What problem will your book solve or questions will it answer? What will readers learn?
How will you reach them? Where are they likely to buy this book?
How big is the market? How many potential readers are there? How many books can you sell? How do you know?
What else is out there on this subject? How is this book unique/special/important?
How will you help to promote your book? Publishers need to know; you need a plan. What connections in the world will help you get the word out?
Those are the reasons you should think through and write a book proposal, no matter how you are planning to publish and promote your book. Everything you write will be used in the book. Nothing will be wasted. Nothing is more worth the effort.
Bobbi Linkemer is a ghostwriter, book coach, editor, and the author of 14 books. Her articles on all aspects of writing appear on more than 25 article sites on the Web, including top-ranked EzineArticles.com. Bobbi has been a professional writer for 40 years, a magazine editor and journalist, and a writing teacher. She has written about thousands of subjects over the years. With Musings, for the first time, Bobbi is sharing her thoughts on a wide array of topics, from serious to satirical and philosophical to factual.
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