Stuff in the ‘John Paine’ Category

13 March, 2015

Guest Post: Selling a Seller–Writing a Killer Overview in a Proposal, John Paine

John Paine photoThe beginning section of a nonfiction proposal is called an Overview.* Its function is to attract an acquisitions editor’s interest in a book. If the Overview does not do that job, he may not bother to read the other sections. He reviews hundreds of proposals a year, after all, and his time is valuable.

 

A number of authors I have edited regard this opening section as a descriptive exercise. They provide details from their chosen field, such as cardiology, as a way to show off their knowledge. Or, they give these details to show that the general public is interested in what they plan to write about in the book. This professional insider’s meandering can go on for pages, as the different topics of interest are displayed in what the author feels is a warm, welcoming style.

 

Now let’s return to that acquisitions editor. Most of the time, she specializes in a particular field of nonfiction. It is very likely that she knows a great deal about cardiology, say. She may have taken pre-med courses in college. What she wants to know is: why is your book a valuable addition to the field?

 

A journalist knows that he has to grab a reader’s attention with the lead paragraph. That’s the same way you should approach the Overview. Assume that the editor has no patience. The first paragraph can be descriptive, setting the stage, but you better put forth a selling point for your book before the paragraph ends. The next paragraph had better contain a second selling point and hopefully a couple. What is new and different about your book? Why should I read your book rather than the already published books on the same subject?

 

If you have achieved a degree of fame, or have written other books, you should blazon your credentials on that first page. The editor needs to know that you are an expert in your subject. If you are a chiropractor, you can’t call yourself a doctor—because she will know right away. She’s actively looking for your creds, because down the road, the reader will too. If you’re not an M.D., why should I listen to your medical advice?

 

Before you reach the bottom of the page, you should have made your pitch. You can go on for another few pages (anywhere from 3-5 pages, normally). You can give a paragraph-by-paragraph summary of the chapters’ main points. But first the battle must be won on page 1. You list your best selling points in the hope the editor will bother to turn the page.

 

Exercise: Draw up a list of points that you know no other trade book contains. Hopefully, they are new and exciting. Pick the best of the lot and organize your opening page around them. If you are a doctor, don’t assume that editors are mewling children like your patients. They are on top of their game, and in this case that game is: proposals.

 

“No crime is so great as daring to excel.”

—Winston Churchill

 

*A proposal can also start with a brief section called a Concept Statement, and the Overview follows.

 

Copyright @ 2015, John Paine

 

 

 

 


1 April, 2014

The Query Letter: Start with a Stop Sign, Guest Post from John Paine

 

John Paine photoYou need to arrest the agent’s attention with the first line. She does not want to read about the fact you actually completed a novel. Everyone who queries her has done that. She doesn’t want to know anything about you personally, at least not at first. She wants to know: why does this book stand out from the pack? There are several approaches you might want to take.

You answer that question by putting forth a fresh concept. If you throw up an outrageous idea at the start—stop and look at this—the agent is going to respond: okay, I’ll keep reading. The concept needs to be in capsule form—a single sentence if possible. If not, see if you can boil the story down to its essence, in 25 words or less. What is fresh and engaging about your book? Why is this a valuable addition to the world of books?

To fill out the rest of the first paragraph—and the letter as a whole—you might want to focus the content around a single character, the protagonist. Choose what drives the book overall and place the reader in the driving seat of that first paragraph. Pick out the most striking things that happen in the book and string them together in summary form. Many times you’ll find that outlining the opening sequence works well, since that is what you’re using to lure the reader into the actual book. You can, however, use any arresting sequence of events, wherever they appears in the manuscript. But just remember: if I knew nothing about the novel, what are the highlights that would make me want to read more?

Another opening approach is to provide marketing information. If you have had other novels published, that will catch an agent’s eye. In that first sentence you can tell the agent how many words the manuscript contains, along with its category (mystery, women’s fiction, etc.). That’s useful information. You can fill out the paragraph with the same 25 words or less, and at the paragraph’s end, you might provide a marketing comparison with a published author. If you can tell an agent, “My book is a cross between X novel and Y novel,” she may very well pitch the manuscript to a publishing house in just those terms. If you think your book is like Alice Hoffman’s, write that in the last line: “In the spirit of Alice Hoffman . . .”

Again, you’re speaking a book professional’s language. Even with a literary book, an editor is thinking: how can I persuade the editor-in-chief to buy this book? How will I pitch this book to the marketing department? If you show that your concept stands out from other books that have already been published, that means your novel will find a place of its own on the bookshelf.

One last bit of advice to consider is the use of specifics. A query letter is not a book report. You don’t have to outline every character or every plot line. Just choose a single thread, and make sure to use details from the actual manuscript. Yes, you are providing an overview, but it should constantly pick up specific pieces. That’s how you constructed your story. So use them to tell your mini-story.

For more posts from John Paine, go to www.johnpaine.com

 


12 March, 2014

From Author to Marketer–the All-Important Query Letter

I invited freelance editor, ghostwriter, and blogger John Paine to contribute advice on how to approach the query letter.  Here he focuses on how to switch hats–from author to marketer–when formulating your pitch to agents.

You feel a tremendous relief when you finish your novel. All those months, all those snatches of stray time you stole to write dowJohn Paine photon a tidbit, have come to an end. You’re ready to send the book out. You know it’s great. An agent only has to read a few pages to discover that.

Before an agent reads the first word of the manuscript, however, she will read  the query letter that pitches the book. The word “pitch” is instructive. A query letter is a different type of document from a novel. The idea that governs it is: marketing. Once you finish the book, you have left the realm of art for art’s sake. A fit analogy can be found inside a publishing house. It has an editorial department and a marketing department. These two departments talk to each other all the time. So on your end, you should consider both of them. You need to be both creative and sales-savvy.

Let’s start with viewing your query letter from the perspective of the person who will be reading it. Agents as a rule receive thousands of submissions every year in a nonstop onslaught. This beleaguered individual will devote only a brief time to your query. She is trying to work through a tall stack that is ever replenished (figuratively: these days most submissions are done online). So you need to get to work fast, to capture her attention right away.

How do you do that? A good place to start is researching what other authors have done. Pick out a book that appeals to the same basic readers that you hope to reach with your manuscript. If it is a hardcover book, read the inside flap copy. If it is a paperback, read the back cover copy. That’s how they sell their books to readers, and you can do the same. Pick out the opening lure in your story to lure them into the letter. Tell a mini story that revolves around your protagonist to make us want to read more. Use subtle embellishment to spice up your adjectives.

That’s your objective with a query letter. You’re using ad copy to sell your manuscript. You want to show the agent you know how to sell your book. In the next post, I’ll address a few pieces that you might want to include in the package.

Check out www.johnpaine.com and follow John’s “Building a Book” blog.

 

 

 

 


24 April, 2013

Veteran Editor John Paine on Cutting Your Manuscript

Writers are understandably concerned when asked to trim their manuscript by a considerable degree. Yet the experience of cutting your manuscript wiJohn Paine phototh the help of an experienced editor need not be a painful one. An editor has the advantage of being a neutral outsider, not caught up in the countless whirling threads that consume an author.

As an example, I recall an edit that turned out to be rewarding for both author and editor. At a later point in his career, John Jakes wrote a 900-page novel that no publishing house wanted to touch. I was currently serving as an in-house book doctor for Dutton/New American Library publisher, Elaine Koster. She bought the Jakes book, and then she turned right around and told me: Cut it down to 600 pages. I followed orders, Jakes wrote that it was the best editing he’d ever had, and our house kept on publishing him for a satisfying run of books after that.