Tag: Autobiography

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




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.

Two Decisions to Make Before You Start Writing Your Nonfiction Book

Posted on by The Writers For Hire, Inc.

Most of our ghostwriting clients come to us with some clear ideas of what they want in their book: They know what they want to say, and they know who they’re writing for. They know why they’re writing a book — whether it’s to honor a loved one, bolster their career, share their expertise, or tell their unique story.

They’ve often decided whether they want to pursue traditional publishing or go a more DIY/self-publishing route. They know if they want a coffee-table volume with thick, glossy paper or a more portable and budget-friendly paperback. Some of our book clients even have very specific ideas for the book’s design, right down to the art that will go on the cover.

But there’s more to ghostwriting than paper quality and pretty pictures. In fact, before you write a single word, you’ll need to make some key decisions about voice, style, and point of view. In this blog, we’ll take a deep dive into two of the most important decisions you’ll make about your book: Point of view and tone (or, how the book “sounds”).

Decision 1: Point of View   

One of the first style decisions you’ll need to make is whether you want to want to write your book in first-person or third-person point of view. Not sure what’s best for your book? Here’s what you need to know:

First Person:

In first-person point of view, the narrator is telling his or her story directly to the reader, using the pronoun “I.” First-person point of view feels intimate and immediate, which makes it a great fit for autobiographies, memoirs, and any other books that are more personal in nature.

Here are a few examples:

I’ve never thought of myself as poor. Not once. I wouldn’t trade my childhood experiences for anything. Those years, along with my parents’ examples and guidance, played a tremendous role in my achievements later in life.

***

I learned to box at school. I liked soccer and cricket, too, but I was best at boxing. In fact, I thought I was better than anyone my age. I wasn’t big, but every time I jumped off the wooden bench and into our makeshift ring, I could dodge and jab better than anyone else.   

***

My first job after residency was with an emergency medicine staffing group. After one year of working with this organization, I was given the opportunity to become a shareholder. The benefits of becoming of shareholder were not solely financial, though: I now had the right and privilege to attend the company’s board meetings

Third person:

In third-person point of view, there is no “narrator” speaking directly to the reader. While this perspective is a bit less personal, it offers the opportunity to provide information in a more neutral, objective way. This is why third-person point of view is perfect for general nonfiction books, thought leadership books, and subject-driven manuscripts.

Here are a few examples:

What was then called The M.D. Anderson Hospital for Cancer Research had opened in 1941 in primitive quarters on a six-acre site near downtown purchased from the estate of Captain James A. Baker – grandfather of former Secretary of State James Baker III. The campus, if it can be called such, included an original carriage house repurposed into an office; former stables functioned as laboratories.

****


In 1973, the U.S. Department of Agriculture established the Food Distribution Program on Indian Reservations (FDPIR) – better known to generations of Ojibwe people as “commodities.” Commodity items were designed to ensure food security by providing Native people with foods that were higher in fat and calories and lower in fiber than traditional foods. Unfortunately, this “solution” to food insecurity has set the stage for health problems such as heart disease, diabetes, and obesity. In fact, the tongue-in-cheek phrase “Commod Bod” has become shorthand for “overweight.”

****

Captain America was cool — so cool he became America’s most popular cartoon character during WWII. He fought for truth and justice, crossing enemy lines, tackling Nazi and Japanese spies, mad scientists, even punching Adolf Hitler in the jaw in the 1941 Captain America comic book debut. Americans bought a million copies of that first issue because Captain America was a 2D stand-in for all the heroes  — men and women – who would lay down their lives against dictatorship.

Of course, there’s no hard-and-fast rule that says you can’t write a subject-driven manuscript in first-person point of view. And it’s definitely possible to use third-person to write a compelling biography or family history book. Ultimately, the choice between first- and third-person point of view comes down to personal preference.

Decision 2: How do you want your book to sound?

In our 10-plus years of ghostwriting, we’ve found that the question about a book’s tone — that is, how the book sounds — is, hands-down, one of the trickiest elements to pin down. We’ve also found that, with the vast majority of our book clients, this decision is often a case of, “I’ll know it when I see it.”

But there are a few ways you can start. How do you want your book to sound? And, perhaps more importantly, how do you communicate that to your ghostwriter? Here are a few ways you can help narrow it down:

Make a list of descriptive words and phrases

Do you want your book to sound academic or informal? Do you want to come across as a leading subject-matter expert or a humorous narrator? Do you want a warm, conversational tone or do you prefer a straightforward, just-the-facts approach? Would you want people to describe your book as accessible? Folksy? Knowledgeable? Nostalgic?

Here are a few more good adjectives to choose from:

See what’s already out there

Spend some time browsing the physical or virtual shelves of your favorite bookstore, and take a look at a few titles that are similar in subject matter or genre. Are you writing a book about retirement planning for Millennials? Check out a few personal finance books and see which ones you like. Are you telling the story of how your great-grandfather came to America? Browse the biography section to get a feel for the different ways you can tell someone’s life story. Do you want to be known as an authority on vegan cooking, sailing, coding, or entrepreneurship? Take a look at what’s popular in the how-to or reference section. Make a few notes about what you like and what you don’t like about how each book sounds.

Collect writing that you like — regardless of topic

If you’re looking for inspiration, there’s no reason that you have to stick to books about your topic. Do you have any favorite books? Are there any writers out there that you especially admire? Have you shared any interesting, well-written blogs or articles on social media? What did you like about this book/article/blog/writer?

It might sound strange, but almost ANY written content — about ANY subject — can help you get a clearer picture of the kind of tone you’d like to achieve with your own book. In other words, if you like how it’s written, keep it! And, of course, share it with your ghostwriter. Trust us: It’ll help.

In fact, the more you know about the kind of book you want — from thoughts about cover design and binding to point of view and writing style, the easier it will be for your ghostwriter to help you bring your vision to life.

Six Books Everyone Should Write

Posted on by The Writers For Hire, Inc.

Are you the kind of person who constantly has a million ideas in your head?

Or maybe, instead of letting those ideas cloud up your head, you write them all down on paper.

What if those ideas were not ideas, but were actually just an ongoing diary of everything (and I mean everything) you see and do on a daily basis?

Or, even better, a journal compiled of all of the gossip and actions of those around you.

Have you ever taken a look at your life and thought to yourself “I should write a book about this!”?

Well, maybe you should!

This great article from The Paris Review discusses 6 types of books that everyone can (and should) write.

Now, they are not suggesting that just anyone can write a great piece of literature.

But who knows- if you follow their suggestions, you may find that you have something worth writing about!

 

Jerry Hendon’s Book

Paul Alleyne’s Book

You’ve made the important decision to write your autobiography or memoir. In other words, to tell your whole life story or an important piece of it.

Now what? Maybe you’re not sure how to start an autobiography, or how to start off a memoir—in the middle of your story or at the beginning?

An essential first step is getting organized— maybe you could use some help with that, and with creating an outline. It might be you need someone to step in and do all the writing (a ghostwriter), or you already have a manuscript in need of a good editor.

It’s important to find the right service to work with on this very personal book. You’ll be sharing your life stories and spending quite a bit of time with the autobiography ghostwriter you choose. You’ll want to pick someone who is technically competent, likeable, and enjoyable to work with.

Whether you need a ghostwriter for a memoir or an autobiography, at whatever stage of the process you find yourself, we’re honored you’re considering The Writers For Hire to help write your story. We’ll do everything we can to show your trust in us is well-placed.

What You Can Expect From Us

A personal project like an autobiography is different than, say, a corporate website or a business book. When clients come to us for memoir or autobiography writing services, they bring very specific goals and concerns. Whether they are purchasing our service for themselves or a family member, they want to work with a writer who will genuinely enjoy listening to their stories, and they want to know that they’ll end up with a book they’ll be proud of as an author.

Here’s what you can expect when you work with us:

  • We will take the time to get to know you. Before we write a word, we spend two to three days interviewing you, your family, your friends, and anyone else you would like to contribute. We learn more about your story and discuss your style preferences, timelines, additional interviewees, and publishing options.
  • We will listen to you.Your writing team wants to hear what you have to say. We come to every interview ready to absorb the details of your story – and we take detailed notes and make recordings to be sure we don’t miss a word.
  • We won’t disappear. Ghostwriting shouldn’t imply you’re working with a ghost! Ghostwriting is a collaborative, back-and-forth effort. We communicate with you regularly, and you’ll always know the status of your book.
  • If you don’t like something, we’ll change it.It’s your book, and we want you to be 100% happy with it. As your autobiographers and memoir writers, we love getting feedback from you at every stage of the process. Whether it concerns your outline, table of contents, word choice in the text, or editing decisions, just tell us what’s working and what you’d like to change. We’ll revise based on your comments.

Our Approach To Autobiography Writing

We’re intent on capturing all the critical aspects of your life, including your childhood, personal background, education, career, achievements, relationships, and major life events.

We aim to offer insights into your thoughts, emotions, and perspectives on life, understanding that a great autobiographical book is so much more than just the optimal arrangement of words on a page.

An autobiography writer should capture the profound aspects of your life that are the pillars of your story. That’s why we include your retrospective views and self-reflection, in combination with experiences that are inspirational, relatable, and thought-provoking to readers.

A Few Of Our Past Ghostwriting Projects

At The Writers For Hire, we’ve been ghostwriting memoirs and autobiographies for decades. About a third of the many books we’ve written, edited, or consulted on have been autobiographical.

Here’s a sampling of our experience as a ghostwriter for autobiography books. Please note that the details are intentionally vague to protect our clients’ identities.

  • The autobiography of a German war bride. The Writers For Hire conducted several days of onsite interviews with a German immigrant who came to the United States after World War II. The novel-length book chronicled her extraordinary life, from a childhood surviving air raids in Berlin and running away from a Hitler Youth work camp to raising a family and running a ranch in the American West.
  • A grandfather’s autobiography, from his childhood growing up during the Great Depression to his military service, marriage and family, and career. Commissioned by his grandchildren to preserve a piece of family history, the finished book was self-published and distributed to family members as a holiday gift.
  • The autobiography of a female oil company executive chronicles the client’s life through some of her most interesting moments. This true tale of life and love shares the experiences of a Virginia woman transported into the Texas oil industry.
  • Houston couple’s autobiography combines their ancestral research with their personal journeys. It portrays their separate lives from childhood to marriage, then delves into the captivating stories of their immigrant ancestors’ lives in Houston. This autobiography was commissioned as a gift from the couple’s children and grandchildren.

References Available

Sure, we think our writing team is pretty great – but we’re just a bit biased. If you’d like to learn more about what it’s like to work with us, from our real ghostwriting customers, we can provide references upon request.

Our Process

FAQs About Autobiography And Memoir Writers

Do autobiography and memoir authors need to be famous?

No, people from every walk of life have authored their life stories.
Learn more about autobiographies and get some great tips on autobiography writing.

I thought autobiography and memoir authors had to do their own writing. Can a ghostwriter do it for me?

Definitely. All the information contained in your book comes from you and from sources you approve. A ghostwriter puts their experience and skills to work to professionally write your book.
Read a case study on an autobiography The Writers for Hire produced for an author with a fascinating story.

Can I give the writing of an autobiography as a gift to a loved one?

Yes, you can, and many have honored a loved one in this way.

I don’t know how to write an autobiography. How can I find the right team to help me?

Finding the right people to do your concepting research, writing, editing, and proofreading usually takes some time and effort. Take a look at our portfolio and see if we look like a good fit for you.
Learn more about choosing the best ghostwriting team for you.

Who has the rights to my book?

You do. It’s your book, and you retain 100% of the rights to it.

Who gets credit for writing my book?

You do. In addition to retaining 100% of the rights to your book, you can claim sole authorship. Some of our clients choose to credit us as editors or co-writers, but the majority of our clients don’t disclose the fact that they used a ghostwriter – and that’s fine with us.

Is ghostwriting ethical?

Of course. Your ghostwriter is simply helping you say what you want to say in a clear, engaging way. The ideas are 100% yours – a ghostwriter just helps you get them on the page.

I don’t want anyone to know I used a ghostwriter. How do I ensure privacy?

We take your privacy seriously. Most of our ghostwriting contracts include a non-disclosure agreement (NDA).

How do I start a memoir? How do I start an autobiography?

The process starts with your own thought process. First, ask yourself what the overall theme of your book will be.
Read more about how to start an autobiography or a memoir.

How long is a memoir?

Several guidelines say the ideal is about 65,000 words, but this varies based on many factors, with more leeway given to better-known authors.

I’m short on funding. Can I pay you a portion of proceeds, after publication?

Our ghostwriters are professional, full-time writers and editors. To keep them on our team, we must pay them for their time. Our business model simply isn’t set up to take projects on spec.

I live in Seattle. Your company is based in Houston. How can you write my book?

Technology makes it easy for us to work with anyone, anywhere. We’ve worked with hundreds of happy clients from all over the globe. We will fly to visit you, or we can work via virtual meeting such as Zoom or Teams.

Can you publish my book?

Yes. We can refer you to our preferred publisher. If you are interested in other publishing options, we can research the best alternatives for your specific story and goals.

What if I don’t like your edits or writing?

Ghostwriting is a two-way process, and we request specific, constructive feedback from you every step of the way. You will see and approve each chapter as it’s written, which means there won’t be any surprises at the end.

Can you design my book’s cover or create custom illustrations or infographics?

We don’t offer illustrations and infographics in-house, but can provide introductions and recommendations for design work, and we can project manage the design of your book.

Can you guarantee that my book will get published?

If you’re asking about self-publishing, which makes up almost 20% of the current market, then yes, we can help guide you through the self-publishing process. If you mean traditional publishing, no one can guarantee publication. We can, however, provide you with introductions to a few local/niche publishers or pitch your book to traditional publishers.

How long will it take to write my book?

A full-length book typically takes between 6 and 12 months. However, we can usually handle a compressed schedule. Tell us what your deadline is; chances are, we can make it.

How can I contact you to get started?

To request a no-obligation quote for ghostwriting services, fill out the form below or call (713)465-6860. To review general pricing, visit our writing prices page.

References Available

Sure, we think our writing team is pretty great – but we’re just a bit biased. If you’d like to learn more about what it’s like to work with us, from our real ghostwriting customers, we can provide references upon request.

Who Gets Autobiographies?

CEOs & BUSINESSPEOPLE

Share your story. Establish yourself as an industry leader.

CONSULTANTS & POLITICIANS

Connect with supporters, or build your brand.

FOR FAMILIES

Create a one-of-a-kind heirloom for generations to come.

INDIVIDUALS & CREATIVES

Express yourself. Write your novel. Tell your story.

YOUR LOVED ONES

Give a unique gift and preserve cherished memories.

Request A Quote
or
Call 713-465-6860


Is Traditional Publishing Still Worth It?

Posted on by The Writers For Hire, Inc.

“Writing a novel is like driving at night in the fog,” E.L. Doctorow once said. “You can only see as far as your headlights, but you can make the whole trip that way.”

Traditional publishing But when you finish a book, those headlights may fade out. You face a question the muse can’t answer: Should I seek a traditional publisher or independently publish this myself?
It’s a complex issue, full of facets and trade-offs. The choice depends on who you are, what you’ve written, and what you want your book to achieve. No answer is right for every author or even for every book from the same author.

So which way do you go? This blog examines some of the factors you might want to consider.

 

The Basic Question

First ask yourself: Is there an issue at all? Do your readership and goals make the choice clear?

You likely want to self-publish if:

You expect a narrow audience. If you are writing for your family or a niche readership, you may have no choice. Traditional publishers won’t risk funding for tiny audiences. One exception: books for academics or professionals like lawyers and financial analysts. In these cases, publishers anticipate few sales but real demand, so they raise prices, often to the hundreds of dollars.

You have a brief piece, such as a novella. Traditional publishers rarely publish such works.

Your readership already knows and follows you. If you have a built-in audience, most potential buyers will know of your book, and you can sell directly to them.

Self-publishing is the norm in your field. Indie publishing predominates in some areas, like romance and erotica. In 2016, for instance, 55 percent of romances were self-published. Indie is also common in science fiction and fantasy. Readers in these genres are so familiar with this approach that the traditional route may be pointless.

You need to publish quickly. Meg Xuemei X self-publishes paranormal romances like The Empress of Mysth, and she notes that romance authors may write a book every two months, or even every month. Readers await these works and consume them quickly. Print publishers are pachyderms in this world of hummingbirds.

 

You want a traditional publisher if:

You need an advance. If you’re writing nonfiction, traditional publishers may give you money upfront, based usually upon just a proposal with a book outline. You typically get a third of the advance at the outset, and it can make your book possible.

You want a guaranteed fee. You get to keep the advance even if you don’t sell one copy. The publisher retains your percentage of sales until that running total exceeds the advance, and then you start getting royalties.

You don’t want financial risk. You pay nothing for editing, cover, and book design, much less printing and distribution. In self-publishing, you run the risk of losing money.

You want broad publicity, especially if you dislike marketing. Traditional publishers have the power to get radio and TV interviews for you, as well as book reviews in major papers. blogs, and periodicals. They certainly expect you to do marketing, but they take on key burdens themselves. With self-publishing, it’s different. “Marketing is a beast, but a necessary one,” says Alexes Razevich, author of such indie novels as Khe and Shadowline Drift. “Unless someone stumbles onto your book, loves it, and tells their millions of friends, the independent author is going to be doing it all on their own.”

You want acceptance by a famous name. Traditional publishing can confer automatic prestige. If, say, Random House publishes your work, everyone knows you have passed through strict quality filters. If you self-publish, your book can be anything; you have to cultivate prestige yourself.

You seek literary awards. For these, you almost have to issue the book with a traditional publisher.

Traditional publishing is the norm. It remains de rigueur in areas such as literary, children’s, and academic books.

Beyond these questions lies a realm of greater subjectivity. It falls into two categories: The Search and Control.

The Search

Your search can fall into two categories. If you want a traditional publisher, you usually have to get an agent, who then has to get a publisher. You’re selling your work, and you’re competing with lots of other sellers, at both stages.

If you’re self-publishing, you may need to find people who can create covers, and illustrate book design, and perhaps do marketing. But they want to sell their work to you.

You may want to self-publish if:

You hate rejection. If you’re new, and sometimes if you aren’t, you can expect serial rejection from agents and publishers. J.K. Rowling is not the only best-selling author who has run this gauntlet.

That’s one reason Harper Lee advised aspiring writers to grow a thick hide.

But understand that rejection letters aren’t the same as verdicts. Send out a query, and it doesn’t go to an all-wise judge. It goes to a human being. Agents and editors live in a river of submissions and must make snap judgments. They know that you’ve put sweat and soul into the book and that they may be passing on a best seller. So “rejection” can mean many things: The person reviewing your work is already too busy…didn’t connect subjectively…had a bad day…or spotted a typo in the query letter. If you understand the context, you may feel less like Kafka’s K. waiting outside the castle. But hearing “Sorry, not for us” repeatedly may still be painful. If so, you may prefer self-publishing.

Your book is a genre mashup. Indie publishing is the great experiment garden of books, and crossovers have flourished. “Where traditional publishers might have a problem assigning an imprint for a ‘vampires in space meets steampunk’ told from the point of view of a teenage boy and his talking dog,” Razevich says, “independent publishers simply put it out there, and if the story was well told and the book professionally presented, readers will find it and buy it.”

You want to be sure of publication. With self-publishing, you have a publisher who adores your book. So you can write with the confidence that others will see it. It won’t lie unread in the hard drive, perhaps to vanish in a crash.

You may want a traditional publisher if:

You don’t like DIY. Though it’s easy to find independent contractors, you do have to search for them. You may prefer simply to write.

Control

“The joy and whole point of being an independent publisher is doing it the way you want,“ says Razevich. But there are also drawbacks to this power, and if that power matters less to you, you may prefer a traditional publisher.

You may want to self-publish if:

You want to fully own your book. You can determine everything: cover, book design, font, price, marketing copy, time to publication, release date. No editor will pressure you to change the title, say, or the plot. And since you dictate price, you can use deft marketing strategies (such as offering the book free for a day) to boost overall sales.

A thriving infrastructure now supports self-publishers. For instance, a print-on-demand site like Amazon’s CreateSpace offers tools for you to create covers and design the book. You can let it handle every aspect of the process or just the parts you select. For instance, you might want to farm out the cover to a graphic designer you know. Regardless, you’re at the helm.

In contrast, a traditional publisher may exert serious pressure over, for instance, the title. You are in a partnership with the company, and it has an interest in the sales. But the pressure can go too far. Best-selling author Daniel McNeill says the major houses he has dealt with have been very reasonable. But he knows of one small press that imposed petty rules like banning “since” to mean “because.” Why? “Since” might also be referring to back in time.

You don’t mind the upfront costs. Self-publishers pay for all the stages of the book process themselves. “The costs of several rounds of editing—I do three rounds—can be daunting, but it’s worth every penny,” Razevich says.

You fear the contract might be a minefield. A traditional publisher requires a contract, for obvious reasons. But unless you have a reliable track record, you have less bargaining power. It’s a harsh reality, but you want them more than they want you. So the contract terms typically slant against you.

In addition, you probably lack experience with contracts themselves, as well as knowledge of which provisions are standard.

One author, whose name we are withholding, signed a deal with the e-publishing arm of a respected house and wound up ceding all rights to his characters forever. He didn’t have an agent, and a good agent can usually prevent these problems by keeping the deal to common standards.

But even with a savvy agent, contracts are relatively inflexible—and they favor the publisher. They can also hide surprises. McNeill says, “I’ve seen clauses that say, ‘The author will provide advice and counsel on the cover.’ Then they’ve sent me the cover and said, ‘We love it. What do you think? Our deadline is in two hours.’” To be fair, publishers don’t want endless input from authors they deem ignorant about selling books. And McNeill notes that he has offered cover advice that editors have followed gratefully. Your relationship with the publisher is a living thing. Yet with indie publishing, the cover is exactly what you want.

You want to publish in installments. Traditional publishers issue books as, well, books. They don’t come out in portions, since readers haven’t wanted to go to the bookstore regularly to get installments. But the Internet makes it easy. Moreover, our world has gotten much faster: attention spans are shorter, and people are used to briefer pieces of information. You may also earn more—overall—by issuing a book in parts.

You may want a traditional publisher if:

You’re comfortable handing off the tasks. Publisher pressure may not bother you.

You want the benefit of experience. If you’re just venturing into the world of publishing, you may make amateur errors. And the more you control, the more errors you may make. But traditional publishers are in the business full-time, and some have been for decades. With the traditional route, you can benefit from their wisdom.

Traditional publishers not only take care of most publication needs, but they also have tested professionals on staff. For instance, they may know better than you which covers will sell. McNeill wrote a work called Fuzzy Logic, and Simon & Schuster issued it with a cover that said “FUZZY LOGIC” in big red block letters. It wasn’t pretty, but you could see the title halfway across the bookstore, and McNeill noticed browsers coming over to check it out. It worked.

On the other hand, mistakes are inevitable when learning any process. You learn by committing them. So you shouldn’t avoid self-publishing just because you may make mistakes. They’re just little halts on your journey. The biggest mistake is not to try for fear of mistakes.

 

Getting Your Book on the Shelf

Posted on by The Writers For Hire, Inc.

It’s the critical question all would-be authors keep asking: How do I get my book published?

Dino Price has been the managing director of John M. Hardy Publishing in Houston for three years, but his background is in business development and marketing strategies. That combination of experiences makes him a very useful resource for up-and-coming authors who are looking for a way to get their book published.

Here a few of his dos and don’ts.

It All Starts with the Perfect Pitch

DO start by having all the details about your project in a complete book pitch for the publisher’s consideration. “People don’t realize all the information that needs to be included when they’re pitching a book to a publisher,” Price said. “Everything begins with exploring the feasibility of publishing the book.”

Price said a great book pitch should encompass all of the details of the book, including:

  • Number of pages
  • Thorough book summary
  • Photography or illustrations
  • Author’s suggested type of paper to be used (this affects costs significantly)
  • Author’s suggested type of binding (hardbound or paperback, also affects cost)

DON’T get carried away with your page count. “A 780-page manuscript is not going to happen,” Price said. “That’s double in book pages. If it’s going to be considered, it has to be cost effective for everyone.” Price said the page number is a huge indicator of a book’s feasibility. “People just don’t have the attention span for long books so that would strongly affect its sales,” he said.

DON’T let a publisher see your manuscript before you’ve had it proofread. “I don’t proofread or edit manuscripts,” Price said. “It should be proofread thoroughly, preferably by more than one person.”

Sell, Sell, Sell

Price said that the content of the book is important — but not necessarily the most important thing. “I judge the marketplace for the book above all,” he said. “I’m not a traditional publisher in that sense. I know about the market for the book more than I know the book itself.”

Dino Price Dino PricePrice remembers learning that lesson by watching the marketing and sales of a book published by Octane Press in Austin, titled Red Tractors. It was a simple coffee table book about red tractors and their owners.

“You wouldn’t think there was a market for a book about red tractors. However, Octane sold it to every feed store, grain elevator, and tractor supply store they could find,” he said. “It sold like crazy. They found a marketplace and sold it. If it had been sitting on a regular bookstore shelf, no one would have noticed it. Who knew?”

DO present a marketing plan along with your book pitch. “Sometimes, authors think they have a ‘niche’ book, but they have a bigger market than they think, as with the red tractor book,” Price explained. “It might be possible to move the book from one market niche to another. The author has to understand who his entire potential audience could be, not just the obvious one.”

DO develop your author’s platform that sells your book to your fan base. “I always ask authors if they already have a social media fan base,” Price said. “Do they give speeches or presentations? Will they organize book signings for themselves? Authors must feel comfortable marketing themselves both on social media and in person.”

DO be wary of some marketing trends. “Be careful of self-publishing services because they can be very poorly done,” Price said. “Regardless, you’ll likely have more success by starting with a good editor, then taking it to a publisher.”

DO help your publisher with marketing and distribution of your book. “I will go the extra mile with authors who are willing to work hard to get the book distributed,” Price said. “I’ll buy ads and pay the author commissions on sales of books through social media. I’ll help them if they’ll help me, but that author has got to understand they are not just part of this process – they are the process.”

DON’T wait till your book is done to launch your website. “If you don’t launch your website till your book is out, you’re already behind,” Price said. Sometimes websites take much longer to launch than expected, and even longer to start attracting traffic. Start early, and start blogging, too.

”

Publishers’ Pets—And Pet Peeves

Price said that the easier the author makes it to help him publish the book, the better. “Don’t make me work for it,” he said.

DO show that you’ve considered all angles of your pitch and you understand your target market audience. “If you’ve done that, we can get a lot done together,” he said.

DON’T bring a publisher an incomplete pitch.

DO protect your fan base by quickly responding to readers on social media and your website. “It makes all the difference to readers to know you really get them, and you respond to them,” Price said.

DON’T get into publishing because you think you’re going to make money. “Be passionate, but it’s not about fame, it’s about the book,” Price said. “It’s not likely that you’re going to get rich from this book. You have to do this because you love the story you’re telling.”

DO get to know your publisher’s catalog. “I think my number one ‘pet peeve’ is when an author submits a book that does not align with what I publish,” Price said. “Always look at the publisher’s catalog and make sure they publish books in your category before submitting.”

If you have a book you’d like to get published, visit www.johnhardypublishing.com.

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