Cherrilynn Bisbano is an award-winning writer. She founded The Write Proposal after reading hundreds of book proposals with avoidable errors. These errors cost the author a contract or representation. As a submission reader and junior literary agent, Cherrilynn wants you to succeed. Her desire is to help you present a professional and memorable proposal. She has written proposals for Paws for Effect, a Hollywood movie company, and helped edit many proposals. As the managing editor of Almost an Author, she helped the website earn the #6 spot on the Top 100 best writing websites for 2018 by The Write Life and Top 101 Websites for writers with Writers Digest.
Cherrilynn can be reached at editor@thewriteproposal.com For more information about the Write Proposal visit www.thewriteproposal.com
Show Notes:
Cherrilynn Bisbano is the founder of The Write Proposal, a company that specializes in coaching writers from around the world to creating professional book proposals for every genre of writing. Cherrilynn’s team includes freelance copyrighter and marketing strategist Holland Webb, and award winning editor Crystal Phelps. She was generous enough to share the basic structure of a book proposal and how the different elements change across genres. The book proposal is the first impression that publishers get about you, your writing, and your professionalism. Publishers don’t have the time or resources to get to know every submitting author individually, so the proposal works as a type of resume that gives insight into your book and skills as a writer.
When to start the process:
In nonfiction writing, some people recommend writing the book proposal ahead of time, because it can be an outline for the writing process. In fiction writing, parts of the proposal can be compiled as the book is being written, such as the biography and marketing research. However, the synopsis should be written after the first draft is finished, because the story often changes as the writing process progresses. The proposal for a children’s book should also be written after the book is completed, but the proposal for children’s books are much different than those for different genres. The first step is to go to the website of the agent or publisher to which the proposal is being submitted. If submitting directly to a publisher, make sure that they are accepting books proposals, and that they are interested in proposals for your particular genre. Always check the submission guidelines for that particular agent or publisher.
The following is a generalized format based on what the majority of agents and publishers expect in a book proposal.
The Title Page includes the author’s name, address, email, and the title and subtitle of the book. If working with an agent, their name should also be listed. Be sure to include the genre and word count of the book.
The Table of Contents is for the proposal itself, not for the book that is being submitted.
The One Page Sell Sheet should include the title, genre and word count. It should include a tagline to hook the agent or publisher’s attention. (This section is different from a One Sheet that is often presented at writer’s conferences.) This section should also include the back cover copy for the book. This is the opening summary of the story that is often found on the back cover or inside flap of published books, but should not give away the story’s ending. Include an abbreviated bio, which can detail facts about your writing experience and achievements. Lastly, the One Page Sell Sheet should explain why you are the person to write this book. The only graphic on this page should be a current headshot of the author.
The Biographical Sketch (a.k.a. the Author Page) functions as a resume for the author. This includes your writing experience, education and prior publishing history. You can also list the number of people you reach through social media platforms. Provide a current headshot. This is different from the One Page Sell Sheet, which provides one or two lines about the author. The Biographical Sketch gives much more detail.
The Story Synopsis or Chapter Review is different with fiction and non-fiction. For a fiction book, the synopsis is typically one to three pages summarizing the story from beginning to end. For non-fiction book proposals, this section should include a summary of each chapter in the book. For children’s books, each page of the book should be shown in spreads that include both the writing and illustrations.
The Market Analysis identifies the audience for the proposed book. It should include the identity of the audience, the age, gender, location and income level of the average reader in that audience. This is where a lot of research must be done in the genre. Statistics on sales of similar books should be included, as well as statistics on blogs and magazines with similar content. You must demonstrate that there is an audience for your book, and who that audience will be. Consider special interest groups that would be interested in reading the book. It’s also important to explain how your book meets a need for readers.
The Competitive Analysis deals heavily with current trends in the industry. This section compares your book with other successful books in the same genre. Make a list of seven to ten books that tell the same type of story or give the same type of information as your book. They should each have been written within the last five years. Make sure to compare your book to best sellers. Do not list any self-published books, unless that book has been wildly successful, selling eight thousand or more copies in its first year of publication.
The following information should be included about each book: – Title/subtitle – Author – Publisher – Copyright year – Number of pages – Format (paperback, hardback or ebook) – Retail price – ISBN
When comparing and contrasting each of these books to your own, ask the following questions: – How is my book similar? – How is my book different? – What promise does the author make to the reader? – What promise do I make to the reader that is different or similar? – How are my credentials similar to the author’s?
Make sure to never criticize the authors of these books, but simply compare and contrast their work to yours. It is not necessary to read each of the seven to ten books listed. Read as many as possible and make sure you are very familiar with each of them.
The Marketing Plan is the first place to which some agents and publishers look. This is where an in depth analysis of the author’s platform is given. First, give a general statement about the number of people in the author’s platform. Then, break down each element of the author platform to show how the large number was calculated. This section must prove that the author has a large enough following to sell eight to ten thousand books within the first year of publication. When calculating the platform reach, the author should include every avenue he or she has to publicize the book. This includes religious affiliation, Facebook groups, and social media followers. Ask Facebook and Twitter connections to help spread the word about your book when it is released. If these social media friends have large numbers of followers, that number can be included when calculating the platform reach. Local newspapers, alumni magazines and business newsletters can also provide additional marketing avenues.
Next, list any Endorsements for the book, and the History of the Manuscript.
Finally, provide three sample chapters of the book.
Sometimes, the proposal seems to require more work than the book itself, but a well crafted proposal is vital to the publication process. Without it, there is no way for the agent or publisher to learn about you or your book.
Susan M. Baganz chases after three Hobbits and is a native of Wisconsin. She is an Editor with Pelican Book Group specializing in bringing great romance novels and novellas to publication. Susan writes adventurous historical and contemporary romances with a biblical world-view. You can learn more by following her blog www.susanbaganz.com, her twitter feed @susanbaganz or her fan page, www.facebook.com/susanmbaganz
Show Notes
Caleb: How did you get started writing?
Susan: That started in 2009. I had a dream that God was telling me I should do National Novel Writing Month in November. I started to write what became The Virtuous Viscount, which was my first Regency [novel], and I had 110,000 words within 21 days. I was hooked! I’ve done NaNoWriMo 8 years in a row, now.
Caleb: Tell us more about Regency Novels. What time period constitutes Regency England? What are the characteristics that make it Gothic?
Susan: The Regency period is where King George had gone mad, and his son, who is also George, he petitioned to become Regent and it took a while for that to actually happen. So what it meant was that his father was incompetent to rule so he was the ruler. So he was made Prince Regent on February 5th 1811, and then his father died January 29th 1820. So that’s the period that’s known as Regency. And the Regent was known to be a man of excess. He was very charming, but he blew money like crazy. He wasn’t really known to be a great ruler per se, but he was known for his excesses.
If you listen to or read any of the Regency Romances, there was an author at that time called Radcliffe, and she wrote Gothic Romances. So these are the dark, spooky [novels.] You’ve some darkness to it. You’ve got some spookiness to it. There’s this overarching doom and gloom to it. I guess there’s something kind of fun about having this evil force that they’re fighting against, and it kind of permeates the books.
Caleb: Tell me a little about the romance element of it. That was a totally different time with different customs. How is writing a Contemporary Romance and writing a Regency Romance different? How does that affect their relationships?
Susan: When you’re writing a Contemporary Romance they can pick up a phone and call somebody. They can get in a car and drive. There’s not a lot of restrictions on how men and women interact in our society. We have freedom to do a lot of things. But in that time period, the rules prescribing their behavior were really rigid. A woman could not write a letter to a man who was not related to her, and of course they couldn’t pick up a phone to call. Now if they were engaged, they might be able to communicate. So if somebody got engaged and then went to war, they might be able to exchange letters. Within that society, especially for the upper 10,000 which was the aristocracy, the more wealthy, titled people, you had these strict rules. You couldn’t dance more than typically twice at a ball with the same man. You couldn’t be alone at all with them.
So you have these restrictions on what you can do, so it’s kind of fun to try to play them and throw them on their ear a little bit too. The other thing that’s different about Regencies, as opposed to Contemporaries is the way they express their faith. First of all, you would never use anything except for the King James Bible. That’s all they had back then. There were a lot of pockets of revival in the middle of a lot of unrest, because England was at war with France at the same time. There’s all kinds of things you can tap into, even spiritually, with the stories.
Caleb: What are some of the hallmarks of this genre that someone like an editor or an agent would expect to see?
Susan: I think the general structure of a story is the same regardless of what genre you’re writing in, especially with the romance. You would be looking at possibly some of the language of the day. You’re not going to hear anybody in a Regency use the word “okay”. It’s just not going to happen. They used a lot of French back then, too. They were at war with France, but they were also very enamored by French. They’ve got other words that are specific to that era that can add more color to the language, and you can also write with a larger vocabulary than you can in a contemporary. In Regency, those who read that genre know the words, and if it’s good enough, the context will tell you what it is.
Caleb: How did you do research for this time period?
Susan: First of all, I read hundreds of books in the genre. That alone is great research, but then you do go online and you do look up stuff. Different books just about even the clothing of the era. I’ve got a huge folder of stuff I’ve printed off online about titles and how you refer to people. So all that stuff has to be correct, because somebody who knows that genre is going to know when it’s wrong.
Caleb: Are you an organic writer or an outliner?
Susan: I do not plot out my novels. I let the story take me where it’s going to take me. The characters kind of take over for me.
Best-selling author. Award-winning filmmaker. To date, Bill Myers’ books and videos have sold over 8 million copies. Not bad for a man who never wanted to be a writer.
As author/screenwriter/director his work has won over 60 national and international awards, including the C.S. Lewis Honor Award. His DVDs and books have sold 8 million copies. His children’s DVD and book series, McGee and Me, has sold 4.5 million copies, has won 40 Gold and Platinum awards, and has been aired on ABC as well as in 80 countries. His My Life As… book series has sold 2.1 million copies. He has written, directed, and done voice work for Focus on the Family’s Adventures in Odyssey radio series and is the voice of Jesus in Zondervan’s NIV Audio Bible. As an author, several of his children’s book series and adult novels have made the bestseller list.
He is also managing partner of Amaris Media, International – a motion picture and media company currently developing several projects for both children and adults. The motion picture, The Wager, starring Randy Travis and based on Myers’ novel by the same name, was released in 2009.
Bill has been interviewed for Good Morning America, ABC Nightly News, The 700 Club, TBN, as well as hundreds of broadcast, internet and print organizations. He can be reached at bill@amarismedia.com
Show Notes:
Caleb: What inspired you to write Supernatural Suspense?
Bill: I got a call, quite a few years ago, from Tyndale House publishers. At that time there were a lot of horror books for teens, so they called me up and said, “Would you like to write a Christian horror series.” I said I would be happy to write about the supernatural, but I’m not going to write horror. Because there’s two sides to the supernatural, and I don’t get why we always have to deal with the devil and the demons and all the horror. That’s part of it, but there is this whole other side to the supernatural. I did a ton of research for the series… everything from UFOs to Ouija boards to possession. I became sort of a reluctant supernatural know-it-all.
Caleb: How did you research these wild topics?
Bill: To me, that’s the best part of writing. People always want to talk about themselves. I’ve interviewed everybody from the head of the CIA Psychic Research Division, to the Son of Sam Serial Killer, to people who claim they’ve been abducted by UFOs. I’ve talked to a lot of people that have prophetic gifts. I have one, who’s become a friend now, who does miracles on a regular basis. There’s a whole world out there that we kind of ignore, because we think it’s too “fantasy”. It’s not fantasy at all. For me the best part is research, and the hardest part about writing is writing. But I guess that comes with the territory.
Caleb: What does your writing process look like?
Bill: I’m really, really disciplined. I can think of dozens of writers more skilled than I am, but they don’t have the discipline to finish it. I write two thousand words a day. I write in three two-hour sessions. Now remember, this is full time. Most people don’t have that, but you can still carve out the time, and say “I’m going to write for this amount of time every day.” And somehow, it turns into a book.
Caleb: I’ve heard some writers say that they like to write organically, and some prefer to stick to an outline. Do you outline?
Bill: You bet! I know every scene before I start to write. It takes me a month to outline a book. But I do that, so I don’t go down some weird rabbit trail. It’s a craft. It’s not some inspirational art. For me, the inspiration happens within the confines of a structure.
A lot of people say to me, “Oh, I wish I was a full-time writer like you,” and my response is usually, “I don’t think you do.” The joys of people who write part-time is that you write from the joy.
Caleb: So after all that research, how do you choose what to weed out and what part to base your story on?
Bill: I always start with a premise, a concept that hopefully hasn’t been done before. I do something called Plot Webbing. I put a circle and write the basic thing, like “dead friend.” Then I put spokes out and say all the crazy things that could happen with that. And then I put another spoke and do all the crazy things, and then I fill up the whole page. Most of them are bad ideas. Before you know it you have pages of bad ideas, but every once in a while, there’s a good one. The next step is that I try to find characters that are engaging, that are original. The next step is to give that character a want that drives them. As soon as I’ve got that, then the rest is just hanging the story on how the person gets it, or doesn’t get it.
Caleb: How do you come up with your characters?
Bill: I ask my characters different questions. One of the most powerful questions I learned is from a movie director. I ask my characters “what are you afraid of?” They start to become vulnerable and they start to become three-dimensional, if I spend enough time with them. Once you give the character a want, once you’ve got a high concept, once you’ve got character’s that are engaging, the writing pretty much takes care of itself.
Caleb: I know you write in many different genres, for both adults and children. What are the biggest challenges when you switch from one to another?
Bill: It keeps me on my toes and stops me from being stale. I love writing children’s books. Most of my children’s books are comedies, and they just loosen my self-importance and make me a kid again. Screenplays are difficult because the people that pay you for screen plays don’t always know a good story. Artistically, it’s not nearly as rewarding as it is writing a book. But, I’ll tell you, writing screenplays has made me a better novelist. One of the first things they teach you in writing is to show something and don’t tell the audience about it, but show it in action. You have to do that on a screenplay, because that’s all there is.
Caleb: If you had one piece of advice you could give to an aspiring writer, what would that advice be?
Bill: To write. To write every day. To set aside that time. To write good or bad. It’s like going to the Olympics. Nobody drifts into the Olympics. They work out every day.
Bill Myers can be found on Facebook and on his website BillMyers.com.
DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels.
Her titles have appeared on the CBA and ECPA bestseller lists; won two Christy Awards; and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Library Journal presented her with a Best Books 2014: Genre Fiction award in the Christian Fiction category for Firewall.
DiAnn is a founding board member of the American Christian Fiction Writers; a member of Advanced Writers and Speakers Association; International Thriller Writers, and the Faith, Hope, and Love chapter of Romance Writers of America. She is co-director of Blue Ridge Mountains Christian Writers Conference with social media specialist Edie Melson where she continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country.
DiAnn and her husband live in sunny Houston, Texas.
Mystery, Suspense and Thriller – Show Notes
Cherrilynn: DiAnn, can you tell us why you got into this genre, and what you do to get your story?
DiAnn: I would never have started writing if my husband hadn’t dared me. Sometimes we just need that push. What he said to me back in ’96 – he said “Stop telling me that you’re going to write a book. Just do it!” If you’re viewers out there just need that little extra punch, I’m challenging all of you to get started now. I started out writing romance, both historical and contemporary. But my heart was in the mystery and suspense. The biggest reason is this – we live in a dangerous and unpredictable world. And I want to be able to provide stories that show there are trained people out there who are willing to go the extra mile, who are willing to sacrifice, who are noble role models for the readers.
Cherrilynn: Can you tell us the difference between a mystery, a suspense, and a thriller?
DiAnn: Mystery is when you have an investigator – someone who is probing into a crime that has been completed. Who-done-it is the basis. Suspense is like a dripping faucet. “We have got to end this horrible wave of crimes” or “We have to stop somebody before this horrible deadline.” And that dripping faucet, that ticking clock, that hourglass that sand is trickling through – that’s what makes it suspenseful. Someone is in peril. Then we move on to the thriller. The thriller has more impact. “If we don’t find out who’s behind these bombings, then our cities are going to be destroyed.” Or it’s a countrywide, or nationwide, or maybe a people group. A thriller takes in a huge area of concern.
Caleb: How do you come up with your story ideas?
DiAnn: I go with a “what if”. That is my root foundation. I either see a movie, or often media headlines. For example the book that’s coming out in October – Burden of Proof – what happens if the hostage negotiator becomes the hostage? And I just played with that until I could find a character who would have the most to lose, the most to gain, the highest stakes. What does she have working against them? Where could I put them? In this case it was East Texas. Whatever I can toss against my protagonist, I’m going to do it, including the setting. No setting is worth its salt unless it’s antagonistic. Don’t make it easy on your protagonist.
Cherrilynn: I believe you go above and beyond what most writers do for your research. Can you talk a little bit about what you do to research a novel, and what is the most dangerous position you’ve put yourself in to get the details.
DiAnn: All I can say is it’s a good thing I’ve never placed a story on the moon, because I really do try to walk where my characters have walked – do what they do.
DiAnn has traveled to Southern Sudan and ridden along the Rio Grande with the Border Patrol researching the settings for her novels.
DiAnn: I will say that I got smarter about my research, and when I was writing about the FBI, I called the FBI in Houston and forged a beautiful relationship that has extended to a contact who’s helping me now in DC at FBI Headquarters. I’m very blessed, because I don’t want to put anything out there that isn’t true.
Caleb: Where do you start when you’re coming up with characters? What’s the first thing that helps you form them in your mind?
DiAnn: Who has the most to lose? In the book that comes out in October – what if an FBI Hostage Negotiator put her life on the line because she believed the criminal was innocent. What’s that doing to her career? How many sacrifices will she make? You have to open your mind to the possibility of anything happening.
Cherrilynn: I know you had told us that you were an organic writer. How does that play in?
DiAnn: I’m all about character and the “what if”. I never know how it’s going to end. I know that I want to throw a big wrench in the middle. I have an idea of the scenes that I want to put in that novel, but as far as sitting down and plotting – no. To me that destroys the creativity. But I’m not saying that won’t work for you. I would venture to say that no two writers look at the process quite the same way.
Caleb: Do you ever see the ending coming when you’re starting a novel? If so, does the ending usually change as the story progresses?
DiAnn: It usually changes. How am I going to get them there in a way that is credible and unpredictable? Am I going to eliminate the bad guy at the end? Do I want him to simply go through the legal process? The FBI shoots to kill. What’s going to work out best for the story? I have to keep all that in mind.
Caleb: You’ve also written some non-fiction. What was the greatest challenge from switching from the world of fiction to the non-fiction world?
DiAnn: I’m all about putting the reader in the character’s shoes. In non-fiction you’re not doing that. Emotion is there, but it’s a whole different ball game, because you are encouraging. For me, I’m talking about my non-fiction book “Dance of Character and Plot.” In nonfiction, it has to be in order. It needs to be as exciting as a novel, because we want them to take action. And because of that, it was very difficult. Writing non-fiction to me is like trying to teach a class and make it as exciting as possible.
Cherrilynn: If you had one minute to give a tip to a writer, what would that tip be.
DiAnn: Read – write – pray – repeat. If I could add number four, it would be “edit”. Read everything you can get your hands on. Write: give yourself a word count, and stick to it, and do it every day. I don’t care if it’s a hundred words. And pray. “Where do you want me, God?”
DiAnn is very active online and would love to connect with readers on any of the social media platforms listed at ww.diannmills.com.
Lynette Eason grew up in Greenville, SC. After graduating from the University of South Carolina with a Business Degree she used for a very short time, she moved to Spartanburg, SC to attend Converse College where she obtained her Masters degree in Education. She started her teaching career at the South Carolina School for the deaf and blind. In 1996, she met the man she would marry—the boy next door! She is married to Jack Eason, who speaks, leads worship, and consults ministries around the country. They have two teenage children. Lynette’s books have appeared on the ECPA and CBA bestseller lists and have won several awards.
