Writing a Trade History Book, Part 2: The Proposal

Click here to see Writing a Trade History Book, Part 1: The Introduction.

When I wrote my first Non-fiction book proposals, with all of its moveable parts, I felt intimidated. I had to create an overview, author bio, market analysis, competition, plan for promotion, the table of contents, my chapter summaries, and a detailed explanation of my source materials before a literary agent would even consider looking at my idea for a book.

I definitely can’t tell you how to write a non-fiction book proposal (thankfully others have gotten into that), but I can tell you about my experience creating and revising my first one (I’m now working on my second, woo!), and how worth it it really was.

Of course I loved creating the table of contents and the chapter summaries. Doing that helps you figure out if you’ve got enough material for a book, or if you’re trying to collapse too many elements into one. And the part where I explain my source materials? Really fun- I loved gathering all of my books, microfilms, photocopies, and archival photos into once place and taking stock of all there is. Seeing all the primary sources together like that helped me to ask where the silences were, and where the meatiest parts of the story existed. That caused me to make a few changes to my table of contents. Then gathering up my secondary sources helped me to figure out if my book had a chance of being fair and balanced, or if I over-relied on a handful of historians whose interpretations I enjoy more.

But then there were the other parts. A big shout-out to my agent for being patient enough with me to revise them multiple times before sending it on to publishers. The other parts are much more marketing-oriented. I tried to imagine how someone in the book-selling business would see this book of mine, and how they would sell it. On which shelf would it go? To which books could I compare it? What kind of reader would want it? How could it be made most profitable without losing its essence and integrity?

Writing those parts of the book proposal showed me that I hadn’t been paying enough attention to the world of publishing. And that’s to be expected- I’ve spent the past twelve years in academia. While I do read widely and enjoy trade history books (and other trade non-fiction), the majority of the books I’ve gone through in that time have been academic. That means that I have been exposed mostly to books created to fulfill professional curiosity and research gaps, not books created to entertain and teach the public about history. I had to entirely re-orient myself.

Thankfully, that’s where the teacher-brain took over. I sell history to everyday people all the time. My students, whether they are undergrads or older adults continuing their education for fun, do better with historic material if it’s presented in an interesting way. I weave together all kinds of stories for them upon which to hang all the facts and theories they need to know. I’m always picking the unconventional and surprising historic figures in my primary sources and showing students the larger paradoxes of the time periods through these characters’ daily lives. When my students lean forward and stop surfing the net, I know it’s a story that will sell.

Writing the book proposal taught me that the main difference between writing an academic and a trade book is like the main difference between sitting in the archives and standing at the lectern: it’s audience. The “So what?” is important in any non-fiction book, but the other academics who read your academic book don’t need it: they understand the intrinsic importance of most historic research, and if your book has to do with their topic, they’ll give it a glance. In a trade book, however, how well you nail the “so what?” is everything. If you show your readers how everyday people were affected by the thing you’re writing, they want to know more. Just like you’ve got to convince your students that the time and money they have invested in your class will pay off, you’ve got to reassure the reader that your book is worth it. It’s a mental shift that affects every other part of the proposal and your book, and opens up so many exciting avenues to explore.

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