How to Write a Book in 90 Days: The Book, The Plan

I've ordered the Kindle version of Sarah Domet's book 90 Days to Your Novel: a Day by Day Plan for Outlining and Writing Your Book.  I've read it. 

Now, I'm going getting serious about following the path established in this book, because it's smart and it's hard and it makes good sense.  What Sarah Domet has written speaks to me -- I think I've found the approach that jives with how I work.  Not all do, I'm sure you know what I mean.

This is all about my writing fiction, and this means I am going to have to add this time commitment to my current working day, which involves writing and editing nonfiction work as well as providing consulting services for lawyers writing blogs and using social media. 


The book opines that you will need to find two hours a day to meet its 90 day deadline.  Okay.  Two hours; I can find them. 


The book demands an outline, although it gives you optional approaches to outlining.  I like outlining, I like planning in advance.  I love lists.  I love lists of lists, it's that bad.  So, this is good for me.  It might not be as welcome to someone like Robin Lee Hatcher, who likes to write and find out how the story develops as she goes. 


We'll see.


One last thing.  You can keep reading about writing, studying trends, learning markets and publishers and agents ... but then there comes the day when you have to put your foot down.  No more.  No more preparation, whether or not you feel like you're ready to go, there comes a time to move forward. 


At some point, you've got to write instead of learning about writing, thinking about writing, dreaming up plots and making friends with characters. 


Here goes.


Of course, you know what happens.  Just as I find the link for this post on Amazon, what pops up?  How to Write a Book in 90 Days, God's Way by Henry Abraham.  Now, do I read it or stick to my guns?  Arrrgggghhhh. 

How to Write A Book Proposal - 2 (the Platform)

A relatively new publishing concept is the writer's platform. Publishers are looking for writers who have established outlets to promote the book they've written: this can be a website, a newsletter, or a known reputation in their community outside of being a writer. Other examples include writing a syndicated column, giving speeches, being a well-known blogger, and hosting or regularly appearing as an expert on a local radio show. Synergy is the industry word used to describe how this platform works together with other marketing avenues to promote the book.

Writers are responsible for their platform: it's one more thing to build alongside that book proposal. According to Scott Mendel, your book proposal is premature if your platform isn't ready to go. Mendel advises:

"If your description of your platform strikes even you as slight, this is probably a sign that you have put the cart before the horse. In this case you should spend more time and resources building your platform before circulating your book proposal for the simple reason that, even if an editor falls in love with your book and convinces her colleagues to publish it, the most likely scenario for your book would be a small advance, and a quiet launch with very modest resources for promotion and publicity, resulting in part in unimpressive sales. Such mediocre or poor sales will be an albatross around your neck the next time you want to circulate a book proposal for another book. They will deflate the perceived value of your future projects, and could trap you as a so-called mid-list author when what you may want to be is a front-list bestseller. Unfair? Maybe. But today’s market-driven nonfiction publishing is driven by sales and inventory numbers available to almost everyone in the book business."

One example of a platform? Read Jenna Glatzer's story of building AbsoluteWrite.com and how it helped her reach #4 on the Amazon.com charts. Another platform? Attorney/blogger Glenn Greenwald hit #1 on Amazon.com after he posted about his new book on his blog, Unclaimed Territory.

Sources: www.wordsmitten.com (interview with Katherine Sands); www.forewordmagazine.com (article by Patti Dickenson); www.backspace.org (article by Scott Mendel); ChurchoftheCustomer (post, 10 Things About Writing Your First Business Book by Ben McConnell and Jackie Huba); Seth Godin's 19 Tips for Authors.

How to Write A Book Proposal - 1 (the CEO)

Written by the Pres/CEO of ThomasNelson (6th largest trade publisher in the US, 2006), this is a nice article both in size (10 pages) and in example (lots of illustrations of what he likes to see).

What does Michael Hyatt want to see? Five things:

1. captivating cover letter;
2. title page;
3. proposal overview (the content, the market, and the author);
4. chapter-by-chapter synopsis; and
5. two sample chapters.

What does Michael Hyatt advise? Two things:

1. Decide what you want to say; and
2. Decide to whom you want to say it.

Lots more in this downloadable article (pdf format). A must read.

Mr. Hyatt has a very nice blog, too, entitled, "From Where I Sit: Musings on the World of Publishing."

Blunt Talk from Bucky Sinister

Some sage advice, especially that last sentence:

"Here are a few tips that would make that initial contact smooth from my perspective.

"Be familiar with the publisher. Mention books the publisher has done by name. Publishers are interested in finding books that will sell to the readers who bought previous titles. This also shows that you are not blindly submitting from a list you made from The Writer's Market.

"Don't submit any manuscript unless you think it is finished. Don't waste anyone's time with a work-in-progress. Edit it until you think it is ready for publication. It won't be, but that's another phase of the process.
Be able to compare your work to other authors, preferably contemporary authors. No matter how unique and special you think your story or writing style is, you do have similarities to at least three authors who are currently publishing. Name them. If you can't, ask a well read friend to figure it out for you.

"When asked what the book is about, be able to say it in 10 words or less. Get your pitch down to under 30 seconds. A Heartbreaking Work of Staggering Genius may be the smartest title ever from a marketing standpoint. The more demographics and categories you can work into one line the better. "I'm a lesbian David Sedaris," or "A coming-of-age story for badly aging punks," or "a feel-good recollection of my mother's battle with cojoined twin misoplexia," or "Augusten Burroughs meets Edgar Rice Burroughs. It's about growing up gay raised by apes."

"I've worked in this business for the last 12 years. I learned what I know the hard way. I went to college but learned the profession on the job. The publishing industry burns the writer out of some personalities, but it's only strengthened mine. I strongly suggest that if you're interested in being published, move to New York and get a job at a publishing company. You'll learn more about editors, publishers, and writers than I could ever tell you about in an article. You'll make better contacts and connections than any other way possible. Until then, write another novel. Don't worry about the current one. Keep writing, outdo your last effort, and rejection slips be damned."

For the complete article, go HERE.
In fact, go to that site (part of the NaNoWriMo challenge) and find tons of good counsel. Especially if editing is your nemisis.

Marketing Plan Needs to Accompany Book Proposal

According to Terry Whalin, you need a marketing plan for your book -regardless of whether or not your work is fiction or non-fiction. Why? It's a business, and a part of accepting your work involves a risk analysis dealing with, yes, money.

He explains:

"Here’s the financial information that I didn’t understand (since I’ve never self-published): for every book (fiction or nonfiction), a publisher is going to spend $50,000 to $100,000 (real dollars) to take your manuscript and turn it into a finished book. These numbers are with a modest advance to the author (say $5,000) and zero marketing dollars. These costs are production, cover design, editorial work, etc. on your book. Publishers receive thousands of submissions from would-be authors. I’m the part-time Fiction Acquisitions Editor at Howard Publishing. I’m looking for six to eight full-length novels a year—and I’ve received over 250 submissions from individuals and literary agents. I’ve rejected some quality fiction because of the volume and limited spots. And that is just my story so imagine these numbers multiplied on other editor’s desks. And if you read Book Proposals That Sell, you will see that editors do a lot more than read manuscripts.

"Let’s pretend for a minute that you are the editor and have to wade through these volumes of material to find the books for your list. You have two manuscripts. BotIh manuscripts are excellent, fascinating stories. One manuscript has a marketing plan and the other doesn’t. As the editor, you will be held accountable for your choices (within the publishing house). It’s a business to sell books. Which manuscript will you choose to champion to the other editors, the publishing executives (sales, marketing, etc.)? Editors risk for their authors. Your challenge is to prove to be worthy (actually more than worthy) of this risk."

For his complete article on this topic, go here. To download a free audio version of Pyromarketing - a book by Greg Steilstra which Mr. Whalin enthusiastically recommends -- go here.

Remember, this is a free download for listening - you have to spend money for the visual. Part of Steilstra's own campaign - he's betting that the audio isn't a sufficient competitor to the visual that it will take away customers, and may even attract purchases of the hard copy.