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Blog • Understanding Publishing

Last updated on Apr 12, 2024

How to Write a Book Proposal in 7 Simple Steps

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

About Tom Bromley

Author, editor, tutor, and bestselling ghostwriter. Tom Bromley is the head of learning at Reedsy, where he has created their acclaimed course, 'How to Write a Novel.'

Do you have a nonfiction book idea and dream of securing a lucrative deal — all before you finish writing the actual book?

Well, you can.

We have two words for you: book proposal. In the nonfiction world, you can secure a book deal with a publisher by submitting a book proposal — a short document that pitches the essence and structure of your book.

In this post, we break down what a book proposal is, and how to write one that stands out from the slush pile. With the help of Reedsy's top editors, we’ve also created a free book proposal template you can download below. Let’s get started.

FREE RESOURCE

Book Proposal Template

Craft a professional pitch for your nonfiction book with our handy template.

What is a book proposal?

A book proposal is a document sent by nonfiction authors to pitch their book idea. Commonly 15-50 pages long, a book proposal includes an overview of the book, an author bio, comparable titles, potential marketing strategies, a chapter outline, as well as some sample chapters. It’s not a complete manuscript, but instead a chance to gain a publisher’s interest in your book.

It should build a complete argument for your book idea. According to developmental editor Katharine Barclay, every good proposal will cover:

• What the book is about,
• Why you're the perfect person to write this book,
• Who will buy the book, and
• How you are going to convey the message.

Above all, your proposal must also show an evidence of need . In other words: what is your unique premise? How will it benefit people who read it? Will readers care enough to buy it?

When successfully executed, a book proposal will convince a publisher to invest in you and your goal: a published book. 

What are the common elements of a book proposal?

While some publishers will have different specifications for their preferred format, most book proposals follow a similar structure. Here are the most common elements:

• Overview of the book
• Market analysis
• Author bio and platform
• Marketing plan
• Comp titles
• Chapter outline
• Sample chapters
• Conclusion and writing timeline

Put together, this is the document that will convince a publisher to take a chance on your book. 

How to write a book proposal

Bear in mind that there is no one-size-fit-all for book proposals. Think of the proposal as a house 一 depending on the circumstances, you may move the furniture around. Ultimately, the key is building the best argument for why your book idea deserves to be published.

1. Start the book proposal with an overview

Every proposal begins with an overview of the book you're planning to write. The overview covers what (or who) the book is about so that the acquisition editor has a clear idea of your proposed topic and the commercial appeal of the book.

Developmental editor and former literary agent Elizabeth Evans advises you to “write your overview as though you're writing the copy of your book jacket. Employ the same combination of vivid description, charm, and salesmanship the publisher will eventually use to woo book buyers.”

An overview will usually be less than two pages long and should hit the key facts about a book: its topic, themes, and intended audience. The overview will also provide insight into the significance and reach of the book, explaining why the subject matter is important and how this book is unique or will fill a gap in the market. 

Perhaps most importantly, an overview includes the all-important “book hook" that engages readers .

Hook them in with your elevator pitch

Andrew Crofts , a ghostwriter who’s worked on multiple proposals before, shares his pro-tip for hooking editors in: “The opening sentences should be the ‘elevator pitch,’ making readers want to find out more.”

For a better idea of what an overview should be, take a look at this example from an actual book proposal sample for a memoir that Andrew co-wrote with author Hyppolite Ntigurirwa:

This is the shocking and inspirational memoir of a boy who survived the Rwandan genocide. When he was seven years old, Hyppolite lost eighty members of his extended family and witnessed the murder of his beloved father.

Born in a mud hut without shoes, water, or power, he struggled after the genocide to gain an education and to learn to forgive the killers.

By the age of thirty, he had graduated from university in Rwanda and worked as a journalist and radio presenter, a playwright, and a theatre director.

Note that this “hook” distills the essence of the memoir into a simple sentence: This is the shocking and inspirational memoir of a boy who survived the Rwandan genocide. Then, with the editor’s attention captured, the next sentences unpack the main themes and story that will be explored in the book. Once the main message is covered, editor Jaimee Garbacik recommends wrapping up with “a note about the significance and reach of your subject matter.”

As Elmer Wheeler put it once in The New Yorker : “The sizzle’s sold more steaks than the cow ever sold, although the cow is, of course, mighty important.”

Your proposal needs that “sizzle” in the overview to keep publishers reading. It can be a story, anecdote, thought-provoking question, or compelling statistic — but it must make the subject of your book sound intriguing, new, or pressing. Think of the way the first paragraph in a magazine article grabs the reader’s attention, and try to capture that effect.

2. Identify your target audience

So you’ve ended your overview on a strong note and successfully hooked the reader. Great! Now, you want to elaborate on why your book is important — a.k.a. why it will sell. 

To do this, you need to identify your ideal readers , or the people who will be interested in buying your book. Spoiler alert: no, you can’t say, “My book is for everyone!” A teenager and a working parent simply do not share the same reading interests, and identifying a specific target market is essential in a nonfiction book proposal.

If you’re struggling to put your finger on who your nonfiction is for, try answering these questions, suggested by editor  Patrick Price :

• Whose needs do you meet? 
• What’s the age range of the audience?
• Where do they live? What’s their lifestyle like?
• What other similar books do they enjoy?

With these in mind, you can search for social media groups where your audience may unite, or survey previously published books on similar topics to see how popular they are. This will give you a better idea of the number of people who may be interested in your book — demonstrating that you’ve got a sizeable target audience will be helpful when it comes to suggesting marketing plans, which we’ll discuss later.

As ghostwriter Barry Fox points out, you are the expert about this specific market. If you’re a historian, you have a better idea than the publisher of the number of students who are interested in your research area. If you’re a doctor, you know your clients’ worries better than anyone else. Lean into that special insight when you research and write this part of your book proposal: let publishers know that there’s demand for a book like yours. 

3. Write a strong author bio

Beyond providing you with unique market insights, your experience also makes up your bona fides — giving your readers (and the publisher) faith that you can deliver the answer to what they’re wondering about. 

Your author bio should make all of this clear, but should also demonstrate that you’re connected and visible in your field. According to Elizabeth Evans, it should be thought of as a stone that can hit two birds: “First, it details what makes you the authority on your subject; and second, it elaborates on the size of your reach.” 

To that end, you can write a strong bio introducing yourself as an author by including information on your:

• Author platform,
• Qualifications (and any seminar you teach),
• Past awards and recognition,
• Previous publications (books and articles),
• Media appearances (e.g. lectures, speeches, interviews…),
• Connections to VIPs in the industry,
• Your personal media contacts, and
• An author photo.

In other words: what about your background, experience, and platform makes you the perfect fit to write this book?

Grab our Author Bio Template

Use this to write an awesome “about me” in less than 5 minutes.

Keep the Author Bio short and sweet — and exclude all irrelevant information (your eye color, the number of times you won Candy Crush, etc). Be honest and purposeful, highlighting your assets above all.

As well as bolstering the author’s credibility, the bio will also come in handy in the next section.

4. Create a realistic marketing plan

Some publishers may ask you for a marketing plan. If so, know they’re not saying, “Tell me what to do in order to sell your book.” Instead, they want to see that you are  currently able to reach your target market via your author platform.

The marketing plan will explain how the writer plans to leverage their pre-existing audience (as established in their author bio) into a successful launch. Again, the key is to be exact and specific — for instance, this isn’t a great example of a marketing plan, as editor Jeff Shreves points out: “I will create a website for the book.”

Consider these questions:

• Are there VIPs in the field you can ask for a blurb from?
• Have you guest spoken anywhere before? Could you reach out to the organizers for a future event?
• How about columns or articles — have you written some before and can you secure another one when the book comes out? What about an interview?
• Have you got a strong subscriber base to your newsletter?
• Do you have connections with bookstores or libraries who can distribute your book, like those of your alma mater, for instance?

You can find more marketing ideas in Barry Fox’s Reedsy Live webinar on book proposals, but the goal is to make use of all the assets you’ve listed in your Author Bio. That way, you show that you can contribute to the overall marketing efforts.  

5. Compile nonfiction comp titles for your book

Given all that information, the next question the acquisition editor will ask is whether there’s really space on bookshelves for your title. Others have probably written books on your topic already. So what else can you offer? 

To prove to the publisher that your book indeed deserves a place on the shelf, you need to know your predecessors and your competition. 

Identify the gap in the market

Where exactly can you find your competition? An actual bookshelf would be a good place to start, for one. Visit the nearest brick-and-mortar bookstore. Figure out where your book would sit, and check out the titles there. Then go onto Amazon.com and search for books in the category you just identified. Scroll down for the “Frequently Bought Together” and “Customers Who Bought This Book Also Bought” titles. This should give you a treasure trove of comparative books. You should note down:

• Publishing date
• Price and format

Carefully study the qualitative elements at this point. Who provided blurbs? What can the reviews of each comparative book tell you about the book’s strengths and faults? Is it a bestselling title? If so, why? What features made it stand out? How does your book compare and contrast?

Editor Geoffrey Stone warns you not to compare yourself to well-established authors, since their platform is likely far bigger than yours. Instead, search their books up on Amazon and see what else is suggested in the “Customers who bought this also bought” section. (And for timeliness’s sake, keep to more recent releases!) 

In other words, don't go for megahits like Atomic Habits — find respectable but less known alternatives! Having a variety of up-to-date and lesser-known titles will best demonstrate your knowledge of the existing market.

Analyze the competition

Once you pick your 4-8 comparative books , the next step is to evaluate them. Keep it to a paragraph or so for each analysis. Sales figures aren’t obligatory, but might be useful if you can find them.

Now, for each competing title, talk about how your book compares with each of them. Explain how your book challenges, updates, or enhances each of the comp titles chosen. The point of this exercise is to show the publisher how your book is uniquely positioned in the existing market.

Just one other reminder from editor Jeff Shreve : “Don't shy away from describing other books' shortcomings, but be respectful. Odds are that you'll be submitting your proposal to the publishers of many of these competitive titles, after all.”

6. Include a chapter outline

Now that all market-related issues are covered, you’re ready to finally elaborate on your actual book! By this point, the publisher’s hopefully on board with your idea — they just need to know that your plans for actually writing the book are viable. 

Show that a full manuscript is right down the road by providing a chapter-by-chapter sketch of your book (just 1-2 paragraphs per chapter will do). If you don’t have a clear idea about where to begin yet, perhaps this guide on how to outline a nonfiction book can be of some use.

Remember that the chapter outline will show your approach to your idea. To that end, make sure that the progression of your chapters is clear and purposeful. Editors acquire books across a broad list, so you should also steer clear of industry-specific jargon such as: “This chapter will examine MSCI’s adjusted EBITDA, EPS, and beta of 1.5 in the context of its 2016 non-GAAP measures.” That may only fetch you glazed eyes in return!

7. Provide sample chapters from your manuscript

While you don’t need to produce a full manuscript yet, publishers will expect a sample chapter or two, demonstrating that you don’t just have the ideas — you also have the skills needed to put them into writing. 

In that spirit, you want to pick a chapter that best shows the essence of your book. Remember the hook at the beginning — which chapter exemplifies the selling point you promoted? Our Rwandan author from the book proposal example earlier might find the first chapter describing the lived experience of the genocide impactful. Or if you’re writing a business book, you might find that a later chapter about how your business took off after some experimentation in strategy could better show your potential. Try and find heavy-hitting chapters that stand well alone.

Sample chapters should follow the rules for proper manuscript formatting .

Download our free manuscript format template to present your sample chapters in the most professional way.

Manuscript Format Template

Get your manuscript ready for submission to agents and publishers.

Because you want the sample to strengthen other elements of your proposal, Jeff Shreve says that he likes to leave this to the very end of the proposal-writing process: “Once you have the full chapter outline and the overview nailed down, it will become much clearer which chapter you should highlight. And this can help you avoid duplicating the overview.” 

8. Finish with your writing timeline 

At this point, you can zero in on the logistics of writing your book. Let the publisher know:

• How long you might take to write the book;
• What range the word count might fall in; and 
• Whether you need any assistance throughout your process. 

Assistance might mean photographic material, special design needs for tables and graphs, or perhaps even a research assistant. Of course, these are open to discussion once you get an offer, but publishers will appreciate the heads-up!

Once you’ve written a pitch that ticks all the boxes, there’s nothing left to do but submit your proposal to publishers . For help keeping track of your submissions, download our free query tracker spreadsheet.

Query Submissions Tracker

Stay organized on your journey to find the right agent or publisher.

Download: Free Book Proposal Template

As a parting gift, we recommend that you download our free book proposal template to structure your book proposal.

We hope you’ve found all the tools and assistance you need to write a nonfiction book proposal to help you secure the right deal.

5 responses

liladiller says:

08/03/2018 – 03:42

Under #5, where is stage 2?

↪️ Reedsy replied:

14/03/2018 – 20:24

Hi Lila — Stage 2 is the analysis portion of the Competitive Titles section :) It's all evaluation of your 4-8 comps from that point on.

Patty says:

04/06/2018 – 11:17

The above post seems to be for commercial non-fiction. What about a memoir? Wouldn't that be different? How?

07/06/2018 – 04:45

You're correct, Patty — memoirs fall into a bit of a gray area when it comes to book proposals. Could you drop us an email at [email protected] with a brief description of your memoir? I'll be able to point you in the right direction from there :) – Yvonne from Reedsy

24/09/2019 – 20:12

What about a series? My book is an overview with human interest stories, how to do projects that lasting records of the several heroines.

Comments are currently closed.

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Home / Book Publishing / How to Write a Book Proposal in 2024 + Free Template

How to Write a Book Proposal in 2024 + Free Template

Table of contents.

• What is a book proposal?
• What should you include in a book proposal?
• 9 Tips for Writing a Book Proposal
• Do self-publishers need a book proposal?
• Template to Copy + Paste
• You’ve written a book proposal. What now?

A book proposal is a comprehensive document you create to propose your book to traditional publishing houses, typically alongside your literary agent. It’s like a business plan for your book.

Don’t get a book proposal confused with a query letter, which is what you write and send to potential literary agents . Despite what some popular Google results say on the topic, a book proposal is not a query letter.

However, you almost always need an agent before you write and send a book proposal, so writing a query letter should also be on your radar.

What does the perfect book proposal accomplish? Ultimately, your book proposal should perfectly answer these 3 questions:

• Why this story?
• Who would buy this book?
• Why are you the person to tell this story?

Let me take you through how to write the best book proposal possible as you answer these 3 questions effectively and excitingly.

• What to include in a book proposal
• Who needs a book proposal
• Book proposal template
• 9 steps to writing a compelling book proposal

Quick note: As you probably already know, I’m a big proponent of self-publishing . Traditional publishing is almost impossible nowadays. Self-publishing can be more profitable and is a lot more achievable.

However, if you already have an agent, or a publishing house solicited your manuscript, you should still keep reading for valuable information.

A book proposal acts as a business plan in the eyes of publishers. Traditional publishers want to see how marketable your book is and to whom they can sell it. This is why you (and often your literary agent) craft a book proposal and send it to multiple prints in the publishing industry.

You need a book proposal for both fiction books and nonfiction books, although fiction proposals and nonfiction proposals are slightly different.

Your book proposal is critical to landing a traditional book deal . First book? First-time author? If you can guarantee a publisher tens of thousands of pre-sales, then you could land a book deal even if you’re a new book writer.

How do you propose a book to a publisher ? 95% of the time, you will need to secure a literary agent to propose your book to a traditional publisher, such as Penguin/Random House or Simon and Schuster.

5% of the time, you will find a traditional publisher accepting unsolicited, unagented submissions . In their submission guidelines, they may ask for a full-on book proposal. Remember that they’re going to receive thousands of submissions and only choose a few to publish. 

Nevertheless, submitting an unsolicited submission might be worth a shot if the opportunity is there.

Rarely, a traditional publisher will solicit a book proposal from you . This may happen if you have a large following on social media or a friend or family member in the biz. However, if publishers are soliciting you for a manuscript, chances are high that you already have an agent.

What is the purpose of a book proposal? The purpose of a book proposal is to show publishers that your book will sell. With these proposals, publishers are looking for authors who already understand the way traditional publishing works. In their minds, that equals sales.

How many pages is a nonfiction book proposal? A typical nonfiction book proposal contains 20-50 pages, usually landing on the lower end of that spectrum. This length is standard for fiction book proposals as well.

How much does a book proposal cost? A book proposal shouldn’t cost anything unless you hire a professional ghostwriter to write it or a professional editor to edit it — both of which are valid considerations.

What is included in a book proposal? With the help of an agent, you should include the following in any book proposal:

• Header: The header should include basic information such as the title, your name, email, and phone number.
• Synopsis: You can have a brief synopsis and often a longer synopsis of the book. The book synopsis should include a succinct and compelling one-to-five paragraph description of the project, as well as a longer narrative description answering questions about the project, your qualifications, and potential commercial viability, including target audience and methods for reaching them.
• Chapter breakdown: In creating a book proposal, it is recommended to create a chapter list with a brief summary of each chapter, including images if applicable, and potential ideas for a foreword by a well-known person to increase sales, though the chapter breakdown may change throughout the book's development.
• Sample chapter (sometimes optional, see the editor's requirements): Non-fiction book proposals should include the introduction and one or two sample chapters, while fiction proposals should submit the first 40-50 pages or the entire manuscript, with a focus on high-quality writing and crafting a captivating beginning to draw in readers.
• Word count : Be sure to include the word count or estimated word count of your book.
• Author bio : In the book proposal, it is important to make a convincing argument for why you are the right person to write the book, including relevant published articles or books, press outlets that have reported on your work, and lectures you have given, as well as potential for public speaking or TV appearances, to demonstrate your capability of reaching a buying audience.
• Platform, target audience, market profile: publishers want to see that you can reach an audience that will buy your book. In your book proposal, you should include a section that demonstrates your reach, such as your social media stats, website or blog metrics, and the number of people on your mailing list, among other things. Additionally, you should include a section that outlines the market profile for your book, including a narrative on the book's market and a list of similar books with synopses, to show that your book fills a gap in a viable market.
• Influencers: If you know people who might provide a foreword or blurb on the back cover, you should include that information as well
• Schedule to publish: Include a preliminary schedule on how long it will take you to finish the final draft, any images or other needs that will take time, etc.
• Competitive titles analysis (5-10 comparable titles with shared audiences)

How do you structure a book proposal? The structure of a book proposal is usually title , synopsis, chapter outline, sample chapter (if needed), and then the other details, such as about the author, marketing analysis, competitor analysis, etc.

• Don’t write the book first. For nonfiction writers, do not complete the entire book before you send out book proposals. Publishers like to accept nonfiction book proposals before the proposed book is fully written. (However, for fiction authors, it is customary to propose a complete book.)
• Focus on how your book will benefit the reader, not just what your book is about. Experts call this “evidence of need.” This aspect is especially vital for nonfiction proposals.
• Be specific about your book. If it sounds like your book idea is derivative and same-old-same-old, then no one will want to publish it (or buy it).
• Make sure your book proposal has a hook . Just like any good story, your book proposal needs to hook the editor who reads it, so they send it to their superiors. For your proposal to have a hook, your book needs a hook. There’s an art to hooking your readers .
• Avoid generic statements. Don’t say, “A Google search turns up more than 10 million results!” or “Everyone will be talking about this book, so everyone is my target market.”  Generic statements often cross over into laughable hyperbole or annoying irrelevance. Instead, name-drop recent trends, making a clear connection between the increased relevancy of your book and current events or specific statistics.
• Don’t be modest. Mention if you know famous people, publishing biz pros, other writers, etc. Mention all your experience and natural talent. Answer the question: Why are you the right person to write this? You can be modest some other time — not during a book proposal.
• Start networking years ago. This is cynical, but you already need to have laid the groundwork for marketing and outreach long before you publish. Traditional publishers are looking for authors who already boast a network of high-profile influencers (such as book reviewers ). Publishers seldom accept a book proposal if you can’t guarantee 20k pre-sales.
• Be realistic. Publishers may take you less seriously if you compare your book to New York Times bestsellers. Instead, be realistic about your audience size and compare your work to reasonably successful competitors.
• Build your platform as early as possible. Nowadays, you need a pre-established platform to sell books . Whether self-publishing or hoping to land a traditional publisher, start building your platform as early as possible. If you haven’t started yet, start now. This can include social media, email list, guest blogging, vlogging , or even procuring subscribers on YouTube . (Think Jena Moreci’s successful channel that has gotten her brand in front of hundreds of thousands of new eyes.)
• Proofread. Please, do not send a book proposal with spelling and grammatical errors. This often equals an automatic toss in the bin. Check out my list of Best Proofreading Software for more info.

No, self-publishing authors very rarely need a book proposal.

You may find a traditional publisher accepting unsolicited, unagented submissions. If they require a book proposal in their submission guidelines, you will need to write a book proposal even though you don’t have an agent.

At that point, you would be seeking traditional publishing, so you wouldn’t really be considered a self-publisher anymore.

Free Book Proposal Template

Use this free template as a sample proposal. Copy and paste the following text into a document, and follow the directions after the asterisks. Delete the instructions (and asterisks) from the text once you have done what the directions say.

Alternatively, you can download Kindlepreneur’s free book proposal template here .

***Halfway down page, centered. Replace all text in brackets with your own text that applies to your own book proposal.

[BOOK TITLE; 16-point Times New Roman, can be in all caps]

[Book Subtitle, 12-point Times New Roman]

***Bottom of title page

[Author name]

[Email address]

[Phone number]

***Insert page break (CTRL+ENTER on PCs, CMND+ENTER on Macs). Don’t just press ENTER until you reach a new page. The text from here on should be left-aligned (not justified), 12-point black Times New Roman, double-spaced, with either first-line indents of 0.5” or an extra 10 points of space between paragraphs.

[This is where you describe the overall point of your book, as well as the need it fills in your market. Include a brief summary.]

***Page break

ABOUT THE AUTHOR

[This is where you describe yourself in immodest detail. Stick to 2-5 paragraphs. Mention your credentials, experience, author platform, marketing potential, who you know, what qualifies you to write this book, etc.

Don’t waste time talking about your step-by-step writing process. Be sure to include a high-quality headshot at the end of this page.]

MARKETING PLAN

[Also called a market analysis. Here, you answer the editor’s inevitable question: Why will people buy your book? Be specific. No vague generalizations of, “Everyone will want to buy this book!” Instead, focus on why a select market of people will spend their money on your work. Include what celebrities or influencers you can get to plug your book, if applicable.

Publishers like to see steps: for example, step 1) write a great book , step 2) push pre-sales on Twitter and email list, step 3) have the following influential friends mention the book on Instagram , step 4) tour the country on speaking engagements at colleges and business functions where I can push my book, step 5) book media appearances on national news and talk shows. Bonus points if you say you’re going to spend part of your advance on marketing.]

COMPETITIVE ANALYSIS

[This is where you analyze 5-10 competitor books, why they succeeded, how your book compares and contrasts, and how your book’s marketability compares to theirs. A book published less than 5 years ago is preferred. Break this section down by each competitor. List the title, subtitle , author name, publisher, year of publication, price, page count, and ISBN number.]

CHAPTER OUTLINE

[Some writers start with a simple table of contents, but this is optional. The required part is outlining what each chapter entails. Remember, publishers don’t really care about what’s in your book, as much as they care to know that it flows and is an interesting, relevant take on the subject matter. Break this section down by chapter. You may use bullet points below each chapter title if that helps your organization. Don’t include your entire manuscript.]

SAMPLE CHAPTER

[Choose the most intriguing chapter, preferably from the first half of the book.]

Where to Submit the Book Proposal?

One of the best ways to find successful publishing companies (so you can submit your proposal to them) is to analyze the genre for your book and see what other companies are publishing books in that genre.

If you're doing this manually, this can take a very long time, and you'll end up finding a lot of other companies that aren't really great.

Thankfully, there's a tool that makes it easy to see all of the major publishers for the bestsellers of any genre.

That tool is Publisher Rocket .

With Rocket's category analysis tool, you can easily find a list of publishers for any genre by doing the following:

• Finding your desired category/genre through the Category Search
• Clicking on the “Insights” link
• Hover over the “i” icon under the Large Publisher tile
• Find a list of large publishers in that genre

A lot of these publishing companies will be traditional publishers, so you can reach out to them if you want a traditional publishing deal. Or you might find some hidden gems, like lesser known but successful small publishers.

Congrats! You know how to write a book proposal. Now it’s time to land that book deal if that’s what you’re going for.

Note: Most publishers will require your book proposal in DOCX file format , if not printed on standard 8.5” x 11” paper.

Check out my Book Marketing Podcast . Even if you land a traditional book deal, you’ll still have to do most of your own marketing . (Traditional publishers are astonishingly bad at actually selling books to readers.) And check out my free course on Amazon Ads for Authors .

Best to get ahead on your marketing endeavors now for future success!

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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Start Here: How to Write a Book Proposal + Book Proposal Template

Unique opportunity : Join Jane this October for an in-person workshop on book proposals .

Book proposals are used to sell nonfiction books to publishers.

A book proposal argues why your book (idea) is salable and marketable in today’s market. It essentially acts as a business case for why your book should exist, and—for many authors—persuades a publisher to make an investment in your work before you sit down to write it. 

That’s right: nonfiction authors, if they’re smart and strategic, will sell a publisher on their book before they’ve written very much of it.

Instead of writing the entire book, then trying to interest an editor or agent (which is how it works with novels), you can write the proposal first if you’re a nonfiction author. If a publisher is convinced by the proposal, it will contract you and pay you to write the book. This applies to all types of nonfiction, although it can be very challenging for memoirists to sell a project on the basis of a proposal if they are unpublished or without a compelling platform. (More on that in a second.)

If properly developed and researched, a proposal can take weeks, or longer, to prepare. While proposal length varies tremendously, most are somewhere around 10 to 25 pages double-spaced, not including sample chapters. It’s not out of the question for a proposal to reach 50 pages or more for complex projects once sample chapters are included.

Unpublished or beginning writers might find it easier to simply write the book first, then prepare a proposal—which isn’t a bad idea in the case of memoir, since many editors and agents want assurance that an unknown writer has sufficient writing chops to pull off their project. 

But having the manuscript complete does not get you off the hook when it comes to writing the proposal. If an agent or publisher wants a proposal, you still need to write one even if the book is complete.

What about novel proposals? You may occasionally hear someone refer to novel proposals, which typically includes a query or cover letter, a synopsis, and a partial or complete manuscript. This bears very little relation to a nonfiction book proposal.

Your business case may matter more than the writing

People don’t like to hear this, but for many nonfiction books, the artfulness of the writing doesn’t matter as much as the marketability of the premise, topic, or author. You can see this played out in the rejections received by Rebecca Skloot, author of The Immortal Life of Henrietta Lacks .

If your book’s purpose is to improve readers’ lives or to teach, then you’re usually selling it based on your expertise, your platform, and your concept. The book proposal persuades agents/editors that readers will pay for the benefit that your book provides, rather than learning from YouTube, Google, or even a competing book. While everyone expects the writing to be solid, they’re probably not expecting a literary masterpiece. To learn how to lose weight, readers don’t need a poet; they need a clear communicator who can deliver her ideas and methods in a way that will help and inspire readers to achieve their goals. Plus those ideas and methods ought to feel fresh and exciting, and not like last year’s 100 weight-loss books on the market. (Even better: the book shows how the most recent books really missed something critical that readers must know to succeed.)

Especially in how-to categories such as health, self-help or self-improvement, business, or parenting, your credibility and platform as a professional in the field play a critical role; your background must convey authority and instill confidence in the reader. Would you, as a reader, trust a health book by an author with no medical experience or degrees? Would you be OK reading a serious guide on how to invest in the stock market by someone who is living in a van down by the river?

For narrative nonfiction, especially memoir, the writing does matter

Some types of nonfiction require authors with proven journalistic or storytelling skills. (What is narrative nonfiction? It’s a story of someone or some thing other than yourself. Think  Seabiscuit . ) If your book must succeed based on its ability to artfully weave a story, then your strength as a writer becomes more and more important to the proposal’s success. It’s still necessary to prove there’s a market for that story, but you won’t be successful if your sample chapters are poor or you can’t point to a successful publication record in outlets that matter to your topic or book’s future success.

If your book doesn’t require a narrative structure or long-form storytelling, with masterful use of craft and technique, then your skills as a writer mainly have to be up to the task of producing and revising a book manuscript with an editor’s or agent’s guidance.

The biggest mistake writers make in their book proposals

It’s natural to assume the book proposal should discuss what your book is about. But this is a mistake. Rather than focusing on the content, focus on why this book matters right now to the intended readership . Why is it going to resonate? How is it addressing an urgent need? How does it offer something new and surprising that doesn’t feel like everything that’s come before?

While some types of evergreen topics may not have a sense of urgency tied to them, they still have to demonstrate market relevance. For example, if you’re pitching a knitting book, you probably need to demonstrate that your techniques or projects will be of interest to knitters today, rather than knitters 30 years ago.

Whatever you do, don’t get lost in the weeds of your book’s ideas or content. Always discuss the content in relation to the reader’s need or community need and why it matters now.

Other common pitfalls:

• Assuming that a “comprehensive” treatment or an in-depth discussion of your topic is a selling point. Rarely is this enough. Instead, think about how and why the argument that your book makes is new and compelling. How does it shed new light on a topic people care about? How does your book illuminate the unexpected or challenge readers in ways they don’t expect? Another way to think about it: Eric Nelson comments on how authors should position their ideas in terms of a switch instead of a dial if they want to generate agent or editor enthusiasm.
• Assuming that a short, “accessible” treatment is a selling point. It is challenging to prove that an audience is out there waiting to a buy a book only if it were shorter or less difficult than the alternatives.
• Assuming that your personal experience of the issue is a selling point. Unless you are a famous author or have an established platform that has attracted agents and editors to your door, just because you have personally experienced something doesn’t make your book instantly more salable.

The memoirist’s dilemma

Submission guidelines vary tremendously when it comes to memoir. Some agents don’t require a book proposal, while others want only the book proposal and the first few chapters. Some agents may even ask for both the proposal and the complete manuscript if you’re an unpublished author.

Professional, published writers can typically sell a memoir based on the proposal alone. New, emerging writers who have no publishing track record may be asked to submit a complete manuscript to prove they can write, sometimes in addition to the book proposal itself.

Your memoir is not salable unless you’re confident of several things.

• Your writing must be outstanding. If your memoir is your very first book or very first writing attempt, then it may not be good enough to pass muster with an editor or agent.
• You must have a compelling and unusual story to tell. If you’re writing about situations that affect thousands (or millions) of people, that’s not necessarily in your favor. Addiction and cancer memoirs, for example, are common, and will put you on the road to rejection unless you’re able to prove how yours is unique or outstanding in the field.
• You have the start of a platform. If you have a way to reach readers, without a publisher’s help, then you’re more likely to secure a book deal.

Here’s the dilemma for many memoirists: If an agent wants a book proposal for a memoir, they are likely judging you based on the strength of your platform or as much on the platform as the writing. They want to see if your story premise might have mainstream media potential or the ability to land major interviews that will lead to sales. If you have little or no platform, and your story is lyrical, quiet, or literary, then you should try to target agents and publishers who don’t require a proposal. A proposal will only highlight what your project lacks.

Finding a literary agent (and do you need one?)

If you want to publish with one of the big New York houses, then you’ll need to submit your work to literary agents . Projects that don’t necessarily require agents include scholarly works for university presses, books likely to be published by regional or independent presses, and niche titles with limited commercial appeal.

The most common book proposal sections

While there’s no single “best” way to write and assemble a book proposal—it will depend on the  category, the author, and the publishers’ submission guidelines—the following sections appear in almost every book proposal.

Comparable titles or competitive title analysis

I mention this section first because this is where I suggest writers start their proposal research. It will help clarify your idea and avoid lots of wasted time. This section discusses comparable titles your ideal reader would know about or buy; the goal is to show not necessarily that your book “beats” these other comparable titles, but to point to the readership for your book—to prove how, where, or why there is a readership for your book.

The  analysis typically includes 5 to 10 titles, but you might be okay discussing just a few if your book is on a specialized topic or for a niche audience. For each title, begin by noting the title, subtitle, author, publisher, year of publication, page count, price, first published format (usually hardcover or paperback), and the ISBN. You don’t need to list things such as Amazon ranking, star rating, or reviews. Then briefly summarize the book and its readership in relation to your own (about 100–200 words per title).

Don’t worry about including the sales numbers of the competing titles. There’s no way for an average author to find out that information, and the agent or editor can look it up themselves. However, when doing your comp research, if you discover that most or all of the titles are self-published, have few or no reviews, and probably haven’t sold a copy in 20 years, you have a big problem on your hands. You’re choosing comps that aren’t doing well today in the traditional publishing market. Go back and look for comps that indicate your book can be commercially successful. That means you want to look for comps from well-known publishers, with a good number of reviews, decent media coverage, and a semblance of success in the market.

Resist trashing your comps; it may come back to bite you. (Publishing is a small industry.) And don’t skimp on your title research—editors can tell when you haven’t done your homework, plus fully understanding the competition should help you write a better proposal and a better book. I discuss the research process here.

Whatever you do, don’t claim there are no comp titles. That’s like saying the people who will read your book have never read another book that’s comparable or that would interest them. Or that you are going after people who don’t read books. Not a good thing. You should be able to have a thoughtful discussion that argues “People who’ve read X will be interested my book because …” or “People who’ve read Y are the target audience for my book because …”

For some nonfiction topics and categories, the availability of online information can dampen potential for a print book. Travel is a good example—its print sales have declined by 50 to 75 percent since 2007. Also, many book ideas I see pitched should really start out as a site or community—even if only to test-market the idea, to learn more about the target audience, and to ultimately produce a print product that has a ready and eager market once it’s published.

Target audience

Who will primarily buy your book? “Primarily” is key here. You want to describe the people who will be easiest to convince, or the most likely readership. Who will be lining up to pre-order and spread the word from there?

Avoid generically describing the book buying audience in the United States, or broadly discussing how many memoirs sold last year. Publishers don’t need to be given broad industry statistics; they need you to draw a clear portrait of the type of person (beyond “book buyers”) who will be interested in what you have to say.

It can be very tempting to make a broad statement about who your audience is, to make it sound like anyone and everyone is a potential reader.  Avoid generic statements like these:

• A Google search result on [topic] turns up more than 10 million hits.
• A U.S. Census shows more than 20 million people in this demographic.
• An Amazon search turns up more than 10,000 books with “dog” in the title.

These are meaningless statistics. The following statements show better market insight:

• Recent reviewers of [competitive titles] complain that they are not keeping up with new information and trends. The hottest new trend in [category] is not discussed or covered in recent titles.
• The New York Times recently wrote about the increased interest in military memoirs; [X and Y] media outlets regularly profile soldiers who’ve written books about their experience.
• My readers include the people who have become devoted supporters of [X podcast or Y paid newsletter], which have X subscribers/downloads.

For more guidance, see my post on How to Define and Describe Your Readership .

Marketing plan

What can you specifically do to market and promote the book? Never discuss what you hope to do, only what you can and will do (without publisher assistance), given your current resources. Many people write their marketing plan in extremely tentative fashion, talking about things they are “willing” to do if asked. This is deadly language. Avoid it. Instead, you need to be confident, firm, and direct about everything that’s going to happen with or without the publisher’s help. Make it concrete, realistic, and attach numbers to everything.

Weak I plan to register a domain and start a blog for my book.

Strong Within 6 months of launch, my blog on [book topic] already attracts 5,000 unique visits per month.

Weak I plan to contact bloggers for guest blogging opportunities.

Strong I have been a guest contributor every month for the past year to reach 250,000 readers, at sites such as [include 2–3 examples]. I have invitations to return on each site, plus I’ve made contact with 10 other outlets for future guest posts.

Weak I plan to contact conferences and speak on [book topic].

Strong I am in contact with organizers at XYZ conferences, and have spoken at 3 events within the past year reaching 5,000 people in my target audience.

The secret of a marketing plan isn’t the number of ideas you have for marketing, or how many things you are willing to do, but how many solid connections you have—the ones that are already working for you—and how many readers you NOW reach through today’s efforts. You need to show that your ideas are not just pie in the sky, but real action steps that will lead to concrete results and a connection to an existing readership.

It can be helpful to begin with a bio you already use at your website or at LinkedIn. But don’t just copy and paste your bio into the proposal and consider the job done. You have to convince agents and editors you’re the perfect author for the book. Show how your expertise and experience give you the perfect platform from which to address your target audience. If this is a weak area for you, look for other strengths that might give you credibility with readers or help sell books—such as connections to experts or authorities in the field, a solid online following, and previous success in marketing yourself and your work. Agent Anna Sproul-Latimer has great advice on author bios for book proposals .

This comes at the very beginning of your proposal. I suggest you write it last. Think of it as the executive summary of the entire document, around two to three pages. It needs to sing and present a water-tight business case. If done well, it can become the basis of your query letter. My proposal template (see below) includes more guidance.

Chapter outline and/or table of contents

A chapter outline works well  for narrative or meaty works, especially those that are text-heavy and anticipated to come in at 80,000 words or more. For each chapter, you write a brief summary of the idea, information, or story presented. I suggest your chapter outline not extend past 3,000 words, but some agents may ask for even more meaty chapter descriptions.

If writing a chapter outline seems redundant or unnecessary for your book’s content, then use a table of contents. And if you want to use both, that’s completely acceptable. The most important thing is to show how your book concept will play out from beginning to end, and strongly convey the scope and range of material covered.

Sample chapters

If you’re writing a memoir that has a distinct beginning, middle, and end, then include sample material that starts at the beginning of the book. If your work isn’t a narrative, then write or include a sample chapter that you think is the meatiest or most impressive chapter. Don’t try to get off easy by using the introduction; this is your opportunity to show that you can deliver on your book’s promise.

Common problems with book proposals

• The writer hasn’t articulated a clearly defined market or need—or the writer has described a market that’s too niche for a commercial publisher to pursue.
• The concept is too general or broad, or has no unique angle.
• The writer wants to do a book based on his or her own amateur experience of overcoming a problem or investigating a complex issue. (No expertise or credentials.)
• The writer concentrates only on the content of the book or his own experience—instead of the book’s hook and benefit and appeal to the marketplace.
• The proposed idea is like a million others; nothing compelling sets the book apart.

If you’re told the market isn’t big enough, maybe you approached too big of a publisher. Is there a smaller publisher that would be interested because they have a lower threshold of sales to meet? Big houses may want to sell as many as 20,000 copies in the first year to justify publication; smaller presses may be fine with a few thousand copies.

The most common problem leading to rejection: no author platform

A sizable platform and expertise is typically required to successfully sell a nonfiction book to a major publisher, especially for competitive categories such as business, cooking, health, self-help, or parenting. ( Here’s a definition of platform. ) An agent or editor is going to evaluate your visibility in the market, and will want to know the following:

• The stats and analytics behind your online following, including all websites, blogs, social media accounts, email newsletters, regular online writing gigs, podcasts, videos, etc.
• Your offline following—speaking engagements, events, classes/teaching, city/regional presence, professional organization leadership roles and memberships, etc.
• Your presence in traditional media (regular gigs, features, any coverage you’ve received, etc)
• Your network strength—reach to influencers or thought leaders, a prominent position at a major organization or business
• Sales of past books or self-published works

You typically need to be visible to tens of thousands of people, with verifiable influence, to interest a major publisher. Traditional houses are pickier than ever; producing anything in print is a significant investment and risk. They need to know there’s an audience waiting to buy. Plus, given the significant change in the publishing industry, authors shouldn’t consider a print book their first goal or the end goal, but merely one way, and usually not the best way, for making money.

A book proposal template to help you get started

Download a nonfiction book proposal template (Word file) that is already formatted according to industry guidelines. It also includes brief guidance, tips and common mistakes for each section.

I also offer research worksheets , to help you prepare to write the book proposal.

 More resources on book proposals

• Agent Ted Weinstein outlines the necessary parts of a book proposal , and also offers an audio recording of his 90-minute workshop on proposals .
• My favorite comprehensive guide on book proposals is  How to Write a Book Proposal   by agent Michael Larsen.
• For professors and academics, I recommend Laura Portwood-Stacer’s resources .

Jane Friedman has spent nearly 25 years working in the book publishing industry, with a focus on author education and trend reporting. She is the editor of The Hot Sheet , the essential publishing industry newsletter for authors, and was named Publishing Commentator of the Year by Digital Book World in 2023. Her latest book is The Business of Being a Writer (University of Chicago Press), which received a starred review from Library Journal. In addition to serving on grant panels for the National Endowment for the Arts and the Creative Work Fund, she works with organizations such as The Authors Guild to bring transparency to the business of publishing.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

[…] Most nonfiction: You must write a book proposal (basically like a business plan for your book) that will convince a publisher to contract and pay you to write the book. For more information on book proposals and what they entail, click here. […]

Wrt expertise, Malcolm Gladwell has no subject matter credentials and he seems to use that as an advantage. Could you address expertise counter examples like this and how to leverage expertise between fields?

Malcolm Gladwell is a journalist who worked 10 years covering business and science for the Washington Post before he ever published a book. Then he got a gig at the New Yorker that led to his first book deal. If he had tried to get a book deal first—before his years of experience as a proven journalist—he probably would not have succeeded.

[…] Start Here: How to Write a Book Proposal | Jane Friedman […]

[…] How to Write A Book Proposal by Jane Friedman. This is an in-depth look, lots of insight and resource links – recommended read. […]

As usual, a wealth of great information. Well organized, articulate, easy to understand. Thank you, Jane.

[…] To: Start Here: How to Write a Book Proposal, by Jane Friedman – “A book proposal argues why your book (idea) is a salable, […]

[…] Friedman has just released an extensive, free new guide for nonfiction writers on her site: Start Here: How to Write a Book Proposal. Back to Table of Contents @ebooknoir Honestly, I’m beginning to think that I should reduce […]

I think this could be very helpful to my husband (climatologist/geographer and long time organic gardener) when he goes to write/pitch his book on gardening and climate for the lay person. 🙂 Thank you!

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How to write a book proposal

Unlock the secrets to a successful book proposal with our step-by-step guide for aspiring authors.

A book proposal is one of the most critical steps in getting a book published traditionally. Essentially, a proposal is a business case for why your book should be published and marketed to readers. It allows you to pitch your concept to publishers and demonstrate why your idea has merit and sales potential. While every publisher has slightly different requirements, most proposals include the same core components: an overview of the book, an author bio, a marketing plan, sample chapters, and competitive analysis.

Putting together a strong proposal package takes work. But it can make the difference between grabbing a publisher’s interest or having your submission dismissed. Even for previously published authors, the proposal process is key to convincing publishers to invest in your latest concept. This guide will break down each element that goes into a book proposal, with tips to help you create a compelling submission that gives your book the best chance of success.

The Elements of a Book Proposal

A complete book proposal package consists of the following key pieces:

• Cover letter – A 1-2 page letter introducing you and your book to the publisher. This acts as your first impression, so it should be engaging and professional.
• Overview/Synopsis – A short summary, typically 1-3 pages, highlighting your book’s concept, purpose, organization, and chapters. This quickly shows what the book is about and why it is important.
• Author Bio – Your credentials, qualifications, experience, and platform detailed in 1-2 pages. This establishes your authority on the topic.
• Marketing Plan – A plan of 3-10 pages showing your promotion strategy, target readership, and the author’s existing audience and connections. It aims to convince the publisher of the book’s publicity potential.
• Sample Chapters – Typically the first 1-2 chapters of the manuscript, or about 30-50 pages. This provides a taste of your writing quality and style.
• Competitive Titles Analysis – A listing of similar titles and how your book differs from or improves upon existing options. Demonstrates a need for your book.

Getting each of these elements right takes time and effort. But the work is well worth it for the opportunity to get your book published. The following sections will explore what to include in each piece of your proposal package and provide tips to make your submission stand out.

Writing a Strong Cover Letter

The cover letter introducing your proposal to a publisher may seem simple, but it’s much more than just a formality. A well-crafted letter can capture an editor’s interest right away, while a weak letter may prevent your proposal from being read any further.

Your cover letter should achieve several key goals:

• Introduce you and get the editor excited about your book idea
• Summarize the concept and essential details of your book
• Explain what makes you the best person to write this book
• End with a call to action and expression of appreciation

Keep your letter to 1-2 pages, and be sure to address it to a specific editor or publisher contact if possible. A generic “To whom it may concern” does not make much impact.

The letter should provide an overview snapshot of your book, including the central concept, genre/category, target audience, page count or length, and sensibly projected word count. Share your credentials and platform briefly, but avoid simply repeating your full author bio.

You want to generate excitement without exaggerating. Include one or two key statistics or facts that capture the audience demand, relevance, or timeliness of your topic. This helps make the case for your book’s marketability.

Finally, close your letter with a call to action – ask for a meeting to discuss the proposal further or provide your availability for an interview. Express your appreciation for their time and consideration.

Here are examples of strong opening and closing lines:

“Over 10 million Americans now identify as vegan, yet plant-based recipes still rarely appear in mainstream media. My latest cookbook aims to change that…”

“American politics has become increasingly polarized over the past decade. My book will reveal the true causes behind this trend and concrete steps citizens can take to push back…”

“Thank you for your thoughtful consideration of my proposal. I am eager to discuss how we can work together and make this important book come to life.”

Crafting a Compelling Book Overview

The overview section, also known as a synopsis, summarizes the essence of your book in 1-3 pages. This is not a full, detailed synopsis but rather a high-level preview that quickly tells the publisher what your book is about and why readers will care.

The overview should touch on:

• Premise/concept – The subject matter and scope of your book explained in 1-3 sentences.
• Purpose – The specific aims and objectives of your book and the gap in the market it fills.
• Scope/focus – The parameters of the book’s content—the time period, setting, geographic location, etc.—that define the book’s boundaries.
• Organization – A brief description of each section or chapter and how content flows through the book.
• Key themes – The most important ideas, theories, lessons, or techniques readers will learn.
• Unique angle – What sets your book apart from others on the shelves and why it can’t be missed.
• Word count – The anticipated length of your full manuscript.
• Key selling points – Factors that make your book relevant, useful, or resonating right now. These could include current events, cultural trends, amusing stories, or timely examples that connect your concept to the readers’ world.
• Enthusiasm – Explain what excites you most about this book and convey that passion to get the publisher energized too.

This overview differs from a full synopsis, which summarizes each chapter in detail. Here, your goal is to intrigue rather than give away all the specifics.

Keep it short, succinct, and compelling. Focus on the hook—why this book demands to exist and why the editor can’t pass it up. Share your unique perspective and get the publisher eager to read more.

Here are examples of effective overview summaries:

“My proposed book, Men’s Yoga, will make the practice accessible to 12 million American men too intimidated to try yoga on their own. In plain language, it covers beginner-friendly poses and flows while busting myths about yoga and masculinity with good humor. With mindfulness now mainstream, the time is right for a yoga guide that speaks to men.”

“Climate change is the defining issue of our time, yet practical solutions can seem in short supply. My book, The Carbon-Free Home, cuts through the paralysis and empowers families to reduce their carbon footprint with 100 simple lifestyle tweaks. Each chapter focuses on one living area with cost-effective projects, product recommendations, and inspiring home examples. This hopeful, actionable guide gives families everywhere the tools to create climate-friendly homes.”

As you can see, these overviews grab interest right away. They identify the target audience, establish the author’s credibility, and capture the essence of the book – all in just a few paragraphs. Follow their template to craft an overview sure to impress.

Writing an Author Bio

Your author bio is 1-2 pages, summarizing your background, achievements, qualifications, and platform that make you the ideal writer for this book. It aims to establish your expertise and assure the publisher that you can reach your target audience.

Be sure to include:

• Credentials – Degrees, certifications, awards, fellowships, or designations relevant to your book’s subject matter. Lead with your most impressive ones first.
• Related experience – Positions held, years in the field, noteworthy accomplishments that reflect deep knowledge of this topic.
• Previous publications – Books, articles, or columns you have written, especially in similar genres or categories. List publisher names and dates.
• Speaking experience – Conferences where you have presented, keynote speeches delivered, expert panels you have participated in.
• Media and publicity – Major media interviews, podcasts, TV or radio appearances as an expert source.
• Existing audience and platform – website, social media followers, email list subscribers, membership in relevant professional groups. Quantify reach whenever possible.
• Promotion plan – Ways you intend to market the book through your network and media activities.

Any awards, grants, fellowships, or special designations in your field should be included to establish your reputation. While degrees and work history matter, recent activities more directly demonstrate your current standing and abilities.

Try to quantify achievements and audience/following with numbers whenever possible, e.g. “ Over 50,000 Twitter followers and 25,000 monthly newsletter subscribers.” This concretely proves you have channels to connect with readers.

Only include background information relevant to the book and establishing your authority. While childhood anecdotes can be interesting, focus on credentials so the bio retains an authoritative tone.

Here are two examples demonstrating different approaches:

“Jane Smith holds a Ph.D in Sociology from UC Berkeley and has taught race and gender studies for over 15 years. She has authored twelve books and textbooks, including Intersectional Identities, a college course staple since 2013. Her TEDx talk on diversity initiatives has over 250,000 views. With a long career applying sociological insights to real-world issues, Dr. Smith is well-positioned to pen My Sociological Life.”

“John Chen studied creative writing at Iowa State and spent years freelance writing before becoming an award-winning novelist. His cyber thrillers Net Threat and Hacked topped technothriller bestseller charts. With a passion for technology, Chen draws on his computer science degree and interviews with hacker confidants to create vividly realistic worlds. His avid fanbase of over 100,000 online followers and reputation for gimmick-free action make him the perfect fit to pen the TechWars series.”

As you can see, the bios emphasize different author strengths: academic and research credentials in one, and existing audience, and successful books in the genre for the other. Both establish relevant expertise and qualifications to write the proposed book.

Follow their template of focusing on your most relevant credentials, achievements, and audience. This quickly proves to publishers that you are the right author for the concept. Now let’s examine how to outline an effective book marketing plan.

Creating a Marketing Plan

A strong marketing plan is crucial for demonstrating your book’s publicity potential and audience reach. While the publisher will handle much of the marketing, the more exposure you can generate on your own, the better the book’s chances of success.

Your marketing plan section should span 3-10 pages, depending on the scope of your efforts. It should include:

• Target readership – Provide details on your ideal reader, including demographics, interests and where they consume similar media. Show you understand your audience.
• Leveraging your network and audience – Detail your existing author website, social media followings, professional associations, conference activity and local influence. Quantify your network.
• Media opportunities – Tie in potential interviews, guest articles, conference presentations, and media relationships you can utilize to promote the book.
• Partnerships – Are there organizations, brands, or influencers that align well with your book for cross-promotion?
• Promotional strategies – How will you generate excitement for the book? Ideas for book giveaways or tie-ins? Ways to attract traditional media?
• Online strategies – Could you serialize parts of the book on your website? What promotions will you do through email, social media, online ads? How can SEO help?
• Securing bulk orders – How can you get bulk orders from companies, schools, organizations? Can chapters be repurposed for textbooks or corporate education?
• Speaking opportunities – Conferences where you can showcase the book, do signings, and sell bulk orders.

Back up assertions with numbers whenever possible. Saying you have “a large Twitter following ” is vague. “ Over 50,000 Twitter followers eager for my insights” proves there is an audience excited for your work.

Include local/regional opportunities in addition to national ones. Local media, libraries, schools, and bookstores can become strong partners. Engage followers everywhere.

Here are some examples of creative book marketing tactics:

• Launch parties at bars/cafes with themes tied to book
• College campus tours, lectures, and workshop series
• Proposing excerpts in major magazines or serializing online
• Tie-in charitable campaigns around book themes
• Contests and sweepstakes for advance copies
• Instagram takeovers featuring book teasers

With nonfiction books, partnering with aligned organizations multiplies your reach tremendously. A cookbook author might partner with kitchen supply stores for demonstrations. Or a travel guide writer could work with tour companies to be featured in their packages and content.

The most effective plans combine digital promotion leveraging the author’s platform with real-world opportunities through conferences, events, local media, and community partners. Demonstrate that you are willing to put in the work to engage readers and sell books.

Writing Sample Chapters

Most book proposals require submitting 1-2 sample chapters to demonstrate writing quality and style. Choose sections that represent the book well while hooking the reader’s interest.

For fiction, submitting the first 1-2 chapters works best as they introduce the world and characters. Just be sure the writing shines. With nonfiction, sample almost any chapters that depict your writing skills in top form.

Some tips for selecting your sample chapters:

• Lead with a strong, engaging chapter to start off on the right foot. Avoid dense background or introductory material here.
• Pick a representative sample that feels familiar to the rest of the book in tone, style, and content.
• Include a chapter that contains unique elements you want to highlight, like your sense of humor or a complex theory.
• End with a cliffhanger or unresolved tension that leaves the editor eager for more.
• For memoir, consider one funny chapter and one poignant chapter to show range.
• For instructional books, select a lesson that flows well out of context and entices readers to learn more.

Introduce the chapters briefly in a paragraph or two. Explain your rationale for choosing these excerpts and the key takeaways you hope the editor gleans from reading the samples.

The writing quality must be polished and professional. However, refrain from exhaustively editing sample chapters before submitting. It is better for the editor to see pages somewhat representative of the entire work rather than chapters you have meticulously honed.

With strong sample writing, you prove you can deliver a compelling book as proposed. Weak samples cast doubt on the entire project and can sink your proposal. Use samples that exemplify your talents.

Analyzing the Competition

In your proposal, you must also demonstrate that your proposed book fills a hole in the market. Analyzing existing competitive titles and distinguishing your book shows there is a need and audience for your concept.

Your competitive analysis section should:

• List similar titles and authors with the date of publication, publisher, and format.
• Summarize the premise and content of each competing title.
• Explain how your book differs substantially and offers something new to readers. What gap does it fill?
• Detail the market demand and appetite for books on this topic, backed by sales data or Amazon rankings if possible.
• Highlight underserved niches or angles not adequately covered by the competition. Show how your book is positioning itself uniquely.

There are a few key ways to differentiate your book:

• Spotlighting an underserved audience – Competitors miss stay-at-home dads, religious African-Americans, non-traditional students, etc.
• Providing a new interpretative lens – Your sociological / feminist / scientific perspective.
• Focusing on an emerging trend competitors have not addressed yet
• Including more diverse voices and viewpoints than competitors
• Updating dated techniques and information from earlier books
• Offering a more modern, relevant, and engaging presentation of the content

Avoid excessive comparisons to brand-name competitors that may dwarf your accomplishments. There’s no need to endlessly contrast yourself to Malcolm Gladwell – focus on direct category competitors instead.

Research Books in Print, bestseller lists, Amazon rankings, bookstore shelves, and publisher catalogues to identify your true competition. Read through product descriptions and reviews to analyze how your concept differs and improves.

By demonstrating unsatisfied demand and creative differentiation, you can show publishers the market opportunity waiting for your book.

Crafting a winning book proposal requires thoughtfully developing each piece: – cover letter, overview, author bio, marketing plan, sample chapters, and competition analysis. While proposals take significant effort, a polished submission package gives your book the best shot at publication.

Remember, the proposal allows you to frame the vision for your book and begin making the case for why it deserves a place in the market. Take time to get each component right. Follow conventions while injecting your unique personality and enthusiasm. Test your concept with advance reviewers to hone your messaging.

With a compelling, professional proposal package, you can capture the publisher’s interest in your book and earn a book deal. Use this guide’s tips to develop strong proposals and advance your publishing dreams. The publishing journey starts here.

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We have more than 170K followers on our social media channels who are interested in books and reading. We’ll create and publish different posts about book and author on our social media platforms.

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Social Media is a significant tool to reaching out your readers and make them aware of your work. We’ll help you to setup and manage various social media profiles and fan pages for your book.

We’ll provide you our social media marketing guide, using which you may take advantage of these social media platforms to create and engage your fan base.

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One of the most effective and long-term strategies to increase your book sales is to create your own website. Author website is must have tool for authors today and it doesn’t just help you to promote book but also helps you to engage with your potential readers. Our full featured author website, with blog, social media integration and other cool features, is the best marketing tool you can have. You can list each of your titles and link them to buy from various online stores.

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We can help you in creating ad on Google, Facebook and Youtube to reach your target audience using specific keywords and categories relevant to your book.

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• Tags: Fiction , Language , Non-fiction , Traditional Publishing , Writing Tips

Do you want the best publishers to take notice of your book? An attractive book proposal will impress publishers and pave the way for faster publication. In this article, we’ve explained the important elements of a book proposal. We’ve also given 7 practical tips to create an engaging book proposal. 

Take the first step to publish your book now! Learn more

So without wasting time, let’s start with the basics! 

What is a book proposal? 

A book proposal is a detailed document that authors create to present their book idea to potential publishers. An attractive book proposal helps to persuade publishers of the book’s potential for success. 

What to include in a book proposal? 

• Title page- This consists of the title, subtitle, author’s name, contact information, and date. 
• Book overview- This includes the book’s title and a summary of what the book is about. The book summary is generally between 200-500 words. 
• Author bio- A brief account of the author’s background, contact information , experience, and qualifications is included in this section. If you have previously published any books, you can also add them to your bio. An author bio generally ranges from 100-250 words. 
• Chapter outline- Publishers might ask you to briefly summarize chapters in 2-3 sentences. 
• Table of contents- This consists of a list of the chapter titles to help the publishers understand the content flow. 
• Sample chapters- Many publishers ask authors to give 1-5 sample chapters to understand the book’s sellability.  
• Marketing plan: This is an optional step. You can include any strategies to promote your book. This will help the publisher get clarity about your book. 
• Target audience- Your book proposal must reflect the potential readers of your book. This refers to your audience’s age, gender, socio-cultural background, interests, and reading background. Touching upon these aspects in your book proposal will help publishers gauge your book’s profitability. 
• Additional details- You can also add details such as a list of 5 books published on the same topic and how your book stands out. You can also add any illustrations your book has (optional, if required). With this, you can also add your Instagram, Twitter, Facebook, website, and blog links. 

How to write a book proposal 

Here are 7 tips for writing an attractive book proposal: 

• Write an engaging title- Your book’s title must reflect your book’s content and themes. Some ways to create an attractive title are: Use alliteration (example: Gone Girl ), use vivid language (example: Fury of a Phoenix ), use metaphors (example: Invisible Man ), or use a unique character name as the title (example: Frankenstein ). 
• Include a strong hook- While writing the book summary begin with an opening sentence that intrigues readers. You can start with a compelling question, highlight a conflict, mystery, or tough choices that a character must make. Showcase the high stakes and challenges the protagonist must face. 
• Add endorsements from influencers- If your book has received positive reviews from popular influencers, you can add it to your book proposal. Also, you can give information about any influencers who will be willing to write a foreword or rate your book. 
• Highlight your book’s USP- A book’s USP (Unique Selling Point)  can be the book’s message, writing style, story structure, unexplored topic, interesting twist on a common theme, emotional impact, themes, or message. Highlighting the book’s unique elements through the book summary and chapters can help to secure a good publishing deal. 
• Mention your platform and reach – If you already have an established audience for your book, mentioning this can strengthen your proposal. Including the number of followers and subscribers on social media, and highlighting your past collaborations and successful promotions can help to successfully pitch your book. 
• Edit and format your book proposal- Ensure that your book proposal is well-edited. Check the content for grammatical errors, word choice errors, and typos. Make sure that the book proposal format (including the sample chapter file format) is as per the publishing company’s guidelines. 
• Showcase your book’s relevance- This refers to your opinion about why you think it is the right time for your book to be published. If you think that the book’s story reflects the current trends or fills a gap in the market (an unexplored topic), you can highlight this in your proposal. 

Let us see a book proposal example to understand these tips better! 

Book proposal example

This example is a book proposal sample of Jane Austen’s novel Pride and Prejudice . 

Book proposal of Pride and Prejudice sample

Note: Proposals can vary, depending on the requirements of the literary agent or publisher. This is just a sample book proposal of how Austen could promote her book in 2024. 

Book proposal template

This template includes important elements of a book proposal such as the book overview, target audience, marketing and promotion strategies, and more. You can refer to the structure in this template while creating your book proposal.  

Book Proposal Template

Now that you know how to write a book proposal, you can begin your publishing journey. For readers wondering about how to write a non-fiction book proposal, these steps remain the same. As experts in self-publishing services , we’d love to perfect your book proposal. We also provide services like creating an author bio, writing a query letter, and an engaging book summary. Feel free to reach out to get your book proposal refined by experts! 

Here are some other articles you might find useful: 

• Proven Book Marketing Techniques to Increase Sales in 2024
• 10 Best Book Cover Design Services of 2024: Price & Ratings

Frequently Asked Questions

How to submit a book proposal, how to write a fiction book proposal, why do i need a book proposal, how long should a book proposal be, can i submit my book to multiple publishers or agents at once, how to write a non-fiction book proposal.

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Book Proposal: How to Write a Book Proposal in 7 Simple Steps

Learning how to write a book proposal is an exciting step on the journey to getting your book out into the world. 

This is the time to stop thinking about your book as a private project and start seeing it as something the outside world will be interested in. This requires you to take a methodical look at what your book contains and the commercial potential it might have. 

Even if you intend to self-publish your book (and we think you should!) there is still value in taking the time to go through the book proposal process.

If you’re not sure what your book proposal should contain, or even what it is, we’ve got you covered!

This guide to writing a book proposal covers:

What is a book proposal, step 1 – write an overview.

• Step 2 – Define your target audience

Step 3 – Share your author information

Step 4 – plan your marketing, step 5 – define the competition.

• Step 6 – Outline your chapters
• Step 7 – Include a sample chapter

What should you avoid in a book proposal?

A book proposal is a document that authors use to pitch their book, usually to a publisher. It run betweens 20 and 50 pages in length and makes the case for why a book is a good idea and how it is likely to succeed.

Good book proposals are detailed, focused, and backed up with as much data as possible to advocate for a book’s commercial potential. 

How do you propose a book to a publisher?

If you are looking to release your book on a traditionally-published, rather than self-published basis, you will need to either pitch it to a publisher directly, or have an agent do that for you.

In either instance, a book proposal will be an effective tool in your arsenal. It’s a lot easier to get an agent or publisher’s attention if you have a well-produced document that clearly states exactly what your book is about, why you are the right person to write it, and how you plan to market it. 

Even if you are leaning towards self-publishing your book, you should still take the time to write a proposal. Why? As you will be the publisher for your own book, you still need a clear idea of all the same information as a traditional publisher. 

The first section your book proposal must include is the overview. Think of the overview section as being like an elevator pitch. It’s a succinct and persuasive summary of why your book matters and is deserving of further attention.

The key is to write your overview section in the most gripping way possible. This isn’t the time to be boring or dry. By the same token, it’s also not the time to be over the top or use too much hype or extravagant claims. 

Instead, take a middleground. Clearly and succinctly state exactly what your book is about and why it matters. Try and touch on the emotional experience that a reader is in for should they choose your book. 

Imagine being at a dinner party and having about half a minute to respond to someone asking ‘so what’s your book about?’. You want them to have a very clear idea of what your book covers but you also want them to feel excited and intrigued to learn more. If you cover both objectives in your overview, you have the start of an excellent book proposal. 

Step 2 – Define your target audience 

It’s now time to clearly make the case for who your book is intended for. 

Every book needs a defined readership. You might already have a clear idea of who your book is intended for, or you might need to explore this a bit further.

If you’re not exactly sure how to define your audience, think about the following points:

• Is there a particular age group your book is intended for?
• Does your book speak to a particular gender?
• What about location? Would readers in a particular country or even city get more from your book, or could readers from around the world enjoy it?
• What are the pain points your book seeks to solve?
• Can you explain your target readership in terms of other books? For example, could you say ‘fans of X book would enjoy my book because…’. 

No matter what you do, avoid stating that your book is intended for everyone. When you try to please too many people, you often end up pleasing none!

When you are writing information on your target audience, use numbers wherever possible. For example, don’t write something like ‘young people with anxiety’. Instead, state exactly how many young people have anxiety. Always use numbers, and make sure these numbers are reliably sourced. 

An effective book proposal isn’t just about selling your book and the information it contains. It’s also about selling you as the author.

In this section of your book proposal, you need to be as self-promotional as possible without being over the top or making claims you can’t back up. 

By all means, use this section to cover basic information about who you are as a writer and your background. However, it’s important to keep this tight and relevant. You want to think in terms of only what would make a publisher more interested in investing money into a book from you. 

Some of the best and most useful things to share here include:

• Details of your author platform. What kind of following do you have? On which platforms? Make sure to include numbers here such as X followers on Y platform.
• Awards. Have you won any awards or prizes? Have you been recognized in some other way?
• Body of work. Have you published before? Do you have other relevant experience, such as contributing to publications?
• Media. Have you appeared in any media publications, either online or in real life? 
• Speaking. Have you given talks anywhere? Are you a member of any speaking organizations?
• Author photo. Include a professional picture here that you feel is a good fit for who you are and the type of book you are pitching. 

In a nutshell, the author info section of your proposal should convince a publisher of two things. First, that you are the right person to write this particular book. Second, that you are in a position to make it a success. 

Any good book proposal needs to cover a brief marketing plan.

On a side note, isn’t it interesting how even in a traditional publishing context authors are still required to think about and participate in book marketing? A lot of the responsibilities that people imagine self-publishers alone have also fall to traditional authors!

So, what should you include in the marketing section of your book proposal?

Like all the other sections, the key here is to be as specific as possible. 

For example, let’s imagine you hope to get relevant bloggers to feature your book. 

Don’t write something like “I want to get my book featured on relevant blogs.” Instead, be as specific as possible. Say something like “I will reach out to my network of 100s of authority bloggers within my niche with the aim of securing at least 10 features on blogs with X amount of monthly traffic.” 

Aside from being as specific as possible, another key tip here is to focus on what’s within your direct power as an author. Don’t tell the publisher what you want them to do. Instead, be very clear about what you can and will do to help your book succeed. 

Book publishers are aware that the market is a crowded place. For every person that wants to buy a book, there are probably multiple titles that would be a good fit for that readers’s needs.

As part of your book proposal process, you need to take a look at the other books that are out there and make the case for why yours is different and worthwhile.

It’s not enough that your book is excellent in its own right. It also needs to stand out from the competition in a positive way. Here are some ways you might think about selling a publisher on how your book is different from the other options out there:

• Contemporary. Sometimes, you will notice that the competing books out there contain old information that isn’t the most useful or interesting for today’s readers. If your book contains fresh info that isn’t found elsewhere, that is a major selling point to emphasize to publishers.
• Other audience. Perhaps your book is the only one to cover the needs of a specific group of readers. For example, if your book covers dating advice for millennial men, and other books do not cover this demographic, that’s something to point out. 
• Different take. Your book might be offering a solution to readers that isn’t found in other titles. If you have a unique angle then be sure to make this clear in your competitor analysis section. 

No book exists in isolation, so be sure to show publishers that you haven’t just considered your competition, but also why you are ideally placed to offer something different from them.

Step 6 – Outline your chapters 

Your book proposal should provide a full list of the chapters your book will contain.

For each chapter, include around a paragraph explaining exactly what the chapter covers and why it matters. 

You want to keep your chapter summaries short and interesting. They should be written in a way that is understandable by a publisher who might not be an expert in your topic. You should also focus on exploring why the chapters matter and how they benefit the reader. 

If in doubt, have someone with only a general level of understanding of your book topic take a look at your chapter list. Get their feedback on which chapters sounded interesting, which didn’t, and why. 

Step 7 – Include a sample chapter 

The final essential thing to include as part of a book proposal is a sample chapter, or more than one chapter, that really shows exactly what your book is all about.

If a publisher gets as far as wanting to read your sample chapter, you’ve already got further than a lot of authors. So don’t let this be the part of the process that lets you down!

You should choose the chapters of your book that most showcase the ideas and moods you promised in your book overview. You want to convince anyone reading that your book is as you described it to be. 

Ideally, you should choose a chapter that works fairly well on its own. If it relies too heavily on other parts of the book to make sense, it is unlikely to do a great job at winning a publisher over. 

Think of your sample chapter as a representative of your book. Which chapter shows what your work is all about in the best possible light?

Your choice of sample chapter can make or break your book’s success with a publisher, so be sure to choose wisely!

Of course, if you’re writing a book proposal for the first time, you also need to know the mistakes to avoid making!

Some of the key errors authors should avoid at all costs when writing a book proposal include:

• Making it all about you. Your book proposal isn’t the time for you to say why you think your book is wonderful and deserves attention. You need to step into the shoes of a prospective publisher and view the entire thing from their perspective. 
• Being wordy. Book publishers are inundated with proposals. Make sure yours covers everything it needs to in the most succinct and punchy way possible. Ruthlessly trim your text down until it has only the absolute essentials. 
• Using too much jargon. Book publishers are almost certainly less familiar with your book topic than you are. Avoid alienating them by writing too much jargon or using technical language that is off putting. 
• Not using data. Whenever you make a claim, support it with evidence and data. Don’t just say a niche is popular, for example, Share the facts and figures that prove it is. 
• Not getting feedback. After you’ve written a draft of your book proposal, be sure to get feedback from people whose opinion you trust. It’s too easy to get wrapped up in your own perception of your proposal without thinking about how it comes across to others. 

If you’re ready to write your first book proposal, we wish you every success! It’s a useful thing to do even if you end up self-publishing. 

Have you created a book proposal in the past? What part of the process did you find the most challenging and the most enjoyable? What do you wish you knew before you started?

Feel free to leave a comment and share your thoughts on the book proposal process!

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How to... Write a book proposal

This how to guide takes you through everything you need to know to write and submit a book proposal.

You can read all the information you need below, or watch this video from Books Commissioning Editor, Katy Mathers.

On this page

• The right format for your book

Putting together your proposal

How to fill in specific sections of the book proposal form, best practice for writing your proposal.

• Tips for writing as a non-native English

The benefits of co-authorship

Dos and don'ts, what happens next, choosing the right format for your book.

Before you begin writing a book proposal, it’s good to be aware of the different formats available to you. At Emerald we welcome both long form and short form projects.

Monographs – long form

One of our options is a traditional scholarly monograph, coming in at around 60 to 90 thousand words. A monograph enables authors to create a detailed written study that focuses on a single, specialist aspect of their field. Emerald publishes authored monographs, and also edited collections, which would allow an Editor to bring together multiple chapter authors under a specific theme.

Book series – long and short form

We also publish a range of book series, to which we also welcome submissions in both long or short, depending on the expectations set by the series. In the case of series, it’s really important to look at the aims and scope of the series titles in your field to find the best match. Ultimately, if your manuscript is outside the scope of the series, it is likely the editor will reject it.

Emerald Points – short form

We also have a short form option, housing projects between 30 and 50 thousand words. Emerald Points is a short-form book series that promises submission to publication within 12 weeks of a final manuscript going into production. It is an ideal channel for responses to current affairs and contemporary issues, and it welcomes theoretical or analytical work, as well as think-pieces or polemics, policy-focused research, findings with relevance for practitioners, and in-depth case studies.

Having identified the right format for your book, you can now think about putting together a proposal. The following will offer guidance on how to build it.

When preparing a book proposal form, there are lots of key details that you’ll need to include to make your proposal as comprehensive, detailed, and strong as possible, including:

• Details about you and the author team (if it is a multi-authored work). Your name, affiliation, contact details, and publication history will all need to be outlined.
• Information about the book – this includes a title, short and main description, an overall topic description, and a list of unique selling points.
• Include a provisional table of contents so we have a full understanding of the proposed chapter structure. This should also include short chapter abstracts if available.
• Your understanding of the market and competition for the book – who does your book appeal to and why? Are there any competing titles?
• The format and length of your book – provide the expected word count, number of tables and figures, and if any sample material is available.

Another key question for us is understanding sales and marketing potential – so at this point can you help us understand any ways in which you may be able to support the sales and marketing of your book?

Finally, we’ll ask for some reviewer recommendations as all book proposals are single anonymous peer reviewed. It’s important to note that while we ask for recommended reviewers, these may not be used, and we may use our own contacts.

The book description

It is important to bear in mind:

• In your short summary, you should be clear and concise, and avoid using too much jargon – it’s important to bear in mind that your proposal form will be read by several different people with different levels of knowledge of your field.
• You should also give as much detail as you can in a chapter-by-chapter summary to help the external peer reviewers and your editor understand your approach and the development of your argument.
• What is the significance of the work?
• Why is it important and original?
• What are the implications for practice?
• What new research avenues might the work lead to?

The market and competition element of the proposal

• You should be realistic with regard to the potential market for your book – no book can appeal to all markets.
• You should list works which sit alongside your own as ‘competition’, and be clear on how your book is distinct. What new contribution is your book making?
• Importantly, saying that there is ‘no competition’ for your book is not helpful and is very unlikely to be the case!

Getting the title for your work

Your title should be:

• Clear and concise, and accurately reflect the content.
• It should differentiate your book from other titles on the market.
• It should include key phrases and from the field that identify the focus – making your book instantly identifiable to the target readership.

Practical elements to consider

In terms of more practical elements, when crafting your book proposal, it’s important to:

• Be realistic about proposed delivery dates – don’t set yourself a deadline you cannot reach
• For edited works, you should set realistic deadlines for any contributors. We suggest an extra 6-8 weeks ahead of your manuscript submission deadline.
• You should consider word count – as covered, a typical word count for an academic monograph is around 80,000 words, or 30-50,000 words for short form Emerald Points titles.  Exceeding these may impact pricing and marketing for your book, so it’s important to be realistic about this in advance.
• You’ll need to provide a list of possible external peer reviewers in your form. Reviewers should be based at a different institution and, if your book is an adaptation of your thesis, they cannot be one of your PhD supervisors.
• You are welcome to submit a sample draft chapter with your proposal – it is always helpful to give reviewers a further example of your writing style
• Finally, it’s always good to demonstrate that you are aware of issues surrounding clearing permission to use 3rd party material. For example, if you intend to include images in your book, do you have permission from the copyright holder to publish them?

Across the book proposal, it is important to write simply and in a clear and concise manner. Here we share best practice on achieving this.

• Investing a little time in ensuring your book proposal is easy to follow can really help readers absorb your key messages – if you read it back in the eyes of the reviewer/ editor – does it make sense?
• Particularly for a proposal, you want the reader to quickly grasp how your work has added to the knowledge in your field and highlight any potential applications. You should make sure this is clear throughout.

Paragraph and sentence structures

It’s important to keep in mind your paragraph and sentence structures:

• A good paragraph contains only one major point of discussion. All the sentences in the paragraph should relate to this one idea and should flow from one another.
• One golden rule for clarity is that a sentence should be easy to understand the first time you read it. If it isn’t, then think about restructuring it or splitting it in two if it is too complex.

Cut the clutter

You should cut the clutter and reduce unnecessary text – try not to use lots of words when just a few would do. Look out for ‘padding’ words – some words may be correct grammatically but they don’t really add anything to the sentence so can be removed.

Try to avoid repetition.

Finally, check your tenses - not only ensure that you use the right tense, but that you use it consistently. Be careful not to dip in and out of different tenses.

• One of the most important tips is to proofread – you should plan for this and build it into your writing schedule and try not to leave it until the last minute.
• Try waiting 24 hours. If you try to proofread just after you have completed your final draft, this will be much harder.
• Show the draft to someone else who can view it with a fresh, unbiased pair of eyes

Tips for writing as a non-native English speaker

If you’re English isn’t your first language, then here are some tips for writing as a non-native English speaker:

• Write a draft of your proposal in whatever English you have – this is much easier than writing it in your own language and then translating it. Try not to worry too much about grammar and spelling at this stage.
• It’s helpful to look at your target publication channel and others in the same field, to pick up tips on phrasing nuances within that field.
• You may need more 'hands-on' help here, but perhaps not a professional service. You could try finding someone who can help you express yourself more clearly in English. Try seeking help from a colleague whose English is better than yours, so that they can help you clarify your meaning.

If you need professional help, there are options available. Emerald partner with Editage who provide a paid service that match you with a relevant expert in language support, translation, editing, figure preparation, manuscript formatting, and more.

Something to think about when thinking about writing your first book is the benefits of co-authorship.

Co-authoring allows for collaboration. The growth in collaboration is linked to the move towards interdisciplinary research. This sees teams in different disciplines combine information, data, techniques, tools, perspectives, etc. to find solutions to problems they are unable to solve alone.

Working with co-authors provides learning opportunities. If you are a first-time author, it can be a great way to pick up good publishing practices from more experienced colleagues.

Co-authoring usually leads to stronger submission. More eyes on the proposal can result in a more robust project because what one person misses another is likely to spot.

Co-authoring may improve funding opportunities. Funding bodies look favourably at co-authorship and collaboration. Interdisciplinary research is also a growing requirement.

An important note for co-authorship is that when multiple people have contributed to a piece of work it can make it very disjointed for readers. You should ensure the manuscript is checked and edited so that the tone is consistent.

To summarise, here a list of things to think about, and things to try to avoid.

When building a proposal you should try to:

• Summarise and conclude, restating the main argument, and presenting key conclusions and recommendations
• State how your findings/new framework can be applied in practice
• Explain what the implications are for further research
• Say to what extent your original questions have been answered
• Highlight the limitations of your research.

You should try not to:

• Start a new topic or introduce new material that is reflected throughout
• Make obvious statements
• Make contradictory statements.

Once you’ve finished drafting your proposal it’s time to submit it to a Commissioning Editor.

Get ready to publish a book

See a list of our book commissioning editors, along with their subject areas and contact information.

Submit your book proposal

Find out how submit a book or series proposal and what the next steps in the publishing process are.

The book peer review process

A helpful guide to our book peer review process.

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The Professor Is In

Guidance for all things PhD: Graduate School, Job Market and Careers

How To Write A Book Proposal

By Karen Kelsky | July 2, 2015

You all know that the book proposal is the cornerstone to a successful tenure track career in most areas of the humanities and social sciences. Sure, some parts of psychology and economics and other fields are not book-based, but basically, the law of the land is: write a book.

What you may not be aware of is that the book proposal should be an element in your job applications. I don’t mean you send a proposal with your job applications, of course, but rather that you dedicate several sentences in the job letter to the book proposal and where you are in discussions with presses.

In this job market, you have to be looking ahead to the book, and able to speak intelligently about the book and its publishing plan, from the earliest days, ie, even when you are ABD and still finishing the dissertation. You don’t yet need a book to get a job in most cases (although yes, it’s true, assistant professors with books under their belt will have an advantage over new Ph.D.s for some jobs), but you do need a book PLAN to get a job, and the more substantive that plan is—as in, accompanied by a completed book proposal, a timeline for submission to presses, actual discussions with specific presses, or best of all, an advance contract—the better you’ll do on the market.

The fact is, the dissertation does not get you a job. The anticipated book gets you the job.

OK, having established the necessity of writing a book proposal from early, early stages in your career, we now turn to the proposal itself.

I’m going to start by speaking in general terms about what you must submit to a press to get a contract. This is actually a collection of items, and not just a proposal.

In general, you do not submit a complete dissertation manuscript to a press.

Repeat: do NOT submit your full dissertation manuscript to presses!

Why? Two reasons:

• Because editors at presses are as overworked and overwhelmed as the rest of us and don’t have the time to wade through 300 pages of unknown quality.
• Because, frankly, your dissertation isn’t that good. No, I’m sorry, it really isn’t. This is true even if it won awards at your university and got passed with distinction, etc. etc. Here’s why: dissertations are not books. They’re dissertations. And the best dissertation in the world is not going to be the same as a marketable book. Dissertations are written to prove your legitimacy and to demonstrate mastery and to satisfy an impossible set of mutually contradictory demands set up by your advisor and committee. None of these things make for a marketable book that appeals to the widest possible audience. I will elaborate further below.

So what do you submit to presses? You submit the following:

• an 6-8 page proposal (shorter if so specified by the press)
• an annotated table of contents for the book
• 2 sample chapters
• a cover letter

Every one of these elements is indispensable, most especially the cover letter. Today, however, we will restrict ourselves to discussing the book proposal itself.

I will pause to say that of course, you should carefully check the requirements for submission listed on the press website. They may differ from what I’ve written above, and they will of course take precedence.  And ideally, you will have been in conversations with an editor or series editor at the press prior to submitting your package.  Blind, or unsolicited submissions, with no advance footwork, have a significantly lower success rate.  Please refer to my post, How To Work the Conference (Part 3 of 3) for ideas on using your national conference’s Book Exhibit as an opportunity to encounter editors at presses.

Be aware that you ARE permitted to multiple-submit to different presses simultaneously! This differs from refereed journal articles.   This simply has to be fully disclosed in the cover letter.

The Book Proposal

The book proposal is a sales document. It is entirely dedicated to showing that your book has a market and will sell.

Gary Smailes of BubbleCow , in a guest post on the excellent PhD2Published blog , says it best:

Here’s the first mistake most writers make when preparing a book pitch: They think like writers and forget they are selling a product! Book publishers are in the business of making money – even not-for-profit academic publishers need to keep themselves afloat. It’s true that many of them love books and want to see new knowledge disseminated, but at the end of the day they will not acquire a book unless they think it will sell enough copies to make back enough money to at least break even. It’s your job to convince publishers that your book has what it takes to make it in the marketplace that that publisher specialises in. In reality this means you must pitch more than a unique contribution to knowledge. You must demonstrate that your book has a readymade, and accessible, academic readership, which means that your query letter and proposal are, in a sense, sales documents. So, you thought you were in the business of having ideas, but what you must now take onboard is that you also in the business of selling them!

Hear, hear, Gary of Bubblecow (and be sure and check out Bubblecow for more information–albeit UK-focused– on book proposals)! The sad fact is that university presses are dropping like flies in this economic downturn, and can no longer publish small, obscure specialized monographs the way they used to when our disciplines were younger. University libraries are also under extreme budgetary strain, and have drastically reduced their purchases of new monographs, so the potential market for university press books has shrunk considerably.

Read what Ken Wissoker, the Editorial Director of Duke University Press, has to say (in another recent post on PhD2Published ) about the state of academic publishing and library acquisitions:

Libraries have made deeper and deeper cuts in their budget for books to pay for…big journal packages.  In the early 80s a huge proportion of a library budget went on books. Now the proportions are reversed and books make up only a small percentage of a library’s budget. The recent library trend of “patron-driven acquisitions” which sounds like patrons choosing (it’s a great neoliberal term), but really means postponing or avoiding purchases as long as possible, will only make this worse. This results in a whole set of books that would have been publishable in a form individual scholars could afford five or ten years ago, but which will no longer have enough sales to be viable.  It means books (and fields) that I would have been proud to publish a decade ago, I no longer consider.

Nowadays presses will not accept a book unless they are sure that it will make a profit or at least make back the expenses of publication. So, as you conceptualize your dissertation (while you’re still writing it), and as you plan your revisions (after you’re done), make sure that foremost in your mind are the elements that have the widest, most interdisciplinary, and potentially popular (think NYT readership) appeal.  Refer to this post for suggestions on how to do this.

Above all, be aware that the book mss. has to be shorter rather than longer. Publishers recoil in horror from over-long manuscripts because more pages mean more costs.   One of your top priorities should be to ensure that your book manuscript is within the acceptable word count of standard books recently published by that press in your field.

The book proposal has to summarize your ideas, but it has to do it in a way that shows

a) there is a market for them

b) they are market-ready

These are two huge variables. Your treatise on the image of the turtle in 14th century Ottoman religious iconography may have pleased you and your advisor, but if there isn’t a market of scholars and students out there seeking to know more about 1) the Ottoman Empire; 2) medieval iconography; 3) pictures of turtles, then you are in trouble. And secondarily, suppose there are no fewer than three separate markets of scholars clamoring for more information on 14th century Ottoman turtle pictures, but your manuscript bears all the marks of a classic narrow, boring dissertation, is far too long, and has not been revised for prime time…then you are still in trouble.

So in summary, the book proposal proves that you have valid ideas, that those ideas have a market, and that those ideas are presented in a marketable way.

How to do this?

Opinions vary widely on what makes a good book proposal as a piece of writing, so I want to state at the outset that I am suggesting what worked for me and most of the colleagues and students with whom I’ve worked closely in the humanities and humanistically-oriented social sciences.

My recommended book proposal contains the following:

Introductory Section of one to two paragraphs that follows the model of the introduction in Karen’s Foolproof Grant Proposal —ie, begins with a large topic of widespread interest, discusses 2+ bodies of scholarly work on that topic, reveals a gap in that work, demonstrates the urgency of that gap (ie, the dire consequences of ignorance), introduces the author as Hero filling that gap, and unveils a clear statement of the book project as Heroic Enterprise.

A Deeper Background/Elaboration of Topic section will go more in-depth into the “story” of the topic—the who, what, when, where and how. Information for non-specialists on the historical or geographical or cultural context, the major players, the touchstone events, and major texts and their reception, etc. will also be provided. This is a tricky section, actually, because you can’t lose focus and drone on and on. It has to stay focused and concise, with each piece of information providing essential information for a new reader with no background in your field or topic to grasp the core issues to understand that context and import of your topic.

A brief Summary and Chapter Breakdown of the proposed book, which will give a basic word length for the finished manuscript, and then walk through the chapters, no more than three to four sentences dedicated to each chapter, with particular attention to the Introduction and Conclusion. This section will also reference how any lingering dissertation-ese will be eradicated and how dissertation-centric chapters such as the “literature review” and “methodology” will be removed.

A BRIEF Disciplinary and Inter-disciplinary Discussion of the scholarly context of the work—who has written what about this subject over the years, how has a major debate in the field emerged, and how does this book intervene in that debate/turn that debate on its head. If your field is tiny, then you want to show that you intervene in debates beyond your immediate disciplinary context. This not a comps exam and you need not be comprehensive.  This is a quick sketch of major works to establish the scholarly context only.

A Timeline to Completion section, which clearly articulates the revisions that have been/will be made that eradicate every last trace of dissertation-ese from the prose and that complete the chapters in a timely and feasible manner. Any new research that is anticipated—new fieldwork or archival research, etc.–will be clearly noted in this timeline as well. You will also list here the research leave time that you have gained/expect to gain to complete the book (particularly important if you are on the tenure track). Finally you will clearly disclose your plan for other publications, such as journal articles, based on the research, and show a savvy calculation for using these articles in high status journals to build excitement and anticipation for the book. This section should give a specific month-by-month timeline for the work, and give a deadline for completion of the manuscript for submission.

Finally, you will have the Marketing section. This is the section in which you explicitly discuss how well you expect the book to sell, who it will sell to, and how the press should best market it.

Now the market for most scholarly monographs is admittedly small and no amount of verbiage will change that. But if it’s a narrow but deep market, then you want to make sure you communicate that. And if your work spans several small markets, then you most definitely want to communicate that.

The markets to consider here are:

• the market of academic libraries
• the market of fellow scholars in your field(s)
• the market of courses in your discipline (especially large courses)
• the market of educated readers generally (again, think NYT readers)

You will want to address each of these markets individually, by showing how your work will appeal to it. This is the place where you mention other scholarly works that are similar to your work, and discuss, to the best of your knowledge, how well they sold and how big an impact they had on the field/fields. You will focus particularly on books published by the press to which you are currently submitting, and speak directly, to the extent possible, to the major themes prioritized in their recent and current lists, and to specific book series they are currently promoting.

You will write something like, “my book investigates similar themes to those in XXX by xxx, recently published by University of California Press. That book has had a major impact on the field and was widely reviewed in journals such as XXX and YYY. As I wrote my book to refute XXX, and to be explicitly in dialogue with xxxx, I anticipate that it will similarly gain wide exposure and be acquired by scholars and readers who are interested to see two sides of a pressing contemporary problem.”

The primary way that academic presses make money is through the sale of books for use in large undergraduate classes. Just think: if your book becomes the go-to case study on xxx in the Introduction to U.S. Society and Culture course, enrollment 350, taught in both Fall and Spring semesters in 25 universities across the nation—-how much cha-ching is that for the press? The more you can envision your book as a core text for use in large undergraduate classes, the better off you’ll be. You can certainly mention graduate seminars, but seriously—how much good are 10 graduate seminars annually, enrollment 8 students each, going to do the press?

Finally, you will end with a strong, concise Conclusion. This is an often neglected element to many genres of proposal, and one that I feel is indispensable. Remember that you want to sound, throughout this entire book proposal document, powerful, important, influential, well-prepared, and confident. The Conclusion is where you drive home this tone. In the Conclusion you end with a broad and expansive gesture toward the wider import and significance of your work. You strongly imply that your work is going to radically change the state of your field/fields, and have a major impact on scholarship and public discourse for years to come, and that the press would be foolish to miss the opportunity to be the publisher of your work.

As in all professional documents, the book proposal must reject any hint of querulousness or insecurity or inadequacy or anxiety. It must, from first sentence to last, display a calm command of the material, the genre, and your professional trajectory. You will engage with the press as a full-fledged professional who is confident in your abilities and excited to work with them on this next stage in your professional development. When you write, “I anticipate that this book will have a major impact on the fields of xxx, yyy, and zzz, and look forward to working with XXX Press in its publication,” that is the message you are conveying.

Similar Posts:

• Does the Status of the Press Matter?
• Should I Send Out a Book Proposal Before the Manuscript is Completely Finished?
• My Top Five Tips for Turning Your Dissertation Into a Book–A Special Request Post
• The Status of the Press Matters, Still!
• Pitfalls of the Publication Para

Reader Interactions

September 6, 2011 at 8:46 pm

Do you advise sending out proposals before the entire manuscript is ready? Or waiting until you can send the MS at a moment’s notice if an editor requests it?

September 7, 2011 at 5:32 pm

My advice would be to to send it out prior to the manuscript being completely done. The mss. is going to undergo considerable revisions during the review process, and possibly as a result of the initial inquiry package, so having it in a “perfect” completed state is not necessary, in my opinion. Please remember that the review process of just the initial inquiry package will in itself take 1-2 months at least, and you will be industriously working away at the full mss. during that time.

September 8, 2011 at 3:26 pm

I did this and got enthusiastic response, and they also wanted to know whether I had anything already finished. I said, yes but I am not sure you are going to want it. I’ll send it and see what you say.

So I did this (it was my dissertation manuscript, which I had already discovered by talking with presses was not easily marketable because it was a single author study on a poet not famous in US) and they said well yes, we like this too but to sell the book, this author has to be packaged as having a certain programmatic point of view.

I said yes because one is supposed to publish books and advice is to publish your dissertation, but with very great misgivings because this was advice from people not in research field. The book itself, had it been published saying those things about that author, would have been a laughingstock in field and for good reason. This was at a very prestigious press but evaluators were in a different literary field than I.

I did not know enough to know I could afford to turn it down and I really tried to write that book and say those things, promising myself that this would be the last time I lied about my views and research findings in print, and that I could repudiate the text as soon as I got tenure, and things like that. Still, I couldn’t find it in me to do it.

Where I think people need actual insider advice is on things like this. Had I known a little more about how things work, how you can argue with editors later, how you can say yes to xyz revisions and then do different ones, things would have gone very differently. At the time, though, all I got from any senior faculty person was “Count yourself very lucky and do exactly as they say, right now!” which was off point and uninformed, as well as destructive.

May 16, 2012 at 9:27 am

This is a very useful discussion (I like the grant application template too); however, I do have one question. The proposal length you suggest seems to be much longer than that suggested at any other “advice” websites I’ve looked at, or than what university presses themselves say (though they often don’t specify)? One publisher’s site suggested “in the neighborhood of 2000 words” and other templates I’ve looked at seem to be describing something of similar length. Is what you’ve describe here based on your experience at Duke? (They are among the sites that don’t specify, but somehow I got the impression they wanted something shorter).

May 16, 2012 at 10:35 am

D, thanks for pointing this out. Other readers and clients have as well, by email. I believe I have overestimated the preferred length, and I also believe the preferred length has been shrinking in recent years. So, yes: I believe many presses are asking for a 6-8 page version now. It should still contains all these elements, just more briefly.

May 31, 2012 at 5:15 am

Thanks for the clarification.

June 19, 2012 at 11:59 am

Karen, can I ask you to elaborate on the advice you give earlier in this comment thread, to prepare and send your proposal out before the manuscript is completely revised? I’m eager to make progress toward getting my book published, but I feel like I still don’t completely understand how the different stages in the process relate to one another.

Here’s my situation. I have a dissertation that has more or lain fallow while I spent a year in a teaching-focused position and went on the market. I’ve got one chapter that needs a lot of work, one that needs a bit of work, and two others that are more or less in their finished form. But also, my sense of the project and its stakes has evolved over the last year, and I’m planning to hash all that out in a revised introduction.

So, does it make sense to draft the prospectus now, so I can begin the process of circulating it to presses while I work on making revisions this fall (which will be my first year on the TT)? Or should I focus my energies on refining the manuscript further before setting to work on the prospectus?

June 20, 2012 at 9:38 am

This is an excellent question and one that I am often asked. It’s delicate, and in the end, only you know the state of your manuscript. But basically, I generally advise writing up the proposal and sending it out BEFORE the mss. is in “perfect” shape, because in that way, if you get a bite from an editor with the proposal, then you have some clear ideas and parameters for what the revisions should focus on and look like. And also a formal or informal deadline for completing them. I think that it’s always easier to write with a clear goal than in a vacuum of uncertainty. So in a way, the order I propose is also a psychological tool to get you launched and directed, rather than endlessly and fruitlessly “revising” to no clear end.

Logistically, the editor/reviewers are going to demand certain revisions in the revision process as well, and you won’t know what those are prior to sending out a proposal, so that too can help to prevent lost time and ease the process.

If you work up a proposal and send it out, and get some bites, and they ask to see the complete manuscript while giving you some general comments on the project, then, you can write back and say, “I’ll have it to you in 2 months.” Then do some revisions that reflect any cues or reactions you’ve gotten, and do a modest set of revisions in that two months, and then send them the damned mss. They will then demand more substantial revisions which you can execute moving forward.

The only caveat here is, if your dissertation/manuscript is truly an appalling mess. Then, if you write up a terrific proposal, send it, get requests for the full mss and send it, then you will immediately destroy your chances.

I am trusting that this is not the case, while knowing full well that MANY dissertations are allowed to pass committees and defenses that have no business whatsoever being passed. This relates to the phenomenon of the “nice advisor” that I discuss in the post, “It’s Not About You.” And in truth, some graduate students are so impossible to work with that committees/advisors pass them simply to get them out of their hair. And that’s NOT the committee/advisor’s fault. I have no idea which kind of dissertation experience you, or any reader, had, and what the quality of your dissertation/manuscript is. So just be aware that you must have it read by real, blunt, critical readers in your field, for a reality-check about whether it can pass muster as a manuscript to be reviewed.

A manuscript that is not quite book-ready is totally fine. But one that is a complete train wreck is not.

November 8, 2012 at 1:20 pm

Here’s a reminder to please do a post on the cover letter for book proposal. Thanks!

August 12, 2013 at 10:34 am

yes, I’d love to see this!

August 13, 2013 at 6:58 pm

February 9, 2014 at 3:54 pm

Yes, please!!!!

March 20, 2014 at 7:06 am

Yes please!

January 15, 2013 at 11:08 am

Regarding the marketing section: what would you think of footnoting the Amazon.com “Best Seller Rank” for similar scholarly books? I’ve drafted it, and frankly it looks persuasive to me. I list the ranking of 8 books both within and outside the series I’m pitching it too, saying that my project is most in line with XXX book (with a relatively low/good rating and published by another press), but also follows in the tradition of books from your series like XXX, XXX (which have a higher/worse rating but won scholarly book awards). Per your advice, I also list a few books that my project is similar to that have been covered in the NYT, listing their ranks as well.

Again, the ranks are footnoted so they don’t jump off the page, but my concern is with looking “gauche”–that is, with “pitching the sale” too hard.

Any feedback?

January 16, 2013 at 10:01 am

This is one of those things that ultimately can only be evaluated by seeing the actual whole document, and judging for overall tone and desperation/gaucheness level, but other things being acceptable, this could be ok.

February 13, 2013 at 1:27 pm

Thank you for all of this – it’s incredibly useful. My question is this: is there a point at which you’ve published too much of the ms. in journals to send it out as a book ms. that a publisher would be interested in? I’ve been out of grad school for quite some time, but without a t-t job (due to a 2-body problem), and so have turned nearly all of the ms. into articles that have been accepted to good journals. Is it now to the point where a publisher would no longer be interested? The chapters are longer than the articles, of course, but I wonder if I need a new project altogether. Thanks!

April 6, 2013 at 10:11 am

It may be too late to join this conversation, but I wanted to follow up on the point about sending blind submissions and the type of “footwork” that can be done to avoid sending blind submissions. I would prefer to meet with editors at the national conference for my discipline (the AAAs) but in terms of timing/getting the show on the road would rather submit the book proposal prior to November 2013. Are there other other ways to plant the seed or lay the groundwork for submission besides conference meetings with editors? And is it always inadvisable to send a proposal “cold”? Essentially I’m wondering whether I should wait until I can meet with editors at the national conference or whether it makes sense to take a risk and send it off prior to that. Thank you!

April 6, 2013 at 12:46 pm

You can send an initial inquiry email with a self-intro and short abstract, and if they express interest you can follow up with the proposal package.

April 10, 2013 at 7:36 am

This may be a late addition, but FWIW I’ve attended a few presentations from University Press editors, and they consistently say that a major mistake of book proposals is that scholars put the academic library market as the book’s primary one. These particular presses (not the very top, but very good presses) claimed that academic libraries constituted a very small portion of their market (and had a definite ceiling) and that the best proposals make claims for a much wider marketability. They suggest thinking bigger because if it appeals to NYT, then an academic library is certainly going to want the book too. Like Karen has said in her other post about writing the dissertation like a book, these editors also claim that the convincing book proposals are the ones that show how the book is perfect for use in the undergraduate classroom, where it will be adopted again and again by professors who teach the same courses each year.

July 21, 2013 at 10:42 am

Quick question: the press I’m hoping to go with offers a fairly specific template for their proposal, but one of the sections they wish me to include is describing the existing competition for a book on my theme (and asking me to evaluate the strengths and weaknesses of this competition). This makes sense, but my book will be the first monograph-length study of the literary work in question (though there is a special edition of a journal devoted to it and two scholarly commentaries). Do they want me to discuss here the strengths and weaknesses of articles (which I do elsewhere in the brief lit review) or are they really interested in just marketing monograph competitors? And since there aren’t any in particular, what should I do?

September 16, 2013 at 5:26 am

Hello Karen, Thanks for this post. I cannot quite understand the difference between these two sections of the proposal: “A BRIEF Disciplinary and Inter-disciplinary Discussion” and “A Deeper Background/Elaboration of Topic section.” Could you elaborate on this please?

I recently submitted my proposal and sample chapter to a publisher, which has asked me to expand the proposal. Now I realise that it’s these two sections that are missing–I had followed you Foolproof Grant Proposal in the first part of my proposal. I’m a bit at a loss about the “Deeper Background” in particular; the “brief discussion” sounds to me like a reduced literature review from the thesis. Also, my summary of the chapters was one paragraph long and they’ve asked me to make it twice as long.

Thank you very much for your help,

September 19, 2013 at 2:41 am

Dear Karen, Thank you for this. It’s very helpful as always. I have sent an initial inquiry email with a self-intro and short abstract to a reputable scholarly press and they have expressed an interest. How long do yo you think I have to send them a proposal package? Should I be sending them a proposal package right away or is it OK to spend a week or so refining the package? Thank you again!

September 30, 2013 at 10:47 pm

Dear Karen,

This is great advice. Thank you so much!

Can I just ask — What are the basic elements I should include in a cover letter when I am submitting a proposal? How detailed/long should it be and what should it basically say?

October 15, 2013 at 12:04 pm

From what I’ve seen and heard elsewhere, I’m not sure whether it’s a good idea to multiple-submit to different presses simultaneously. Kahan’s _Getting Published in the Humanities_ for example notes that doing so conflicts with your need to make a special connection with your editor, and that in a small field multiple presses could send your manuscript to the same readers. See also this tipsheet by an Oxford University Press editor. Does anyone have any thoughts about whether this advice may no longer hold?

October 16, 2013 at 7:23 am

you make that special connection later, after you’ve gotten the best possible deal for your book. Indeed, you will feel quite warmly toward the ed, and she toward you, after she has fought for the book with her press, and won the book against possible competition.

June 17, 2015 at 6:41 pm

I submitted my prospectus to four publishers at around the same time, and disclosed this fact as advised. One (U. Toronto) said they had no problem with that, and are interested in the manuscript in due course; two others (Yale and Oxford) declined to look at it as soon as they found out that it was under consideration elsewhere. Just the prospectus, mind you, not the whole manuscript. The fourth hasn’t responded yet. But Toronto would require a big subvention, and there’s no way I or my institution could come up with that cash. If publisher #4 also declines to consider the prospectus, would it be possible to withdraw it from consideration at U of T and re-approach the others, one at a time?

July 3, 2015 at 4:23 pm

Ditto. I had an editor — from the top press in my field — tell me that multiple submissions would can the project for the press. That is, even at the proposal stage, they wanted it exclusively. Luckily for me, their turn-around was quick and they took it, but multiple submissions may be something that is changing, informally if not officially.

March 9, 2014 at 9:04 am

At the moment I have a few articles under review for journals, but no publications just yet. Do you suggest I wait to have a few publications under my belt before I submit a book proposal to a university press, particularly the more prestigious presses?

June 3, 2014 at 7:07 pm

I submitted my PhD thesis a few weeks ago. A year ago, it was already written, and I’ve spent the last year editing it, reorganizing it substantially, and addressing comments generously offered by over a dozen authorities in their respective fields. All of this was done with the aim of eventually turning the thesis into a book. My supervisor tells me I’ve done more work than is usual for a PhD and I should get a book proposal out soon. I really want to do this and believe I am prepared.

However, I also think that I can write five or six journal articles from material within my thesis in addition to the three or four papers I think I can write from material not included in my thesis. Because it is acceptable for books to contain chapters that are similar to articles previously published by the author, but articles are not accepted if their arguments and content have already been published in a book, I am wondering if it would be more prudent first to work on the articles that will later be in the book, then work on the book, and finally to work on the material I cut from the thesis and will not contain in the book.

Could you give me any advice?

Best wishes,

June 4, 2014 at 11:20 am

I don’t know your total profile and record, but you need a couple articles for the job market, so get those out, if you don’t have them now. Then focus on the book proposal and getting an advance contract. Then hold the other articles until either, a) you are in a tt position, or b) you need to keep showing productivity as you continue your job search.

June 5, 2014 at 6:20 am

Thanks, Karen. I have tenure at a small, friendly university in Japan, teaching seven and half hours a week with most of my other time left to focus on my research. I’m happy with the position, but might one day wish to return to work in an English-speaking country. I only have a couple of peer reviewed papers, and only one in my field, so want to improve that. I think my next move is, after your suggestion, to write a couple of papers from my thesis, write a book proposal too, and just sit on the book proposal for six months of so, tweaking it as I go along.

As I said, I received many generous comments from a dozen or so authorities famous in their fields, and each of them said some good things about my work. I am thinking about including quotes from them as a ‘Praise’ or ‘Positive Comments’ section of my book proposal. E.g. ‘Very exciting’ , ‘the range of connections you made always is illuminating’, ‘The very live core of your argument is exciting and important, the thing to hold onto because it’s rare, the very lack of which makes for a surplus of dull writing on [this topic]’ Prof. ABC; ‘The argument is not just descriptive, it is an embodiment of what it describes and that is a rare thing’, ‘Very elegant’ Prof. DEF; ‘The discussion on . . . is excellent (I underlined that word three times!)’ Prof. GHI.

Have you heard of a book proposal including such a section? Do you think it is a good idea? Naturally I would tell my reader-commentators first, and be sure they don’t mind.

June 5, 2014 at 11:13 am

No. don’t do it; it’s tacky.

June 5, 2014 at 1:13 pm

July 11, 2014 at 9:45 am

Hello, I saw your article when making an internet query regarding when it might be appropriate to contact an editor following submission of a non-fiction book proposal. I sent a query to a small house with an appropriate list for my concept, and was told that it piqued their interest and could i send a TOC. Once received I was asked for more as they were truly interested and wanted their content folks to review some of my content. I sent a few chapters in prior to the date requested. When is it appropriate to ask about status (their site says that one will hear back within 2-4 weeks and it’s been 4+).

Thanks so much, Ira

September 8, 2014 at 2:05 pm

Maybe this is a stupid question…. but I assume the more hard numbers one can bring to the “Marketing” section, the better. So… how can a person find out / calculate (even approximately) the size of the market of courses related to one’s sub-discipline? There must be an easier way than poring through course catalogs, school-by-school…

September 8, 2014 at 4:45 pm

no need to go that detailed; nobody expects it. Just a broad sketch of the types of courses for which it can be assigned.

September 9, 2014 at 6:44 pm

November 28, 2014 at 7:09 pm

I have a BA in History which I received in 2012. I am currently writing an American history book on the three most important founding documents which were written at the birth of our nation. I will be done with the majority of my primary research in about another week. I hope to be done with the introduction and prologue by Christmas. I am writing this book because it has always been a dream of mine to be a published author and that it will help me get into a Master’s Degree program and eventually a PHD program. I plan on writing my book proposal after writing the introduction and prologue because the introduction will help me write the book proposal. Should I be looking for a literary agent while writing the book? If, yes, will literary agents charge a fee up front?

July 15, 2015 at 6:37 pm

Hi Dr. Karen, I’m an avid reader and so grateful for all the resources you provide at this blog and at Vitae. I preordered your book and am wondering if the material in your “Professor’s Guide to the Book Proposal” is similar to what’s covered in the book. Looking forward to its arrival!

I know this is probably not the place, but as long as I’m writing, I would like to request a post on how to do a “Statement of Contribution to Mission” requested by a hiring university. In this case it’s a religious university, I don’t know if this is requested other places.

THANK YOU again for what you do!

July 19, 2015 at 7:58 pm

I have collected feedback on this on a Facebook thread from May 2015 or so–please do scroll through the Prof Is In FB page to find that. There is great advice there. I will compile it into a blog post soon.

July 23, 2015 at 11:05 am

Thanks very much!

October 14, 2015 at 4:50 am

Were you able to find the relevant blog post? I have the same question and I can’t seem to locate it.

September 21, 2015 at 7:04 am

The advice I got from junior and senior faculty in North America is that, one has to have at least one journal article out in a good journal before even thinking about submitting a proposal. What do you think about this advice Karen?

September 21, 2015 at 7:20 am

I think that’s basically good advice. The press needs to know that you are capable of writing for publication.

May 24, 2016 at 8:55 am

I’m in a rush to get my book accepted for outside review as soon as possible, as it will likely affect a job offer. One press has expressed interest in an e-mail inquiry, and I’ve sent them a full proposal+sample chapters. But I have no idea how long they’ll take to decide (1-2 months is typical?).

In the meantime, should I keep sending out inquiries and/or proposals to increase the chances of getting an offer for outside review quickly, or might I shoot myself in the foot by sending to an editor who knows it’s being considered elsewhere (I believe we must disclose this, even at this stage?), and therefore puts it on the back burner?

May 25, 2016 at 8:47 am

book proposals can be sent to multiple presses as long as you disclose it in the cover letter. But you should be aware that book proposals to academic presses take at least 3-6 months for a response – the proposal and chapters go out to 2-3 external reviewers and they are given several months for a response usually. This cannot be rushed. Don’t try and rush the editor, you’ll just piss him or her off.

May 25, 2016 at 10:47 am

Thank you. I’m not in a rush to get it accepted for publication. I’m just in a rush to get a major press, based on a proposal and sample chapters, to agree to send it to external reviewers–that is, to request the full manuscript (which won’t be ready for 3 months, I stated in my proposal). I understand once one press has the full manuscript, and has agreed to have it reviewed, they have the right of refusal.

Or do you mean they send the proposal and sample chapters to reviewers before deciding to ask for the full manuscript, and even that can take 3-6 months?

Right now, one major press requested a formal proposal and sample chapters based on an e-mail inquiry. I’ve sent that to them. Meanwhile, another press asked for a formal proposal in response to another e-mail inquiry. Do I need to disclose to them that press 1 is already considering the proposal, even at this stage (before anyone has agreed to have it externally reviewed or seen the full manuscript)? Thank you.

May 26, 2016 at 12:13 pm

Many presses send the proposal and chapters out to external reviewers and that can take more than 2 months. I just checked with a major univ. press Editorial Director and he said, No, they don’t normally send the proposal and sample chapters out to reviewers! So you’re ok on that front. Although I wouldn’t feel totally sanguine that you’d have a response on a 6week-2 month timeline.

And, Yes, you need to disclose to all presses that other presses are considering the proposal. You need to name the presses to all, full disclosure.

May 26, 2016 at 4:50 pm

Okay, thank you!

May 28, 2016 at 1:25 pm

Dear Dr. Karen, I have looked all over the internet to try to find an answer to my question. I hope that you can help me. Six years ago I published a book. The contract that I signed gives the publisher the right of first refusal. They must response with 30 days after I submit a new work to them.

I have just completed a manuscript for a new book. I plan to send a copy of the manuscript to Palgrave Macmillan. However, I also plan to send book proposals to other publishers but negotiate with Palgrave Macmillan first. Would this violate my contract? Thank you.

May 28, 2016 at 6:47 pm

I believe that violates your contract, yes. But I’ll put this query on facebook (totally anonymously) and see what folks in publishing say.

May 28, 2016 at 8:34 pm

Thanks Karen.

June 27, 2016 at 1:05 pm

Hope you haven’t already addressed this topic: when hoping to make a dissertation into a book, is it helpful to send out a “feeler” email to gauge interest or just send the proposal package without any previous contact?

September 13, 2016 at 3:03 pm

Dear Karen, I am currently working on turning my dissertation into a book. My awarding university uploads all dissertations to its online and open access library, unless the dissertation or parts of it are under contract with a publisher. A colleague recently told me that presses are publishing fewer books based on dissertations because many dissertations can now be accessed fully online. Do you think manuscripts based on dissertations that are accessible online are less appealing to academic presses? Does it diminish possibilities of obtaining a book contract?

March 3, 2017 at 10:46 pm

Hello. I’m having this same issue. Have you heard any feedback?

March 6, 2017 at 11:53 am

I am not an expert on this issue, but if you google dissertation embargo, you’ll find lots of writing on this question. My sense is that yes, it’s somewhat a problem, but not a devastating one. People really don’t seek out dissertations online to read… Books are still the way knowledge is disseminated in a broad public way. So I would anticipate that you can still sell a book despite this.

August 24, 2017 at 10:19 am

I agree. This is not as big of an issue as some articles online and advice from colleagues make it out to be, for a few reasons. First, authors of academic publications tend to cite other peer-reviewed research (journal articles, monographs, edited volumes) rather than dissertations, so it seems to follow that university presses know that publishing an author’s first book based on the dissertation (which is available online) does not diminish its value for other scholars. Second, your book will NOT be the same as your dissertation. It should be substantially revised, so it will likely not be the same work as your freely available dissertation. I would still advise trying to embargo the dissertation as long as your university allows (I was able to select 5 years; my book was published after 3), but regardless of embargo length, it shouldn’t be a huge deal.

August 29, 2020 at 12:03 pm

A dissertation is not published in a book form as it is. It needs to be reworked and what needs to be added, changed, or deleted, it is the publisher who will guide after looking at the dissertation. The dissertation is written for two examiners and a book is written for general readers. It should be broader, simple, and devoid of any jargon; references should be few. The other tip is to change the title of the dissertation and choose a different title for a book.

December 15, 2016 at 10:23 am

Madam, Does a meeting with the editors, through acquaintances, increase the chance of accepting my book proposal?

March 29, 2018 at 8:21 pm

Dear Karen, I’m drafting a proposal now, very happy that I came across your site. Question: is it bad form, or alright, to attach bibliography/reference list at the end? I presume if the editor likes the idea of the book, the proposal will be sent out to reviewers who are scholars, and for them references may be something helpful? But again, proposals have a strong commercial purpose, and in that sense, bibliography should probably be avoided? What is your suggestion? Your help will be very appreciated.

May 28, 2019 at 10:57 am

How do you know whether similar books in the field marketed ‘well’ or not? I can think of books in my area (Christianity in China) that I’ve seen around frequently and are popular in the circles I run in, which I think are absolutely key and important and have really changed the field…. but I have no idea if those were actually good sellers for the publishers or not! I’m a little afraid of saying, ‘My book is similar to X/Y/Z’ if it turns out those were actually economic duds for the presses! How does one do the market research to actually figure out the market dynamics?

July 29, 2019 at 10:09 am

I’m struggling with the same problem. I stumbled across this thread: https://writing.stackexchange.com/questions/1483/where-can-i-find-sales-numbers-for-books Long story short: There’s not really a good resource to get these numbers from. I for my part will probably rely on # of google scholar citations as a very rough approximation for the “success” of a book.

[…] their successful proposals (and don’t hesitate to ask them!), check out the sage advice at The Professor Is In.  The blog post(s) there speak to the various sections of a proposal as well as the submission […]

[…] This is a Q and A that arose on the blog this week, following the blog post, How To Write a Book Proposal. […]

[…] have a good handle on what we need to do for this proposal– but I’m going to share this blog post on proposal writing from the Professor is In, in case you want some […]

[…] For professors and academics, I recommend taking a look at advice from The Professor Is In […]

[…] The Professor is In – “How to Write a Book Proposal” […]

[…] I suggest consulting the following resources about three months before you’re ready to begin preparing the proposal, so that you have time to understand the genre before actually writing one. At this stage, you should read chapters 4-6 (“Selecting a Publisher” through “What Editors Look For”) of Germano’s Getting it Published. Then, return to Rachel Toor’s two articles and check out Karen Kelsky’s (of The Professor is In) How to Write a Book Proposal. […]

[…] I suggest consulting the following resources about three months before you’re ready to begin preparing the proposal, so that you have time to understand the genre before actually writing one. At this stage, you should read chapters 4-6 (“Selecting a Publisher” through “What Editors Look For”) of Germano’s Getting it Published. Then, return to Rachel Toor’s two articles and check out Karen Kelsky’s (of The Professor is In) How to Write a Book Proposal. […]

[…] “How To Write A Book Proposal,” 2 July 2015. […]

[…] several current and former acquisitions editors underscore, before the 1980s, university presses could rely on […]

[…] myself from tons of advice starting out, and relied upon articles like Karen Kelsky’s overview of a book proposal  and samples shared from colleagues and friends, but I still don’t think I’ve found any […]

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How to Write a Book Proposal + Book Proposal Template

Book proposals are used to sell nonfiction books to publishers..

A book proposal is a sales pitch that demonstrates why your book concept has market potential in the current publishing climate. It’s basically a business plan to get publishers interested in your project before you finish writing it.

For many authors, selling a publisher on their book prior to having much of it written is an intelligent and strategic decision. With a strong proposal, you won’t have to wait until the book is written before you can make your case for why it should be published.

Writing a nonfiction book can be done differently than writing a novel. Instead of crafting the entire text, then looking for an editor or agent to express interest, authors of nonfiction can prepare and submit proposals first. This allows publishers to decide whether they want to take on the project and pay you for completing it. The process is difficult for memoirists who are unpublished and without an audience, but it is still possible.

Creating a proposal can take several weeks or more, depending on the complexity of the project. Proposals generally range from 10 to 25 double-spaced pages, while some may reach 50 pages plus sample chapters. The length will depend on how much research and development have gone into creating a strong proposal.

New writers or those who are yet to be published may find it easier to simply compose the book initially and afterward get ready a proposal, which isn’t an awful thought with respect to a memoir since numerous editors and operators need confirmation that an obscure essayist has enough writing aptitudes to complete their undertaking.

Nonetheless, this does not spare you from the errand of composing the proposition, regardless of whether the book is finished. If an operator or distributor needs a proposition, you need to compose one despite the fact that your work is done.

You may come across the term “novel proposal” from time to time. This usually consists of a query letter or cover letter, a synopsis, and either part of or the entire manuscript. This has nothing to do with writing a non-fiction book proposal.

Your business case may matter more than the writing

People don’t like to accept it, but when it comes to many non-fiction books, the style of writing is not as important as the profit potential of its concept, topic, or author. This fact can be seen in the rejection slips that Rebecca Skloot got when she wrote The Immortal Life of Henrietta Lacks.

If your book’s goal is to help or educate readers, you are essentially selling it based on your expertise, platform, and concept. The book proposal tries to persuade agents/editors that readers will purchase your book instead of getting advice from YouTube, Google, or another similar source. More importantly, they expect well-written content, not a literary masterpiece. People looking to shed some pounds don’t need an artist; they seek someone who can communicate their ideas and methods in a way that motivates and encourages readers to meet their objectives. Your book should contain new and exciting information that is distinct from the plethora of weight-loss books already available on the market. (What’s even better is if your book reveals what current books have been missing that readers need to know to be successful.)

Readers care a lot about your credibility and trustworthiness if you write about health, self-improvement, business, or parenting.Would you be comfortable taking advice from a book about healthcare written by someone with no medical qualifications? Could you rely on an investment guide written by someone who lives in poverty? It’s clear that in order to gain the reader’s trust, a strong background and experience are required.

For narrative nonfiction, especially memoir, the writing does matter

Instead of being autobiographical, narrative nonfiction is a story about someone or something. Examples include Seabiscuit. To write this type of non-fiction, it’s important to have excellent journalistic and storytelling skills in order to make the story compelling enough for readers. Writers also need to be able to demonstrate that there is an audience for their subject matter and that they have been published in relevant publications. In order for a book proposal to be successful, the sample chapters must be well-written, and the author’s writing credentials must be solid.

If your book’s structure does not require a storyline or longer storytelling, then you need to be able to use your writing skills effectively in order to write and rewrite the manuscript with guidance from an editor or agent. Regarding craftsmanship and technique, you must demonstrate mastery of these elements.

The biggest mistake writers make in their book proposals

It’s easy to think that the book proposal should go into detail about the subject matter. Yet this is incorrect. Rather than concentrating on the content, concentrate on why this book is essential today for its intended readership. Why will it be powerful? How is it meeting an imminent requirement? How does it provide something unexpected and remarkable that doesn’t appear to be like anything that’s gone before?

While some topics that never become outdated may not have a sense of urgency associated with them, they still have to show their importance in the current market. Consider the following scenario: you are publishing a knitting book. It is essential to prove that your techniques and projects will be more attractive to knitters today than those from three decades ago.

When writing about your book’s content, it is important to not get bogged down in specifics. Always discuss the topic from the reader’s or a larger community’s perspective and why it is important now. This will help keep your audience engaged as well as give them a reason to care about what you have to say.

Other common pitfalls:

• Common mistakes to avoid when pitching a book idea include thinking that an in-depth discussion of the topic is enough to make it attractive to publishers. It’s important instead to consider how to make the argument novel and convincing by showing how it relates to something people care about, provides fresh illumination, or challenges readers in unexpected ways. With this in mind, authors should be aiming for a “switch” rather than a “dial” in their approach if they want agents and editors to take notice.
• Similarly, trying to sell your project based on its brevity or accessibility may also fail if you fail to prove there’s an audience out there ready and waiting for it.
• Finally, even if you’ve experienced the issue personally, that doesn’t guarantee success for your book; famous authors or those with established platforms may have an easier time in this regard. It is wise to bear these pitfalls in mind when seeking publication.

The memoirist’s dilemma

When submitting a memoir, the guidelines can vary greatly among agents and publishers. While some may not require a book proposal, others may only want the proposal and the first few chapters. For new and emerging writers who have no publishing track record, they may be asked to submit a complete manuscript in addition to the proposal to prove their writing ability.

To be successful in selling a memoir, the writing must be of high quality, and the story must be compelling and unique. Writing about common topics like addiction or cancer may not be enough to stand out unless the story is exceptional. Additionally, having a platform or a way to reach readers without a publisher’s help can increase the chances of securing a book deal.

The dilemma for many memoirists is that when submitting a proposal, agents may be more interested in the strength of the writer’s platform than the writing itself. They want to see if the story has potential for mainstream media coverage and major interviews that will lead to sales. For those with little or no platform and a quiet or literary story, it may be best to target agents and publishers who don’t require a proposal, as it may only highlight what the project lacks.

Finding a literary agent (and do you need one?)

If you’re looking to get published by a major publishing house, it’s likely that you’ll need to work with a literary agent. Exceptions would include works that are intended for niche audiences or university presses and those that have limited commercial value. In these cases, an agent may not be necessary. Otherwise, partnering with a literary agent is the best way to ensure your book has the highest chance of success.

The most common book proposal sections

Creating a book proposal is an individualized process, and there is no one-size-fits-all approach. However, there are some sections that will be included in most proposals regardless of the genre, author’s style, or publisher’s submission requirements. These commonly found elements are:

Comparing titles or analyzing competitive works should be one of the first steps a writer takes when crafting their book proposal. Doing this can help them understand their idea more clearly and save time in the long run. Usually, five to ten titles are used for the analysis, but less may be enough if the book is about a niche topic or is meant for a very specific audience.

For each competitor, it’s important to note down details such as the title, subtitle, author, publisher, year of publication, page count, price, and ISBN number. It’s then necessary to write a brief synopsis (around 100–200 words) comparing and contrasting how your work fits into the overall scene. Refrain from criticism—publishing is an intimate industry! Also, make sure you have done your research properly.

Don’t be fooled into thinking there are no competitors for your work. If this is the case, it could mean that the book is too obscure or specialized to sell. Moreover, in some non-fiction categories, such as travel, print sales have declined significantly since 2007 due to the availability of online information and resources. In these cases, it may be better for a writer to start with an online platform before transitioning into a printed product once they have garnered a sizeable following and learned more about their target audience.

Target audience

The primary buyers of the book will be those who are easiest to convince and most likely to purchase it. These potential readers should be described clearly instead of making broad industry statements regarding book buying in the United States. Generic, broad statements, such as referring to the number of Google search results or US Census data, do not provide meaningful insight into your book’s target audience.

A better approach is to look at recent reviews from competing titles and discuss how new trends have been left out or overlooked in recent publications. Additionally, it can help to refer to articles from established media outlets covering military memoirs, podcasts, and newsletters with devoted followers as a source of potential readership. Publishers can gain a better understanding of who the primary buyers of the book will be by providing these insights on a specific demographic.

Marketing Plan

When creating a marketing plan for a book, it is important to be specific about the actions that will be taken to promote it. Instead of discussing what you hope to do, focus on what you can and will do using your current resources. This means being confident, firm, and direct about your plans and making them concrete and realistic.

For example, instead of saying, “I plan to register a domain and start a blog for my book,” you should state, “Within 6 months of launch, my blog on [book topic] already attracts 5,000 unique visitors per month.” This shows a clear action and a specific goal. Similarly, instead of saying “I plan to contact bloggers for guest blogging opportunities,” you could say, “I have guest blogged every month for the past year to reach 250,000 readers at sites such as [include 2–3 examples of the most well-known blogs].” I have invitations to return on each site, plus I’ve made contact with 10 other bloggers for future guest posts.

The key to a successful marketing plan is not the number of ideas but the number of solid connections you have and the readers you currently reach through your current efforts. It’s important to show that your ideas are not just hypothetical but actual action steps that will lead to concrete results and connect you with an existing audience.

When creating an author bio for a book proposal, it’s a good idea to start with one that you already use on your website or LinkedIn. However, it’s important to customize it to convince agents and editors that you are the ideal author for the book. Your bio should showcase how your expertise and experience make you well-suited to connect with your target audience. If you don’t have a strong platform, look for other strengths that can give you credibility with readers or help sell books, such as connections to experts or authorities in the field, a large online following, or previous success in marketing yourself and your work. It’s important to remember that the author bio is an important part of the book proposal and should be written as such.

The overview is the first section of your book proposal, but it’s best to write it last. Consider it to be a brief summary of the entire proposal, around two to three pages long. It should be persuasive and clearly present a strong case for your book. If done well, it can serve as the foundation of your query letter. My proposal template includes more detailed instructions on how to write a compelling overview.

Chapter outline and/or table of contents

When creating a book proposal, it’s important to include an outline or table of contents for your book. A chapter outline works well for narrative or detailed works, especially those that are text-heavy and expected to be 80,000 words or more. In the chapter outline, provide a brief summary of the main idea, information, or story presented in each chapter. It’s recommended to keep the chapter outline under 3,000 words. If an outline is not suitable for your book’s content, use a table of contents. And if you want to use both, that’s acceptable as well. The most important thing is to demonstrate how your book’s concept will unfold from start to finish and to strongly convey the scope and range of the material covered in your book.

Sample chapters

When submitting a book proposal, it’s important to include sample chapters to give the publisher a sense of your writing style and the content of your book. If your book is a memoir with a clear structure, include sample material that starts at the beginning of the book. If your book is not a narrative, choose a chapter that you believe is the most important or impressive to include as a sample. Don’t try to use the introduction as a sample chapter, this is your chance to demonstrate that you can fulfill the promises of your book.

Common problems with book proposals

Some common issues found in book proposals include the following:

·        a lack of a clearly defined target audience or market,

·        a concept that is too general and doesn’t stand out,

·        an author without sufficient expertise or credentials,

·        an emphasis on the author’s own experience instead of the book’s appeal to readers,

·        a proposal that is similar to many others without any unique selling points.

These problems can make it difficult for publishers to see the potential success of the book. If a publisher thinks the market is too small, it might be a good idea to try a smaller publisher with a lower sales requirement.

The most common problem leading to rejection: no author platform .

One of the major reasons a book proposal may get rejected is the lack of an author platform.

When submitting a proposal, it is important to show that you have a significant following and are an expert in your field. This can include both your online and offline activities, such as your website, blog, social media accounts, and email newsletters.

Additionally, traditional media coverage and connections to influencers or thought leaders in your field can help to demonstrate your platform. Publishers want to know that there is an audience ready to buy your book and having a large, engaged platform can help to demonstrate that.

Furthermore, with the changes in the publishing industry, it is important to remember that a print book is not always the best way to make money, and authors should consider other ways of monetizing their work.

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How to Write a Winning Book Proposal

You’ve poured your entire self (and a ton of time) into writing your book.

Now it’s time to shop your manuscript to agents and publishers.

The next step is to write a winning book proposal—designed to persuade an agent to ask to see your manuscript and consider representing it to publishers.

Book proposals vary in approach, length, and style, but certain key elements must be included for yours to succeed.

In 10 to 25 pages, you must describe what you have to offer.

Your proposal should answer:

• Why this book? Why the world needs what you have to say. How does your book differ from others in its genre?
• Who might buy it? What kind of reader will devour it and tell their friends? (Hint: “everyone” is the naive, unrealistic answer agents don’t want to hear.)
• Why you? What qualifies you to write this book and what kind of following do you bring to the table?

Your proposal has one job—to pique an agent’s interest in seeing your manuscript.

• Before You Begin:
• Follow literary agencies’ submission guidelines religiously. Details matter. Agents tell me they read a lot into whether a writer follows directions.  
• Submit your proposal only to agents who represent your genre . This may appear obvious, but violating this is common.
• Be sure your proposal is easy to read. More complicated does not equal more impressive.
• Properly format your document : white background, black ink, 12-point type (Times New Roman or another serif type), 1-inch margins all around, double spaced, little or no bold-facing or mixing type styles.
• Use bullets where you can.
• Keep sections and paragraphs short and make generous use of subheads.
• Write in the third person .
• The NonFiction Book Proposal

Elements that must appear in any nonfiction book proposal:

1. Cover Page

Keep it simple and clean; no graphics, fancy fonts, or inspiring quotes . Just the basics:

• Label it a Book Proposal
• Your title idea
• Indicate series or a standalone title
• Your contact information

2. Synopsis

A one-page summary of your book , focused on persuading the agent to solicit your manuscript.

3. Target Market

Paint the picture of who might buy your book. Be as specific as possible about why certain audiences would be interested.

If your book is about life as a veterinary surgeon, its primary target would be aspiring vets, the second practicing vets, and the third animal lovers.

Include statistics on the numbers of people who populate these categories.

4. Comparative Analysis

Tell how your book differs from or complements competing books. Focus on its strengths and distinctives without disparaging the competition. Present data and resist the temptation to exaggerate.

For example, existing works might skew clinical while yours is more personal and anecdotal, focused on the emotional side of veterinary medicine “they don’t teach you in veterinary school.”

5. Author Bio and Platform

Explain why you’re the person to write this book. Your platform matters .

Use tools such as Google Analytics to track your blog or website traffic and reveal the extent of your visibility both on and offline.

For instance, maybe you’ve been a vet for 25 years and are known for your sense of humor and pet rescues. Your “Day in the Life of a Vet” blog gets 5,000 hits a month and 25 comments a day.

You may also be known for your Twitter account (run by a grumpy English bulldog persona), which has over 25,000 followers.

6. Marketing and Promotion Plan

What do you bring to the marketing mix?

Include speaking engagements and audience numbers. If you have organized outreach and a tribe strategy, include that with numbers.

Review your resources and offer a solid plan. Express enthusiasm and outline your strategy for promoting your book.

I am committed to promoting this book through my wide network of peers [and be specific] .

I will be one of the speakers at the American Veterinary Medical Association next year, which attracts over 20,000 professionals.

I host a webinar for about 300 vet students once a week. I also broadcast live while performing pet surgery every other month on Facebook Live, which gets upward of 1,500 views. I plan to use both online platforms to promote my book during the launch.

I am also an adjunct professor of veterinary medicine at Amherst College. The department head has expressed interest in using my book as required reading.

You might also list professional associations, your number of email subscribers, and any public or media appearances. Assure the agent that you’ll be an enthusiastic and available promoter.

7. Contents with Chapter Bullets

Offer concise one to two sentence summaries of each chapter of your book, written in present tense ( Here I present the idea that… ).

Also include your projected word count and completion date of your manuscript or state that it’s already finished.

8. Sample Chapters

Some agents suggest including your first three chapters; others ask for your first and then two others of your best chapters.

• The Fiction Proposal

If you’ve written a novel, the proposal is less complicated.

From first-time authors, most agents expect a query letter pitching an already-completed novel .

It can be as simple as:

I have written a novel about a judge who is trying a man for a murder that the judge herself has committed. The main character is her daughter, who knows the truth, and the narrator is her fiance. It’s 90,000 words and is aimed at adult females who enjoy mystery and romance.    

Also include, all in just a one-page query:

• A brief synopsis of your book
• Information about yourself and your platform
• Competitive titles and how your book is similar or different
• Potential marketing opportunities

If you succeed in getting an agent to ask to see the manuscript, simply submit it with a simple cover letter that reminds them of the request to see it: I have attached the manuscript you solicited in our correspondence of [date]. I look forward to hearing from you.

Make every word count. Resist the urge to sell ( This is destined to be a bestseller… ) or state the obvious ( I hope you like it… or I’ll change whatever you suggest to make it better… ). They know. :)  

1. Sample Chapters

Most agents want to see the entire manuscript of a first novel, but check their submission requirements. Some ask for the first three chapters or fifty pages.

Agents read hundreds of proposals every month, so less is best. In as few as one to three pages, summarize your book.

If sending only your first three chapters, synopsize the rest and don’t pose questions—as you would if writing back cover or sales copy.

An agent is your potential publishing partner and wants answers, not teases like, Will she survive? or generalities like The future of civilization is at stake… Tell the agent what happens.

• Transmit electronically unless hard copy is requested; in that case,  no bindings or staples, only loose pages, numbered.
• Mention (briefly) any personal connection with the agent.
• Include only copies of original artwork or documents you need returned.
• It should go without saying that you want to submit only ferociously self-edited copy with which you’re entirely happy.

Waiting for an agent’s response is like waiting for Christmas!

But what if you don’t hear back?

Some agents stipulate on their sites that if you get no response after a certain period, you may assume they’re passing.

In this technological age, when an acknowledgment of receipt can be triggered by a keystroke, I find a no-response rude. Sometimes you’re not even told they received your material.

In this case, wait six weeks and send a kind note inquiring whether they received it.

If you get a response, even negative, consider whatever advice they offer , and be grateful you heard something.

And don’t be defeated by a handful of setbacks. Many bestsellers were rejected multiple times before they sold.

A Wrinkle in Time by Madeleine L’Engle, one of the bestselling children’s books in history, was rejected 27 times before it was published in 1962.

Andy Andrews’s The Traveler’s Gift was rejected 51 times before it was published in 2002.

Don’t give up.

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Book proposals: two examples

I quite regularly get questions about how to write a book proposal from colleagues. Given the importance of books as an often-required credential for tenure and/or promotion, such questions are to be taken seriously.

Writing a book proposal is a bit of work, comparable to writing a research paper. But two advantages are yours:

• You know what you’re writing about, as the research for the book is usually completed by the time you write the proposal. In fact, I usually only write a proposal when I have an almost-complete book manuscript that just needs some tweaking and polishing in view of publishing as a book.
• Most publishers offer a template that helps us write them in a fairly structured manner. Most of these templates are very much alike – publishers are generally interested in the same things.

Concretely, a book proposal usually needs to offer:

• A rationale for the book: why is this book worth publishing now?
• An outline of the book, preferably by means of an annotated table of contents or a chapter-by-chapter overview.
• An analysis of competition: which other books cover more or less the same field?
• A view of the potential readership: general public? Students (undergraduate or graduate)? Advanced scholars?
• Practicals: length of the manuscript, illustrations, timeline, possible permissions to be cleared, contact address and so forth.

Remember, as a rule of thumb, that a proposal should not just be a factual description of what you intend to offer the publisher: you have to offer an  argument in the proposal, and it needs to be written as an argument for (a) the intellectual case you intend to build; (b) its quality, originality etc. and (c) its value for the publisher, in terms of markets, competition and so forth. What you really need is what is usually referred to as a  pitch : a precise idea of who might read your book and in which ways they will read it. You write your proposal (or “pitch” it) towards this audience.

A book proposal is usually peer-reviewed, so you’ll get feedback and suggestions for revisions if applicable. When it’s approved and your manuscript is submitted and approved as well, the marketing people of the publishing house will send you a dreadful questionnaire in view of for their publicity strategy. You’ll be asked to list possible journals interested in reviewing the book, scholars in the field who can write cover blurbs (“endorsements” in polite language), courses or programs you know of in which your book can be used as a coursebook, conferences you’ll attend and so on.

So here are two book proposals, one I submitted some years ago to Cambridge University Press, the second submitted to Multilingual Matters. Some of you may recognize the books and may also be able to spot the differences between the proposals and the final product.

Example 1 .

Author: jmeblommaert

Taalkundig antropoloog-sociolinguist, hoogleraar Taal, Cultuur en Globalisering aan Tilburg University. Politiek publicist. View all posts by jmeblommaert

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Reblogged this on Blog | Research Centre for Multilingual Practices and Language Learning in Society .

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What to expect from your first book proposal peer review

Author: guest contributor.

So, you’ve written a book proposal; you’ve come up with a detailed table of contents, you’ve endlessly searched the internet to find comparable books, and you’ve narrowed down your audience. There’s been some back and forth, but now the editor you’ve been talking to is happy, and you get that email: “Great! I think this is ready to move forward to peer review now.”

Your heart clenches; you’ve published a few journal articles, so you’ve been through this process before.  The months of waiting and waiting, and then after all that, the dreaded Reviewer 2 comments.  It feels a little bit like a root canal.

Fear not!  You can expect the book proposal process to work a little differently.

Written by Judith Newlin, Editor, Springer

Finding Reviewers

To start with, a book proposal review generally only takes a few weeks.  Your editor will likely secure between 1 and 4 reviewer responses, and will often give them a brief questionnaire to guide their answers.  It’s helpful to editors when proposal authors include a few ideas for potential peer reviewers – respected academics that work in the same area of research. You don’t need to know them personally, and since most peer review is done anonymously, you don’t need to contact them yourself.  Most editors will do some of their own research as well, but your recommendations are a great jumping-off point, and a good indicator of who you think is a part of the audience for your book.

Questions to ask yourself (and others!)

The purpose of peer review is to assess whether the content seems a good fit the needs of the audience – be that fellow researchers, students, or even professionals. Have you left anything out?  Do you spend too much time on the methods and not enough on the results? If you’re proposing an edited collection, do you have a diverse range of expert voices in mind?    Sometimes, this is the moment at which it becomes clear that a project isn’t the right fit for the editors or the publisher’s expectations; most of the time, this is the step that confirms that the project is right to publish, leading the editor to propose the book to the editorial board.

Taking feedback

So, reviews in hand, what’s your next step? Take some time to read through and understand the reviewer comments.  It’s tempting to assume that they just fundamentally misunderstood your intention – after all, you’re the expert at your book’s topic!  But those misunderstandings can be a good indication of where your proposal could be clearer, where you need to include an introductory chapter or further background, where there is room for additional discussion or research.  After all, neither you nor your editor want to publish just any book – you want to publish the book that someone else needs.

Don’t worry if you get asked to make revisions; this is a normal part of the process. Reviewer feedback is used to further develop the proposed content, and makes it a crucial step to ensure everyone is on the same page before the writing process begins.  In the same way that peer review is crucial to ensuring the quality of a journal article, peer review or a book proposal adds status to a scholarly work; it makes it stronger, and helps ensure the final product is something we can all stand behind.

Get Excited

So be brave, get excited, and maybe find a good thriller or beach romance to fill the weeks of waiting while your editor secures peer review.  After all, once that book proposal is under contract, the busy writing period begins! [LF1]  

About Judith Newlin

Guest Contributors include Springer Nature staff and authors, industry experts, society partners, and many others. If you are interested in being a Guest Contributor, please contact us via email: [email protected] .

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• A Guide to Publons

Cambridge University Press has created a guide to give a practical introduction to conducting effective peer reviews, especially for those who are new to the process. Below is some information from within, but  please click the cover image to view the full guide .

Peer review is an integral component of publishing the best quality research. Its purpose is to:

1.  Aid in the vetting and selection of research for publication, ensuring that the best work is taken forward. 

2.  Provide suggestions for improving books that go through review, raising the general quality of the final product.

3.  Validate the author's intended audience for the book, informed by disciplinary expertise.

Note: While the information here is generally applicable to all publishers with standard peer review practices, it's important to ensure that you take into account any specific instructions given by the particular editor you are reviewing for.

Why peer review? 

As well as contributing to the quality of the research corpus in your field, conducting peer reviews can benefit your own career as a researcher. These benefits include:

1.  Learning more about the editorial process.

2.  Keeping up to date with novel research in your field.

3.  Having an opportunity to demonstrate your expertise in a field.

4.  Many publishers provide direct incentives to reviewers, such as payments in the form of discounts on books and access to content.