Click on the audio play tab below to listen to the first in our series for writers called My Proposal Critiques. For those who are visiting here for the first time, we recently put out a call for book proposal submissions with an offer to critique them here on The Book Deal.
Behind-the-scenes snapshot
We wanted to provide a snapshot of how editors, agents, and publishers go through and consider proposals: A behind-the-scenes view of the quick and candid evaluation your proposal will receive when you send it to a literary agent or commercial book publisher.
You’ll hear me discussing what works and what doesn’t in these submissions, and some suggestions for how they could be improved. The issues I address are fairly typical, so I hope that many readers will find something to take away from the discussion, and that this gives a sense of how I work with writers to help develop their proposals and manuscripts. For those who would prefer to work with me one-on-one, please check out my Services page.
Two submissions: cosmic ambitions and scientific fairy tales
The first submission up for critique today is a proposal for an action novel about spirituality, with a large canvas and cosmic ambitions. The second is for a series of illustrated books based upon classic fairy tales to teach children about science.
Keep sending in your proposals to . We’ll be selecting another two for the next round. In the meantime, let us know through your comments if you have suggestions and ideas for what you’d like to see in this feature.
You might also be interested in checking out the second round of critiques of proposals for an adventure novel, a biography and an inspirational self-help book.
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[audio:BlogAudioCastTwo4-12-09.mp3]
Thank you Alan. I was captivated by your appraisals of the two submissions. Your expertise made me understand more fully how to go about writing correctly. I have completed two novels but have had no luck so far with getting them published (even though one of them won a national prize!).
I’m repeating much of what others said, but I want to add my appreciation of and delight with the critiques. It’s as though a particularly experienced and astute writing group were at work. I am part of a wonderful group, but wish I’d had a dose of your clear-eyed perspective before I first submitted to the agent who will be forever blessed for taking me on and selling my first mystery, warts and all. Thank you for the feature. I intend to pay sharp attention to all your crits!
This is a wonderful series. Thank you so much for sharing your professional insights and recommendations.
You’re a delight to listen to. Ever consider voice-over work? ;-)
Thank you so much for sharing your knowledge and insight about the publishing process. I have learned so much from your blog posts.
Thanks very much for your information about children’s book illustrators. I’ll tell my friend, who just submitted her first children’s book manuscript out to publishers.
I also find your audio commentary refreshing, novel, and beneficial.
The audio format is very good once the file loads. With slower internet connections though, it is a bit harder to access compared with the text version. It took me a while to get it to work but still I prefer hearing the audio to the plain text.
Awaesome advice. I feel like a fly on the wall at an editor’s meeting. Luv the audio format, great idea in a twitter/facebook age where people are less willing to read anything of length – especially blog posts.
Keep ’em coming. Looking forward to this series.
Thanks Alan,
This is good information to understand about how you work
as well as about the industry.
Dear DNW,
In many cases the author of childrens books do choose their own illustrators, and include such illustrations with the sample text of their proposals. Publishers have no objection, since they have the leverage to approve or disapprove the illustrator and the illustrations either by accepting or not the original proposal or by building that approval into their contract with the authors.
In other cases the text comes in alone and the publisher recruits an illustrator separately. So if you are a childrens book writer and have an illustrator you know and love, ask for some sample illustrations to send along with your work, if you think it could help.
-Alan
Your proposal reviews are extremely helpful. Thank you for the time and energy you put into this.
A rejection to me means revisions are needed but I’m usually completely in the dark not knowing which part needs revision. Your detailed analysis is very educational. Thanks.
Dear Unknown Author,
The understanding of the role of the author in speaking directly to the reader is crucial.
You don’t have to be an extrovert or public performer in order to build an effective author platform. You can work on this at home. You can build a blog, you can develop a following on Twitter, and you can offer to be a guest columnist on someone else’s website — especially if you have some expertise in a particular subject. There are other solitary activities which can be very effective in selling your book. You can also get media training, if you’re interested in pursuing that track. Please also do a search on my blog for “Build your author platform: 10 tips from a pro,” with some great suggestions from an author I publish, Michele Borba, who is quite media savvy and also very generous with her advice.
If an author wants to know how I might work with them, I ask for their entire proposal or manuscript, as much as they’ve written. I evaluate it free of charge and decide whether I’m the right editor for this particular project. If so, I’ll write back about my editorial process and an approximate cost.
In my work with private clients, however, I’m careful not to take on a project that could be acquired as appropriate for my team at Jossey-Bass/Wiley, which is narrowly focused on trade and professional psychology.
Regarding “representation,” I’m an editor, not an agent and I do not represent authors to publishers. No one who is familiar with how the book business really works can predict if an agent will take on a book or be able to sell it to a commercial publisher.
My job is to help an author produce the best possible manuscript.
–Alan
Thank you for this series, Alan.
I have a question about platforms that I ask here because I imagine the answer will inform others as well as me.
The first author in your discussion, especially, seems to have a very strong platform.
What does a first-time author have to do? (I have read your guidelines.)
If they are not natural publicists, are their books less desirable?
Is there a way to build a “team” around an author who is more reclusive?
Also, if you get a submission for this series with an interesting project but no “platform,”
I would be very interested in seeing how you handle that.
And, also, do you only take on editing clients if you feel strongly that their improved book will sell? And, in that case,
do you ever offer representation or present it to your publishing house before or when the editing phase is completed?
I was under the impression that publishers of children’s books picked the illustrators who would work with authors, unless the authors were also illustrators. If true, that may account for the absence of illustrations with your second example.
Thank you for this! I found it very helpful and insightful, and I look forward to listening to more.