Month: March 2019

How to Write the Perfect Nonfiction Book Proposal: Tips for Pitching Your Book and Getting Published

Posted on by The Writers For Hire, Inc.

Can you secure a book deal before you even finish writing the book? Sounds too good to be true, but if the book is nonfiction, it’s in the realm of possibility. It all starts with a book proposal.

As an expert, you know your subject and have plenty to say. Writing a nonfiction book is the way to do it, but you may wonder how to turn your ideas into a book on the shelf. Maybe you are an expert on the changing landscape of world politics? Or, a seasoned self-help professional with a thriving YouTube channel? Perhaps your life story and family history are guaranteed to capture the interest of readers the world over.

Like many nonfiction writers, you are knowledgeable in the subject matter, but your expertise probably doesn’t cross over into book-proposal writing. Fortunately, pitching a nonfiction book follows a fairly predictable path.

Pitching novels and other works of fiction is an entirely different endeavor than pitching nonfiction. When you are working with fiction, excellent writing is the key. Pitching fiction usually involves a query letter, synopsis and manuscript, and your goal is to wow the publisher with a story that has never been told.

But, if you pitch a biography, memoir or how-to nonfiction book with the same approach as you would a novel, your pitch will likely end up in the trashcan (or, perhaps more realistically, the delete box).

  1. What is a Book Proposal?


    In the simplest of terms, a book proposal is a document you submit to an agent or a publisher to sell your nonfiction book. It’s not just a description of the book, but rather it is a sales pitch. It demonstrates to the publisher how they can easily sell and make money from your book.

    When putting together a nonfiction book proposal, think like a publisher and not like a writer.

    The proposal has to be well written, with a hook that sets it apart from others. If you are not an experienced writer, it may be worth your time and expense to use a consultant or ghostwriter to craft your proposal.

    Creating the document is not a one-size-fits-all process, and there are all sorts of variations. But, the best proposals all contain the essential details publishers need to make a decision on whether or not to seek more information on your book. Here is the information you should include:

    1. Overview

    2. Chapter Outline/Sample Chapter

    3. Competitive Analysis

    4. Target Market

    5. Author Bio

    6. Marketing/Sales Plan

  2. Pitching Nonfiction is (Very) Different from Pitching Fiction

    Catching a publisher’s attention with a nonfiction book is very different from selling a novel. In fact, the processes have little in common. Jennie Nash, founder and chief creative officer at Author Accelerator, says it’s not enough to pitch what the book is and who it’s for. “Nonfiction pitches have to include a marketing plan and platform. You have to show how you are going to reach your audience,” Nash said.

    The first step is to learn what publishers want. Unlike fiction, publishers may not ask to see a completed nonfiction book. But, they will definitely want a unique book proposal that demonstrates how YOU can market the book to the target audience.

    The most critical component of a nonfiction book proposal isn’t the subject matte or your technical writing ability. Publishers want to see a solid marketing plan.

  3. Pitching an Agent vs. Pitching a Publisher

    One of the first decisions you must make is whether or not to use a literary agent. Going directly to a publisher is always an option, but many writers (especially new, unpublished writers) choose to work with an agent. By hiring one, you are buying access to their working relationships with publishers.

    If you are not already an influencer in your industry, you may be facing an uphill climb. Working with an agent gives you an “in.” Not only is a good agent a credible champion for your pitch, but they know the right people and have an idea of which publishers are more likely to be receptive to your specific book.

    An agent is your advocate in the publishing world.

    They usually work on commission, so it’s in their best interest to find you the best book deal. Their job is to position your book to sell. But they don’t do everything.

    Agents:

    • Do not edit your book
    • Do not buy it from you, first, and then approach publishers
    • Do not guarantee publishing success


    It may not be necessary to use an agent if you have already been published, or if you are well known in your industry. In those cases, you can save some money by skipping the agent.

    If you pitch directly to a publisher, be sure to follow their specific proposal instructions. Each publishing house does things a little differently, and it is essential that you give them the information in the format they prefer. Countless proposals cross their desks, and if yours doesn’t follow their rules, you can bet it won’t make the cut.

    Can’t decide? Think about your ability to catch a publisher’s attention on your own. If you are new to book writing or just starting to establish yourself as an industry expert, an agent may be a good idea. Whether you work with an agent or forge your own path, the elements of a book proposal are the same. You are still selling your book and marketing plan; the only difference is whether your buyer is an agent or publisher.

  4. How to Find a Literary Agent

    A good place to begin your search for an agent is with some online research. Check out these agent-search websites:

    Publisher’s Marketplace
    Agent Query
    Query Tracker

    Many writers say Publisher’s Marketplace is a great resource. It requires a $25 per month paid subscription, but may be worthwhile for a short time to gain access to their database. The site allows you to search agents by genre, and also shows current book deals so you can get an idea of how your category is represented.

    You can also take a look at other books in your niche or genre. Who agents those authors? Sometimes identifying an author’s agent is as easy as reading the acknowledgement section of their books. If an agent has represented a book in your category, they may at least be open to reading your proposal. Once you identify some possibilities, search for their social media profiles. Many agents post when they are actively seeking new authors and submissions.

6 Steps to a Winning Nonfiction Book Proposal

Remember: if the proposal isn’t effective, the book won’t be published.

Step 1: Overview

This is the opportunity to immediately catch the publisher’s attention. Think of the overview as an enticing description that makes you want to read more. Basically, it’s the blurb you would find on the book jacket cover.

Start off with a short introduction that sums up the book in just a few sentences. If you only had one minute to tell someone what your book is about, what would you say? Next, get into a deeper description about the book to let the publisher know what to expect from the rest of the proposal.

Proposal overview essentials: What is it about? Who will read it? Why will readers care?


Nonfiction writer Bryan Collins wrote a great blog post for his blog, Become a Writer Today, about how to put together a proposal overview. Check out this real example of a strong proposal for a memoir:

Step 2: Chapter Outline/Sample Chapter

The best way to explain what’s in your book is to show the list of chapters. Include a complete list of the chapters, with a short description for each. Don’t get carried away with overly detailed, lengthy explanations for each chapter. Keep it short, but be sure to clearly define the scope of the chapter and show how it fits into the book.

A sample chapter lets you show the publisher exactly how the book will read. You have told her what will be included in the book; now, show what that means with a complete, polished chapter. Choose the very best chapter you have. It should personify the promises you made in the overview, and leave the publisher wanting to know more.

Step 3: Competitive Analysis

Is there space in the market for your book? That’s the question publishers need to answer when they read your competitive analysis. Your job in this section is to show several (approximately 5-10) current books that belong to the same category as yours. Imagine your book on the shelf at the local book store, and tell the publisher what other books would be next to yours.

Not every book in your category is a true competitor.

Be realistic. Consider the fact that in addition to being an industry expert, a bestselling author may have a significant platform that converts to sales. If you are a first timer with limited platform or industry influence, then a wildly successful bestseller probably isn’t your competition.

A good way to search for competitive titles is to visit a bookstore. Decide where you think your book fits on the shelf, and then go to that shelf at the bookstore. It’s not necessary to read each of the books, but do some research. Find a synopsis and the table of contents, and read reviews.

Amazon and Google are other places to identify the competition. A quick search of the category will bring you to plenty of titles to research.

For each competitive title, include the following information:

  • Complete Title
  • Author’s Name
  • Publisher’s Name
  • Date of Publication
  • Page Count
  • Price Point

Simply listing titles and authors isn’t enough. For each one, explain how your book takes a new or different approach to the subject. If your book includes new research not found in other books, say so. If your book challenges a commonly held belief found in other books, say so.

This is the time to humble-brag about your book. Don’t be afraid to articulate why your book is better, but don’t harshly criticize other authors. Simply point out how your book fits on the shelf as the newest, latest and best read on the topic.

Step 4: Target Market

Identifying a specific, quantifiable target market is a must. Publishers expect you to not only define that audience but also to quantify it. A well-written book about a subject very few people care about won’t sell enough to justify publishing.

Nash points out that nonfiction has a smaller target market than fiction:

“The fiction market can never have enough romance novels,” she said. “But if you are writing a nonfiction book, it’s easier to target much more specifically.”


Let’s say you are writing that book about the changing landscape of world politics. Who is your target audience? Well, unfortunately it’s not as broad as the world population or even as broad as all of the registered voters.

You can begin to narrow down your potential audience by looking at the specific political cultures your book discusses, then identifying the number of people who are politically active within those cultures. Facebook pages, political organizations, and community events give clues to the number of people who are truly in your target audience.

In addition to quantifying your audience, you need to describe it, demographically. Who among those quantified politically active people will read your book? Is it gender specific? How old are these people? Where do they live? What is their income level?

Step 5: Author Bio

This is the part where you sell yourself. Tell the publisher why your experiences and expertise uniquely position you as the best person to write the book. Demonstrate your reach in the industry with examples of previous publications, speaking engagements, online presence, and media coverage.

If you have never been published, you might not have any of those, and that’s ok. It makes it more difficult, but not impossible. Keep reading, and in Step 6: Marketing Plan, we will discuss ways to create or expand your author platform.

Step 6: Marketing/Sales Plan

This is the most important part of the entire proposal. Repeat: the most important part.

Now is the time to demonstrate how you can market the book all by yourself. Publishers want authors who come with a target audience ready to buy their book. Avoid discussing things that are only ideas. This is the place for tangible steps that you are currently taking, or can realistically expect to take when the book is published.

Here are some examples of specific marketing tactics you might implement:

  • Distribute information about the book launch via an email newsletter from your blog with 5,000 subscribed industry readers.
  • Upload a video, showing you discussing the new book on your YouTube channel that reaches 10,000 industry subscribers.
  • Promote the book at an upcoming convention of 1,000 participants, where you are a scheduled speaker.

At this point, if you don’t have substantial industry reach you are probably starting to panic. Don’t. Many writers have published successful books without being a household name in the industry.

So, how do you market your book if you have no author platform?

Platform (noun): an ability to sell books because of who you are or who you can reach

– Jane Friedman

If your platform is nonexistent, you may need to take a step back and work on that before submitting a proposal. “There are a lot of people who are experts in what they do, but they don’t have an industry presence. That makes it very tricky. You have to prove you can attract the readership,” said Jennie Nash.

Many nonfiction writers have started from scratch and quickly built up enough of a platform to create a compelling author bio and marketing plan. The most obvious place to start is online:

  • Create an Instagram or Facebook page that positions you as an expert and provide consistent, updated information.
  • Approach established bloggers about guest blogging on their site.
  • Write opinion pieces and pitch to online publications. Having a byline gives you credibility.

Industry influence doesn’t always have to be online. Consider public speaking to targeted industry groups. Where can you get on the agenda and share your expertise with an interested audience?

“You need some proof that you know how to connect with the readers, because the publisher is taking a big bet on you.” – Jennie Nash

Should You Self-Publish Instead?

If building a marketing platform and selling your socks off to agents and publishers doesn’t sound like fun, don’t panic. You don’t have to give up your dream of publishing your book.

These days, many writers are opting out of traditional publishing, and skipping the book proposal process entirely. The decision to self-publish gives writers more autonomy over their material and distribution plan. But, it requires the writer to coordinate the entire process, which can be overwhelming.

Self-publishing may be a good option if you want to own the rights to your book, or if you already have an easily accessible target audience for a very specific topic. Ella Ritchie, founder of Stellar Communications, outlines the pros and cons of choosing the self-publishing route. Ultimately, it’s a personal decision for each writer to make..

Now That You Have a Written Proposal, What Do You Do With It?

There is not an industry standard for how long to wait for a response; it could be days, weeks, or months. Think about how long you are willing to wait, and if you get to that point, move on to another prospect.

Pull out that list of potential agents or publishers, and submit your proposal according to their specific submission guidelines. And then you wait. No response is a rejection, and it happens all the time.

Sometimes the best way to pitch your book is face-to-face with an agent. Easier said than done, right? Writers’ conferences are a perfect way to track down targeted agents, and sell your story.

It’s critical that you seek out specific conferences where appropriate agents are attending. Writer Dana Sitar put together a great list of options in a blog post for The Write Life. Find out who will be there, and plan a targeted approach. The good news is that any agent who attends a conference is actively looking for new authors, so don’t be shy.

“Agents only go to conferences when they are open to pitching.” – Jennie Nash

Many conferences require an additional fee for direct access to agents, and Nash says this is definitely worth the expense. Depending on the conference, these face-to-face meetings with agents could be informal discussion sessions, or they could be literary “speed dating” where you have a couple of minutes to pitch and then move onto the next agent.

Reviews on speed dating are mixed, and most everyone agrees it’s a high-stress situation. If you participate, make sure you have planned your short pitch in advance. “Short” is the key here; be ready to sell your proposal in just a couple of minutes.

Don’t Blow It. Be prepared and you can avoid some common pitfalls.

  1. Create a well-crafted “mini speech” in advance. This is not the time to ad lib. Be conversational, but direct and make good eye contact.
  2. Find a conference that represents what you are selling. It makes no sense to attend a romantic novel conference when you are selling a how-to guide for home repair.
  3. Wait to attend a conference until your proposal is complete, edited and as perfect as you can make it. Sometimes writers approach agents at conferences on somewhat of a whim, just to get an initial reaction. Nash says this is a bad idea and wastes everyone’s time.

Get Started!

Yes, it’s a long road to becoming a published nonfiction writer, but a good proposal is the first step.

Take your time and create a proposal that is as good as the book itself. Know your strengths and weaknesses, and plan accordingly.

If you lack an author platform, then start building an industry presence.

And if, despite being an industry expert your writing skills leave a bit to be desired, find a ghostwriter. Pair your expertise with solid writing, and get ready to be published.

What is the Difference Between an Autobiography and a Memoir?

Posted on by The Writers For Hire, Inc.
What is the Difference Between an Autobiography and a Memoir?

Autobiography and memoir: two terms that seem to be constantly confused and used interchangeably.

While the confusion between the two is definitely understandable, there are a few differences that can help you identify whether it is a memoir you are writing, or if it is actually an autobiography.

Autobiography :
An autobiography is generally a personal narrative that tells the story of the author’s life. An autobiography:


  • Is usually written chronologically

  • Details the author’s entire life (up until present day)

  • Focuses mainly on presenting facts and history

  • Is more formal and informational

  • Is a collection of facts

  • Can be written in either first or third person






Memoir :

Like an autobiography, a memoir is also a personal narrative about the author’s life. A memoir, however, generally focuses on a specific window of time within the author’s life. A memoir:

  • Can be written chronologically, but frequently hops around through different periods of time

  • Is less formal and more conversational

  • Is written more from the perspective of the author, and less from a factual perspective

  • Is a collection of memories (with facts intertwined)

  • Is written in first person




Breaking “The Curse of Academia”: Subject Matter Expertise and Writing for a General Audience

Posted on by The Writers For Hire, Inc.

You are an industry expert. You know your stuff. You wrote the book on it – literally. But when tasked with stepping outside of your industry-specific box — for example, if you’re asked to contribute copy to a sales brochure or draft an editorial for a customer-facing web copy — you often find that it’s easier said than done.

Why? It’s not a lack of expertise. And it’s not that you can’t write. But you’re also very close to the material, and you’ve grown accustomed to writing almost exclusively for an audience that speaks your language. You’re also probably used to writing in the highly formal style that’s often required for industry journals and technical papers.

We half-jokingly call this “the curse of academia” (although it applies equally to any field or industry, from oil and gas and finance to hospitality and HR). Fortunately, though, this “curse” can be lifted. Let’s take a look at a few ways you can make your subject matter more accessible to a non-technical audience.

Write like people speak.

In other words, aim for a conversational tone. In non-technical, non-academic settings, highly formal writing can come across as stuffy, stilted, or unnatural. A few keys to conversational writing include:

  • Use contractions. Words like “you’re,” “it’s” and “they’re” always sound more natural and conversational than “you are,” “it is,” and “they are.”  
  • Use sentence fragments. Sentence fragments can create a more natural, less monotonous flow in your writing, especially when used immediately after a longer sentence. Make sense? If you’re trying to emphasize an idea, you can even use a one-word sentence. Really. 
  • Start sentences with “and,” “or,” “but,” etc. It might make your high school English teacher cringe, but in conversational writing, this is perfectly acceptable.
  • End sentences with prepositions. At some point, someone probably told you that it was never, ever okay to end a sentence with a preposition (we’re looking at you again, high-school English teacher). This is simply not true. It’s perfectly acceptable to end a sentence with a preposition. In fact, sticking to this “rule” is a good way to create awkward, unnatural-sounding sentences (Need convincing? Check out this example from Quick & Dirty tips. We’re pretty sure you’ve never heard anyone say, “On what did you step?”)

Here’s a great example of conversational, non-technical marketing copy from Apple. This writing breaks several “rules” but it communicates the benefits of a highly technical product in a conversational, accessible way that just about anyone can understand:

Use plain, straightforward language.

Remember, when you’re writing for a general, non-technical audience, the goal is clarity. Whether you want to showcase the features and benefits of your product or explain what sets your company apart from the competition, it’s best to use clear, plain language. Avoid industry jargon and technobabble. Go easy on the acronyms, and if you must use one, write out the whole phrase on first use. And steer clear of overused stock phrases and buzzwords like “synergy.”

And, to be clear: “plain, straightforward language” does not mean “dumbed down.” Need proof? Consider online clothing retailer Everlane. The company, which has few physical storefronts, is popular for its durable, ethically sourced basics like jeans and t-shirts. Everlane also has a reputation for its transparency and open, honest communication. In this example, the company spotlights one of its denim factories in Vietnam and explains how its manufacturing processes help reduce waste.

This page has the potential to be bogged down with jargon, numbers, and “green” buzzwords – but it’s not. It’s clear and straightforward and it does a good job explaining a complicated topic in an uncomplicated, accessible way:

If it’s not common knowledge, explain it.

When you’re writing for people in your industry (or in related industries), you can assume that your readers know what you’re talking about. You likely don’t have to explain the basics of a product, service, tool, or technology. But when you’re writing for a general audience, you might want to back it up a bit and provide some basics.

In the example below, we learn why Exxon’s Mobil 1 Annual Protection explains the science behind synthetic oil — beginning with a quick lesson in viscosity. To a chemical engineer, this stuff is probably pretty basic. But to the average consumer, it provides important background knowledge and helps explain the benefits of the product:

Use graphics.

Sometimes, it’s easiest for the reader to “see” what you’re saying. Don’t shy away from using infographics, charts, illustrations, and other visuals.

Here’s great infographic about Amazon’s distribution network. Although it ran alongside a meaty article and podcast published by the University of Pennsylvania’s Wharton School, you don’t need advanced knowledge to understand it. You don’t even need to read the whole article to get the main takeaways:

When in doubt, get an outside perspective.

Is your writing clear? Have you skipped important steps or skimmed over critical background information? Does your writing make sense to a non-technical, non-industry audience? Chances are, you’re too close to your subject matter to tell. That’s when it helps to bring in a fresh set of eyes. Send your draft to someone in a different department or to a friend who is unfamiliar with your industry, product, or service. Ask them if it makes sense, if they can follow the logic, and if it raises any questions.

Family History. Why Bother?

Posted on by The Writers For Hire, Inc.

Discovering your family history can be a wonderful and fascinating journey. Whether it is simply out of curiosity, or for the purpose of preserving history for future generations, there are a lot of benefits to finding out where we came from.

Top 10 Reasons to Learn your Family History

1. Genetic health concerns

Learning about any medical conditions that our ancestors had can help us be aware of possible concerns we should have about our own health (and therefor, prepare us to take any necessary preventative measures).

2. Family traditions

Who doesn’t love the idea of celebrating holidays the way our ancestors used to celebrate, and having family traditions to pass down to future generations?!?

3. Inspiration

Our ancestors lived through some hard times. Learning about their lives and their experiences can help us to be more resilient and inspire us to push through difficulties we may face in our own lives.

4. Core Identity

Learning about where we came from, and the people who came before us, can help us establish a stronger sense of who we really are.

5. Family connection

Discovering information about our ancestors and where we came from can help build and strengthen relationships with the family that surrounds us now.

6. Reconnecting

Learning about your family history can actually help you to re-connect with long-lost relatives, and maybe even help you find relatives you never even knew existed.

7. Community

Finding out about your ancestors can give you a stronger sense of community. Understanding the contributions that your ancestors made in the community in which you live can give you a sense of belonging, and a feeling of connection with other members of the community.

8. Life Advice

Words of wisdom from the older generation is a valuable gift that we can pass down to future generations.

9. History Lessons

Through researching your ancestors, you can actually get a great history lesson on what was going on in the world during the times in which they were living. These history lessons are important in preventing us from repeating mistakes of the past.

10. Global Awareness

Learning about the places where your ancestors came from can help you see just how connected everyone is on a global level. It can also help you feel like you are part of something bigger than yourself.

Why Can’t we Remember the Books we Read?

Posted on by The Writers For Hire, Inc.

You know you read the book.

You can even remember where you bought it, where you were when you were reading it, and what the cover of the book looked like.

What you can’t remember, though, is the actual book itself.

But, why is that?

This fascinating piece by The Atlantic explains how our brains have a “forgetting curve” when it comes to retaining details about the books we read, movies we watch, or things we see on the internet.

They go on to further explain that while we are able to remember things that are important to our everyday lives, our brains recognize that things like details from books and movies are not things that are vital for us to store in our memory. After all, those are things that we can easily refer back to, if needed, by re-reading the book or re-watching the movie.

While it may appear that things like books, movies, and the internet are dumbing us down by allowing us to store our memories externally, it seems that the internet age has really just caused our brains to re-prioritize the things that we remember. So, instead of trying to remember the details of the book we read 6-months ago, our brains are able to focus on more important things.

Five Common Web Writing Mistakes to Avoid

Posted on by The Writers For Hire, Inc.

Web copy can be tricky to master: It has to sell, but it can’t feel too salesy. It has to be packed with useful, relevant information, but it needs to be succinct and easy to scan. It has to differentiate your company, product, or service — but at the same time, it can’t feel like it’s “all about you.”

We’ve found that there are a few common web writing mistakes that come up again and again with web copy. In this post, we’ll explore five of the most common ones — and share our strategies for avoiding them.  

  1. Mistake 1: Ignoring navigation

    It’s tempting to treat content and layout as two separate things, but we’ve found that the most effective websites begin with an integrated approach. When you have a solid grasp of your site’s navigation and layout, you’re better equipped to write content that fits into that navigation in an intuitive, seamless way.

    A few questions to consider:

    How will visitors navigate your site?
    What information will they be looking for on each page?
    How can you ensure that visitors can find what they need easily?
    Will your most important copy points appear “above the fold”?
    Can you use design elements like callout boxes and sidebars to highlight key points?
    Is your copy broken up in a logical way?
    Do you have too many pages? Too few pages?
    What action do you want people to take after scanning the page?

  2. Mistake 2: Super-long copy 

    Good web writing should tell your customers what they want to know in the first two sentences. Remember, website visitors come to a site to gather information. If they have to read paragraphs of unnecessary fluff to get to the “meat” of your product or service, they’ll probably move on.

    Here’s an example:

    “You need a car to get you to work. You need a car to take your kids to school, for trips to the grocery store, and for epic road trip adventures. You need a car to live your life – but you don’t need to pay top dollar for it. That’s why Two Brothers Used Cars specializes in certified pre-owned vehicles – guaranteed to save you money.”

    The above paragraph is long and meandering, and it wastes valuable real estate stating the obvious: Your readers already know why they need a used car. They want to know why they should buy a used car from Two Brothers Used Cars.

    Here’s a better option:

    “Two Brothers Used Auto has thousands of pre-owned vehicles at wholesale prices. Reliable. Affordable. And all used cars come with a year-long free maintenance package. Come take a test drive today.”

    Our advice: Resist the urge to “ease” in to your copy. Jump in, be bold, and get right to the point — your readers will appreciate it!

  3. Mistake 3: The “Wall of text”

    People read differently on a screen than they do on a printed page – their eyes flit around the page, scanning for information. Copy that appears too dense — also known as the dreaded “wall of text” can be a turnoff.

    In fact, if your web copy looks too dense, readers will likely give up and move on.

    Here are some ways to break down those “walls” and make your copy more scannable and web-friendly:

    Use bullets to highlight important points.
    Use bolded headers.
    Break up paragraphs (limit each paragraph to three to five sentences, max)
    Use visuals like infographics, tables, or photos
    Use callout boxes and sidebars to highlight information
    Use lots of white space
    Insert links to relevant pages

  4. Mistake 4: Wordiness and fluff

    One way to keep web copy succinct: Avoid filler fluff and unnecessary words. Some hard-nosed editing can help streamline your copy. Scan your draft with these questions in mind:

    Is there a single, better word that you can substitute for two words? For example, you could use “boring” instead of “not interesting.” You could use “to” instead of the wordier “in order to.”

    Can you eliminate any fluffy, meaningless phrases? Don’t tell readers that your sales team is “committed to excellence” or “dedicated to success.” It’s much better to say something meaningful, like the fact that your sales team has a combined three decades of experience or has completed hundreds of hours of advanced training.



  5. Mistake 5: Showcasing features, not benefits

    Emphasizing the benefits of your product or service is more important than emphasizing features – that’s because benefits persuade, features only inform. Benefits are relevant to customers, features aren’t.

    For example, let’s say your company sells high-end wristwatches: Details like “illuminated dial,” “digital alarm,” and “solar-powered battery” are features. But why should a potential customer care? This is where the benefits come in: The illuminated dial means you can tell the time in the dark. The solar power means that you never have to replace a battery. The digital alarm means that it can pull double duty as an alarm clock or a stopwatch.  

How to Edit Your Ghostwriter

Posted on by The Writers For Hire, Inc.

When you hire a ghostwriter, chances are, you won’t like everything they write.  That’s okay.  We may go so far to say, to some degree, it’s even expected. The author-ghostwriter relationship is a collaborative one, and one that works best when you (the author) are honest and clear with the feedback you have for your partner (the ghostwriter).

Now, we know that sounds somewhat self-evident.  However, it can be trickier than you think to edit your ghostwriter, if you aren’t familiar with editing.

When you start to see the first chapters proudly presented by your ghostwriter, you will likely have some or all of these questions:

What types of errors are normal in a first draft?

Should you be concerned about typos? 

What if you sort of like the material, but it doesn’t quite feel like you? 

What if you really don’t like it at all?

To help get started with constructive feedback, we’ve found that it helps our authors to separate their editorial comments into two types: large-scale, “big-picture” edits and smaller, one- or two-word “little-picture” edits.

This helps them, and us, categorize what level of editing or reworking might be necessary, and to determine best next steps.

“Big-Picture” Edits 

What are they?

These edits are just like they sound: “big-picture” edits are more about style and organization and often require discussion and rewriting. Not every draft requires big-picture edits, but such edits are not unusual, either – especially at the beginning of a book project.

Examples:

Here are a few examples of “big-picture” questions/edits:

  • Changing primary angle/direction of the copy
  • Scrapping current copy and rewriting from scratch
  • Changing the order of multiple sections
  • Combining, rewriting, or deleting larger sections
  • Changing the style or tone of the piece (i.e. your writing doesn’t sound like me)

What to do:

Stop.  Talk to your ghostwriter, in person or on the phone — email is almost always too vague, and it can be difficult to convey all of your thoughts into in-text comments.

Be clear that you are looking for major revisions (don’t sugar coat it), and give your writer the opportunity to rewrite.

“Little Picture” Edits

What are they?

“Little-Picture” edits are one-or-two word changes that don’t require any discussion or large-scale rewrites.

Examples:

Some typical “little-picture” edits include:

  • Small word choices  (“crimson” instead of “red,” for example)
  • Word preferences (you prefer not use the word “custom” or “affordable”)
  • Facts and figures (“September 29” instead of “September 19”)
  • Spellings of names, places, or companies (“Kathy” instead of “Cathy”, “The Writers for Hire” instead of “Writers for Hire,” etc.)

What to do:

Unless your document is littered in typos and factual errors, there is no need to worry.  Fact checking and proofreading come later on in the process.

We suggest you make “little-picture” changes directly on the Word document yourself. If you’re familiar with the “Track Changes” function in Word, you can use that. If not, just highlight your changes so your writer knows where they are in the document.

Send the document back to your ghostwriter for reference, but don’t ask for a cleaned up version yet.  Let them continue writing – your book will move along faster if you don’t try to perfect each chapter as you write it.

Good Ghostwriters Want Your Feedback – Really!

We mean it. The more specific, detailed comments you can give us, the better! As your ghostwriters, we depend on your feedback to ensure that your book actually sounds like “you.” You won’t hurt our feelings or offend us if you’d like to make a change.  

What happens if you’ve tried giving feedback, it’s just doesn’t seem to be working?  If you hired a reputable firm after close due diligence, chances are you’ll be able to work it out.  If not, check out our post on When to Leave Your Writer.

How Can a Ghostwriter Help Write My Family History?

Posted on by The Writers For Hire, Inc.

Have you ever considered writing a book about your family’s history, but don’t know how or where to get started?

Perhaps you have a great concept in your mind, but are struggling to put the words on paper. Or, like many people, you would love to have your family story written, but you just don’t have the time to do it yourself.

Whatever your reasons may be, it is likely that you have at least contemplated the possibility of hiring a ghostwriter. But, can a ghostwriter really help write your family history?

The short answer is, yes.

Now, as in any profession, different ghostwriters have different strengths. So, you will want to find the right ghostwriter for your project.

Once you have found a qualified family history ghostwriter, though, there are many ways in which they can help turn your book dream into reality.

The Nitty Gritty Research

If tracing your family roots and learning details about your ancestors is an important part of your family story, then it is imperative that you look for a ghostwriter who has experience with genealogy.

While many ghostwriters can turn your family stories into a great book, you will need someone who is also skilled at the kind of in-depth research that is needed to trace your family history beyond what your grandparents’ memories could reach.

Not only will this ghostwriter need to have the ability to research information about your family’s history, they also will need the necessary resources to check (and double-check) the facts and information that they find. Along with genealogy research, your ghostwriter will be able to research additional details about what was going on at a certain point in history, or what life would likely have been like for your ancestors.

Once the research portion of your family history is completed, your ghostwriter can work with you to find the best way to showcase their findings within your book.

Living Interviews

While you may know most of your family’s stories, and could probably provide enough content for an entire book yourself, it is always recommended to hear those stories (and more!) from the perspective of other living family members.

That is where your ghostwriter steps in.

They have the experience and know-how to get your family talking. They also have the skills to ask the right questions, and dig into the meaty heart of a story.

Along with great family stories, your ghostwriter can also work on collecting old photographs to include in the final book. And once all of the interviews have been completed, your ghostwriter will be able to organize the information and weave it into the most appropriate parts of your book.

Keep in mind, though, that you will want to make sure that the ghostwriter you choose is likeable and has good people skills. Afterall, grandma is not going to want to tell her best stories to someone who isn’t friendly.

Writing and Editing

This is where your ghostwriter’s storytelling and writing skills come into play.

Your ghostwriter will work closely with you to find out how you imagine your story should be told, as well as the specific style and format that you want.

Don’t worry if you are not quite sure what it is you want. An experienced ghostwriter will be able to walk you through the process of figuring out what will work best for your family’s story. They will also be able to explain your options to you, and make personalized recommendations.

And once you figure out what you are looking for in your book, your ghostwriter will be able to make the magic happen.

Publishing the Final Product

Once all of the research has been done, the interviews have been collected, and your book has been written, you will want a way to publish it.

Whether you are hoping to publish just one copy for your own personal use or several copies to give as gifts to family members, you will find that there are many publishing options available.

Depending on the ghostwriter that you choose, they may be able to take you all the way through the publishing process.

It is important to remember, though, that most ghostwriters are not publishers.

Most experienced ghostwriters, however, have a working knowledge of the publishing process and will be able to educate you on your publishing options. Also, it is likely they will be able to help you self-publish, or connect you with a publisher who can take care of your final product for you.

When to Leave Your Ghostwriter . . . and What To Do Next

Posted on by The Writers For Hire, Inc.

Choosing the wrong ghostwriter can be a really miserable experience.  Like most new relationships, you both entered into the project with the best intentions – hopes high for a happily ever after. The prize of the perfect manuscript seemed just months away, easily attainable with just a little elbow grease and a few hours of entertaining interviews.

Now that the project is under way, though, you’re concerned. Perhaps you’ve received your first draft of your first chapter, and you see things you don’t like. Maybe you’re sensing that your writer doesn’t respond well to edits or might be a little careless about deadlines.

By now you’ve invested time and money in the project. You’ve spent hours with this writer. You even kind of like them, and you don’t want to hurt their feelings.

At the same time, though, you can’t simply stay quiet and hope for the best. 

Is this simply a bump in the road to a productive working relationship? Or should you cut ties now?  

Many of our clients come to us after a poor experience with a previous ghostwriter — and nearly all of them had stories about early red flags; they’d all spent anxious hours wondering if they should stick with their writer or move on to someone new. In fact, we’ve heard stories like this so often that we thought a few tips on how to deal with bad ghostwriters might be worthwhile.

Choosing the Right Ghostwriter

Of course, the best way to avoid a bad ghostwriting relationship is through proper due diligence before you start.  As with any industry, it’s hard to know how to conduct proper due diligence, when you aren’t 100% sure what to ask.

Our best advice surprises many:  Writing samples are likely not the most important piece of information to ask for.

That’s right.  Examples of a ghostwriter’s past work are often less informative than you might expect. Now, we aren’t saying not to look at samples, but it is important to understand the drawbacks of relying on samples as an evaluation method:

  • Any samples you review are a reflection of what the prior author has asked for, so the manuscripts may not reflect was you would ask for.
  • Samples provided could be heavily edited, by the prior author or the publisher, so you don’t know what the first draft actually looked like. 
  • Talented writers aren’t always talented ghostwriters. And yes, there is a difference: Your writer may dazzle you with an impressive portfolio of say, long-form magazine articles or books written under their own name — but they may not have the flexibility and collaborative attitude necessary to write for someone else.

Ask for Variety!

While samples aren’t the most important thing to look at, they can provide you with a snapshot of your writer’s flexibility. Ask them to send you several samples that showcase different writing styles and cover a variety of different topics. The more variety in the samples, the more likely it is that your writer will be able to adapt to your preferences.

So what do you look for in a ghostwriter?

  • References, references, references – ask the references not only how they felt about quality of work, but how their ghostwriter dealt with edits and feedback.
  • Availability. A lot of ghostwriters take on more than they can handle. Specifically ask how many hours they can give you per week.  You want the answer to be at least 10 to 20, if you expect the book to be finished within a year.
  • Expectations. Ask your writer what they expect from you during the relationship.  Some writers expect you to do all the research; some writers want you to proofread; some writers will deal with publishing, others won’t.  There are no right answers here, but you should be ok with their expectations or you are likely to be unhappy with the arrangement.
  • Problem-solving. Ask about common challenges in a ghostwriter-author relationship, and how they deal with these.  If they’ve never had any challenges, then they probably haven’t had enough clients.
  • Personality, not salesmanship.  Remember that ghostwriters are not necessarily natural salespeople, and you aren’t hiring them for their sales skills.  So be careful if you feel like you are going with the firm that just has the best pitch (unless of course you are writing a book on sales, and then that’s probably exactly what you want).

I Think I Chose the Wrong Ghostwriter. Now What?

Let’s say you did your due diligence, and you felt confident about your choice of ghostwriter. But you still find yourself staring at your first draft with some level of anguish.

What now?

First, make sure you really can’t salvage the relationship.  Remember, you chose your ghostwriter for a reason.  You believed they could do this job – so if they’ve produced something that makes you doubt that, give them a chance to course correct.  And make sure you are providing clear edits and feedback. The problem may be that they simply don’t understand what you’re asking for, not that they can’t provide it.

Before you hit the “Fired!” button, it’s helpful to know how bad things really — and if it’s possible (or even worth it) to try and fix them.

Here are a few guidelines to help you figure out which issues are fixable, and which are showstoppers.

Minor typos and factual errors

Level of concern:  Usually low

Reason:  Proofreading and fact checking is typically a last step in the book-writing process; a few small errors in a first draft is likely not a sign of a serious problem.

Exception:  If your document has so many typos and factual errors that it’s distracting, feels like the writer is being lazy, or you think they don’t understand basic grammar, you may have cause for concern.

Suggested action:  Nothing, unless the issues are drastic.  If your draft is a real mess, express your concerns to your writer and ask if they can send just a few more pages of the next chapter before you make a final decision. 

Minor organizational issues (small)

Level of concern:  Medium to low

Reason:  Sometimes a writer gets too close to the subject matter, and glosses over a couple of thoughts or transitions that might make things clearer.  The writing just doesn’t quite flow logically, and the ideas feel a bit scattered. If small edits will fix the issues, there is no need to panic.  No one is perfect, and everyone needs an editor.

Suggested action:   Make your edits on your copy, send it back to the writer for reference.  If edits were extensive, walk them through your edits verbally and see if their next chapter shows the same level of issues.

Style mismatch

Level of concern:  Medium

Reason:  If you saw a variety of samples from your writer, chances are they can write in a different style.  They just need clearer feedback and direction.  

Exception:  If the draft is a stylistic mess, you can’t imagine anyone possibly liking it, nothing flows, and you aren’t even sure English is their native language, you likely have a much larger issue.

Suggested action:  Unless the draft is a disaster, explain you don’t like the style and you need a complete rewrite.  Show them an example of what you like. Assuming your writer is versatile and open to criticism, you should see a big improvement on the next round.

Major organizational issues (big)

Level of concern: Medium to high

Reason:  The clear exchange of ideas is the core of good writing; if your writer can’t convey an idea in a logical manner, it’s possible they might not understand the subject, or they might not understand how you are communicating it.

Suggested action:  Get on the phone or meet in person to talk through specifically why the draft doesn’t make sense.  Tell them you expecting a complete revamp.  If they aren’t significantly closer in the next draft, it may be time to bail.

You just don’t like them

Level of concern:  High

Reason:  Maybe they’re passive aggressive about their edits, maybe they don’t do things they say they will, maybe they argue with you about everything.  Maybe – through no fault of their own — you just don’t like working with them.  If your writer doesn’t know how to conduct business professionally, or they are just plain disagreeable, you have a pretty big problem.

Suggested action:  Give it a couple days – maybe their dog died.  If you don’t see a big improvement, get out before you waste any more time.

I Had to Leave My Ghostwriter. What Do I Do?

If you decide that you do have to leave, what can you do to salvage the most work product and transition smoothly to a new writer?

  • Ask for all recordings, transcripts, notes, outlines, anything at all they created during the preparation/planning stages of the project. Recordings of interviews are particularly useful, as they can be transcribed and can save your new writer quite a bit of time.
  • Show any work product to the new writer, even if it’s unusable. It’s helpful to the new writer to understand what not to do (even if it’s obvious).
  • Have a kick-off meeting with your new writer and be sure to thoroughly discuss any outlines, style choices, competitive niche, etc.

Remember, if you have had to hire (and fire) your ghostwriter, you’ve learned a lot.  Your next relationship is likely to be much more positive.

We wish you the best of luck with your new writer, and we humbly remind you that we are never too proud to be your second choice.

The Editor’s Guide to Capitalization after Colons

Posted on by The Writers For Hire, Inc.

When it comes to proper punctuation and grammar, editors have a lot of rules to keep track of. And to make things even more challenging, the rules tend to change or differ, depending on which guide you are following.

One rule that constantly comes into question is whether or not the word following a colon should be capitalized.

Luckily, this happens to be something that both AP and Chicago guides agree on.

This informative article from AP vs Chicago gives some great examples of when capitalization is and is not appropriate after a colon.

It also dives into some other important things to keep in mind when using colons in your writing, including the correct amount of spaces after punctuation (which is yet another thing that seems to be constantly changing in the world of writing).

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