If the free audio book was not your style (see previous post), I wanted to let you know that The Case of the Exploding Speakeasy is now available (for a limited time) as a 99-cent Kindle eBook on Amazon.com. And don’t forget to check out these other 99-cent Kindle eBook specials from Lighthouse Publishing of the Carolinas.
To refresh your memory, here’s what the book is about: Sherlock Holmes’ smarter brother, Mycroft, joins Thomas Watson, Dr. Watson’s son, in 1920s Philadelphia to investigate the mysterious explosion at a speakeasy, which killed the owner and his card-playing buddies.
What should you comment about? Anything you’d like!
Tell me what you think of mystery novels.
Tell me what you think of the 1920s.
Tell me about your own struggles with Christian writing.
I’ll announce the winner next week.
Hello, folks! I want to announce that my new e-book, published by Sonfire Media, is expected to be available on Amazon by May 1. A Christian Writer’s Guide to the Book Proposal expands on what I told you about proposals in Concept to Contract.
The book proposal, as I’ve probably told you before, is an abbreviated and specialized business plan for your book. Remember, if you are submitting the book to a traditional publisher, you are asking them to invest a substantial amount of their company’s capital in your book, and so you need to show them why you are a good risk.
The book proposal can also serve as a writing plan for your book, keeping you on track. This assumes, of course, that you write the proposal before finishing the book, a practice I strongly recommend.
Finally, the book proposal also serves as a marketing plan for your book, providing you ticklers for where to focus your marketing efforts, and raw text for writing promotional material. I always keep my proposal handy and refer to it, even after the book gets published.
So check out A Christian Writer’s Guide to the Book Proposal. It’s expected to be the first in a series of how-to guides for Christian writers!
Next month my first E-book is being published. Or, to put it more accurately, my first book is being published that debuts on the market as an E-book. (I have published other books that began their lives as printed books, and were later, in one case almost simultaneously, made into E-books.)
Did you notice how qualified I had to make that statement? And I have to make it even more so: I published the book (the title is A Christian Writer’s Guide to the Book Proposal) through a traditional publisher (Sonfire Media). About now you are probably totally confused, because many people think the term traditional publisher means a publisher that only publishes printed (ink-and-paper) books on an offset press.
But if you use that definition for traditional publisher, you are not likely to find many left in this world. With the proliferation and affordability of different forms of reproduction, just about every publisher (and certainly every commercially viable publisher) has found it necessary to publish in multiple formats: E-book, offset printing, and/or micropress (photocopy) printing. Even audiobooks have had a resurgence. (By the way, look for my novel, The Case of the Exploding Speakeasy, to come out in audio format soon!)
So when you’re looking at publishers, don’t let them snow you with their claims of “a whole new way of publishing” when all they really mean is they publish E-books, or they do short-run printing. Don’t focus on the method of production; instead, look at what they do for you, the author.
Ask some pointed questions about distribution and promotion. What distribution channels (whether web-based or brick-and-mortar booksellers) do they use? Will they help you as an author with promoting your book, and back you up with their own publicity efforts? When I worked for a commercial publisher, we usually had an initial marketing meeting with the author to make sure we were all on the same page as to the audiences we were selling the book to, as well as what promotion and publicity would be most effective.
One aspect of production you should focus on is the quality of the design of the book, whether electronic or paper. Is the book professionally typeset? Is the layout appealing to the eye? (Some E-book publishers will try to tell you that layout and typesetting is irrelevant in electronic form; not true. The look of an E-book page is certainly different, but quality is never irrelevant, and it’s easy to tell a well-designed E-book from a bad one.)
If the book is printed on paper, the publisher should send you a typeset version to review before it goes to press. Is the page design attractive? Is it easy to read? (Visually, I mean; if it’s hard to read because it’s poorly written, and your editor has not improved it, that’s and entirely different problem you and your editor have to deal with!)
Some publishers offer optional marketing packages (i.e., you have to pay for them) to authors. This is not self-publishing, where the author pays for all aspects of the publishing process, including editing and printing/production costs. These packages should be optional, reasonably priced (something you can recoup in a few months of royalties), and ought to consist of marketing efforts that are over and above what a typical publisher would normally do. Authors ought to be prepared to invest several hundred dollars in self-promotion of their book, whether they get a package from their publisher or come up with their own.
I just sent the text of my next book (A Christian Writer’s Guide to the Book Proposal ) to the editor at Sonfire Media, and I hope you will consider it when it comes out in the new year. The book is based on a concept that most editors understand, but far too many authors just don’t seem to get: there are more reasons to write a book proposal than to try to sell the book to a publisher.
Let me give you six reasons why you should write a proposal before you write the book, whether you are writing nonfiction or fiction, and even if you already have a contract, or plan to self-publish:
1. A book proposal forces you to think through your book—how to describe it, how to categorize it, and how to sell it to the reader.
2. It forces you to ask a tough question: “Who would want to read this book?” In other words, who is your audience?
3. It forces you to ask another tough question: “Has this idea been done before?” What makes it distinctive?
4. It forces you to start thinking about marketing and promotion, and what unique opportunities and contacts you might have to get this book into the hands of readers.
5. It serves as a guide to writing the book, keeping you on track and helping you avoid leaving out things you planned to include in the book.
6. Finally, a book proposal provides the motivation and encouragement to start writing the book and to keep you going through the first draft and revisions.
When Sonfire Media, the folks who published Writing the Christian Nonfiction Book: Concept to Contract, asked me to follow up that book with a volume on book proposals, I happily signed a contract. Guess what my next step was? That’s right—I wrote a proposal!
The question of a sequel is likely to be obvious to fiction writers. Maybe your story doesn’t really end at the last page. The same characters, locations, and situations may inspire you to a second novel. But if you are writing nonfiction, don’t assume that the possibility of one or more sequels is exclusive to novelists. The book I am currently working on, for example, is going to be (I hope) the first in a series of Christian writer’s guides—covering such topics as brainstorming and outlining, writing the first draft, polishing the draft for final submission, and so on.
Then there’s the question of subsidiary rights (selling the right to put your book into another language or medium) and spinoffs (products—mostly non-book items—that are based on your book). Here is your chance to dream and brainstorm, but try to temper your imagination. I’m sure every novelist thinks their story could be a major motion picture, and every author of a Christian living title feels their book ought to be adapted for video or a live conference venue, but try to think about your manuscript objectively.
Are there any specific features to your book that would play well in a different medium? How might your book have spinoffs? Could this lend itself to training courses, videos, a tie-in devotional book, etc.? Don’t go overboard with this, but perhaps there are additional possibilities. A quick visit to a Christian bookstore may spark some ideas.
In this paragraph section of your book proposal (remember to make it one paragraph), it is usually better to lean to the general rather than specific. In other words, you might say that your novel has stage or screen possibilities, and briefly explain why (high-action story, scenic setting, etc.), but don’t say that it should be a Hollywood movie with specific actors in the lead roles. (Yes, some authors actually do this!) You may suggest a companion devotional for your nonfiction book, but don’t go into specifics on length and content. Remember that you are talking to professionals, who are likely to see the possibilities better than you. The point is to give them some food for thought, not to outline an entire plan.
When you’ve finished a first draft of your book, or even just the first several chapters, you should show it to a few sympathetic friends — preferably those who are knowledgeable or interested in the subject of your book. If they are prominent (not necessarily “big-name,” just someone who would command a certain amount of respect), all the better.
Compile their responses, and determine if there are revisions you need to make based on their reactions. More than likely, however, they will have some positive things to say. Put those statements in a section of your revised book proposal entitled, “Endorsements.” However, I would avoid asking the the people quoted below for an endorsement:
“The last time I was in Spain I got through six Jeffrey Archer novels. I must remember to take enough toilet paper next time.” —— Bob Monkhouse
“Once you’ve put one of his books down, you simply can’t pick it up again.” —— Mark Twain (talking about Henry James)
“The covers of this book are too far apart.” —— Ambrose Bierce
“Dr. Donne’s verses are like the peace of God; they pass all understanding.” —— King James I
“This is not a novel to be tossed aside lightly. It should be thrown with great force.” —— Dorothy Parker
Check out the book trailer for The Case of the Exploding Speakeasy:
If you’re interested in a trailer like this for your book, check the info at the end of the trailer.
Today I saw a Facebook ad for a “guide to choosing a publisher.” But the title of it refers to choosing a “publishing service.” If you choose a “publishing service,” you are paying the costs, and it is self-publishing. That means you, the author, are the publisher.
Now, I’ve discussed self-publishing before, and I hope I gave the clear message that there is nothing wrong with it, as long as you know what you are doing. You have to realize that if you self-publish, you are competing with professional publishers who have been around for years, have established marketing channels, and the funds to produce a quality product. It may be possible that you have the combination of a great book idea, excellence in writing, professional editing, quality in interior design (what they used to call typesetting), attractive cover design, and real skill and contacts in marketing and promotion. You won’t likely possess all those skills (who does?), so you need to have the bucks to pay for it.
If you’ve got all those parts and pieces, then by all means, self-publish. Unfortunately, you will find that — surprise, surprise — not all publishing services provide a quality product. They will do it cheap, but many of the aspects of publishing will be done poorly, if at all. And they will mask it by saying their method is not really self-publishing, but “a whole new way” to do publishing!
So my unsolicited advice: Don’t fall for the sales pitch. Don’t let anyone con you into self-publishing — if you choose that route, go into it with your eyes wide open.