| Turning your idea into a book | | | | Using your word processing software, separate the |
| With non-fiction books the question of whether or not | | | | chapter breakdown into one document for each |
| to write one has to be a business decision, rather as | | | | chapter. If you prefer to work with pens or pencils you |
| you would take over any new product or service. | | | | can print out the document so that each subject |
| With general non-fiction there is usually room for a | | | | heading heads up one page, then staple those pages |
| good new book on the market, provided it's likely to | | | | together in order. |
| attract a substantial group of readers because: | | | | Now, start writing more bullets and notes under each |
| *It's about something entirely new and very interesting | | | | subject heading. Leave plenty of space between them |
| that no-one has written about before, or... | | | | so you can add sub-notes and sub-sub-notes. Add in |
| *It's about something that's not new, but to which you | | | | the information you want to include from your |
| contribute something entirely new and very interesting | | | | research material (this is much easier to do on a |
| So why write a business book? Well, there aren't | | | | computer) in the appropriate places. |
| many more effective promotional tools. Having a book | | | | Work through this process without hurrying, but keep |
| published still holds a certain kudos and perhaps in | | | | going for as long as you feel the creative energy flow. |
| Pavlov-dog fashion, people automatically associate | | | | Once you have incorporated the bare bones of all |
| someone who writes a book about something with | | | | information you feel needs to go into that chapter, stop |
| that someone being an expert on the subject. | | | | and take a short break. Then go back to the chapter |
| Used correctly, your book will also be a helpful PR tool | | | | and edit your notes as necessary. The break is |
| in other areas, and will make a business gift that has a | | | | important; even if you only leave it for an hour or two. |
| very high perceived value. But never make the | | | | The fact of thinking about something else for a while |
| mistake of thinking you will retire to the Bahamas on | | | | means you look at your work from a refreshed |
| the proceeds of its sales. | | | | viewpoint. |
| Pick a good title | | | | Writing it up |
| A book's title is a very important part of the marketing | | | | Now you need to take the plunge and start writing |
| of a book. With non-fiction and particularly business | | | | prose. Because you have mapped out the content of |
| books, like every other piece of marketing | | | | your chapter so carefully and thoroughly, you'll find that |
| communication the book title has to offer or at least | | | | some it has already started to write itself. Your job |
| suggest a benefit to the reader. | | | | then becomes one of linking and smoothing, rather than |
| It's the title people react to when they see a book | | | | having to think up stuff from scratch. This method |
| displayed, whether that's on a shelf in a bookstore or | | | | doesn't remove the fear of writing altogether (if you're |
| online. When people are looking through books you | | | | that way inclined) but it certainly makes it a lot easier. |
| only have one chance to get their attention, which is | | | | Then, when you finish the final chapter, take at least a |
| why your title needs to be powerful enough to stop | | | | week off from the project. Looking at your work |
| them in their tracks. | | | | again, you'll see a number of things that could be |
| Sub-headings are now quite fashionable and they help | | | | improved without really trying. And passages, |
| a lot to qualify the promised benefit. I've used them for | | | | paragraphs and even whole chapters that previously |
| four books so far and they work nicely. | | | | seemed OK but not quite there, will now look definitely |
| There are two basic publishing routes you can choose: | | | | not there! However because you're coming back into it |
| self-publishing, or conventional publishing by an external | | | | with renewed energy and vigour, what may have |
| publisher. In addition there are a few hybrid options | | | | seemed like a difficult problem to rectify initially will now |
| available, as well as publishing services organizations | | | | be much easier to put right. |
| which offer services to self-publishers on a menu | | | | Your own edit |
| basis. | | | | Take your time over your editing process. And most |
| The conventional publisher | | | | important of all, be hard on yourself. Put yourself firmly |
| The advantages of getting your book published | | | | in the shoes of a potential reader and ask yourself if - |
| externally are: | | | | in this role - you would a) understand everything and b) |
| *It gives your book status (less so than in the past, but | | | | find it interesting. If the answer is no to either then |
| still good if it's a well known, respected publisher) | | | | rewrite the section concerned until it IS a) |
| *Your book will be distributed to all the agreed markets | | | | understandable and b) interesting. |
| at no cost to you | | | | Be mindful of the final word count required for your |
| *They will handle and pay for all design, setup, print and | | | | book. If you're over by a small amount, prune back |
| production costs | | | | unnecessary adjectives and adverbs (something you |
| *You'll probably get paid a small advance on royalties | | | | should do anyway.) If you're over by a large amount |
| The disadvantages are: | | | | you will need to think in terms of removing whole |
| *They will be in the driving seat, although they will listen | | | | paragraphs or even whole chapters. It's far better to |
| to what you want to do | | | | remove large chunks than it is to prune the existing |
| *They will say that they'll market the book, but many | | | | text too hard. Too much pruning will make it stilted and |
| of them won't (see below) | | | | difficult to follow. |
| *You will need to negotiate your contract with them | | | | If you're under the word count and you don't need to |
| very carefully | | | | keep some in hand in case other chapters are too |
| *The percentage of each sale you receive will be far | | | | long, don't try to pad your work out to make it longer. |
| less than if you self-publish | | | | This will make your book less crisp and lively. Instead - |
| Finding a publisher to approach is easy with the | | | | depending on the subject matter of course - insert |
| Internet. Because publishers tend to stick to specific | | | | examples, verbal illustrations, short case histories, |
| genres of book (called "lists") you'll find them simply by | | | | charts, graphics or any other interesting material that |
| searching for your type of topic via a search engine or | | | | supports your key messages without lengthening them. |
| online bookseller. There are also print directories of | | | | Usually you can put material like this into a "box" so |
| publishers. | | | | that it is seen to be separate from the main text. This |
| Most publishers have websites, and some even give | | | | way readers aren't interrupted as they go through |
| you the option to submit your preliminary book | | | | your text, and can look at the "box" when they've |
| proposal online - which is well worth doing. | | | | finished reading the paragraph or section concerned. |
| Approaching publishers and submitting proposals | | | | The external editor |
| If you're going into a publisher cold, you're best to start | | | | If your book is being published externally, once you've |
| with a covering letter addressed to the correct person | | | | finished your edit the manuscript will go the publisher's |
| - usually a senior editor - and enclose with the letter a | | | | editor. Once the edit comes back to you, you'll have |
| one-sheet on which you describe the essence of the | | | | the opportunity to go through the issues raised by the |
| book. Then wait for feedback before you submit | | | | editor and dispute their recommendations if you feel |
| proposals. | | | | they're wrong. Then when everyone is happy with the |
| Once you have submitted your detailed proposals you | | | | result, your manuscript goes into production. |
| may have to wait quite a while - several weeks - | | | | If you're producing the book yourself you don't, in |
| before you hear anything. | | | | theory, need to use an editor at all. However unless |
| The offer and the contract | | | | you're a professional writer by trade, if you're |
| If you get the green light, the publisher will come back | | | | self-publishing it makes a lot of sense to use a pro |
| with a formal offer, saying "yes, we want to publish | | | | editor to have a look at your work. An informed but |
| your book." The "offer" part of it is the advance on | | | | unbiased extra expert on the case will help you |
| royalties - but don't expect much! Advances are | | | | sharpen up your text and will pick up on all the little |
| normally paid in 2 or 3 tranches with payment points at | | | | details that you - being so close to the material - may |
| signing of the contract, delivery of the manuscript, and | | | | have overlooked. |
| publication. | | | | And there you are - a finished manuscript! Now, to the |
| Until you sign a contract you're not under any obligation | | | | final stage... |
| to proceed, even though you will have accepted the | | | | Producing and selling your book |
| publisher's offer. There are a number of key areas | | | | If your book is being published externally you won't |
| you need to take special care, so be sure to research | | | | have a huge involvement with the production process. |
| them thoroughly. | | | | This means that you're relieved of the hassle and |
| Self-publishing | | | | expense of production, but on the other hand you |
| As the nuts-and-bolts elements of book production | | | | won't have all that much control over how your book |
| become cheaper through the advancement of | | | | looks. Publishers will usually send you cover designs to |
| technology, self-publishing becomes increasingly | | | | look at as a courtesy, but don't automatically assume |
| attractive for some business book writers. With | | | | they'll change the designs if you happen to hate them. |
| modern print-on-demand facilities, too, you avoid the | | | | Often a business or other non-fiction book will be |
| need to have hundreds or thousands of copies printed | | | | published as part of a series of titles and so will have |
| initially just to keep the unit cost down. Now you can | | | | to be designed with a "family resemblance" to the |
| have a handful of books printed at a time and still keep | | | | other books in the series. Other times the design will be |
| the unit cost within reason. | | | | dictated by the publisher's corporate image and |
| The advantages of self-publishing (as I see it) are: | | | | colours. Usually, though, if your complaint is well |
| *You do not have to answer to anyone else on | | | | founded they will listen and may well make some |
| design, content, editing, etc | | | | alterations to keep you happy. |
| *You do not have to spend any time on finding or | | | | "You can't judge a book by its cover" -- but it helps! |
| convincing a publisher to take your book on | | | | If you're self-publishing you're free, of course, to have |
| *You get to keep all profit from book sales | | | | whatever you like on the cover. Even if you have |
| The disadvantages of self-publishing (as I see it) are: | | | | strong ideas about how it should look, in your shoes I |
| *You have to find the money to get the book | | | | would invest in a professional design for the cover. |
| produced | | | | Particularly if you're going to sell the book remotely (i.e. |
| *You can get editorial and design support, but you | | | | without your being there) that cover is the only real |
| have to pay for it | | | | point-of-sale tool you have - so it needs to be good. |
| *You have to organise and pay for distribution of your | | | | Publishing services companies usually offer cover |
| book | | | | design as a service. If you use an independent graphic |
| *You will not find it easy to get your book on to | | | | designer, ask to see samples of his/her work on book |
| Amazon and into other key distribution channels | | | | covers before you commission yours. Although |
| *You have to run a publishing business as well as | | | | designing book covers is not rocket science you do |
| whatever else you do | | | | need to know about how books are racked in |
| Commercial sponsors | | | | bookstores, how to display the title, where to put what |
| In some circumstances it may be useful to get | | | | words, etc. |
| involved with a commercial sponsor. Who this is | | | | You will also need to compose your jacket copy to go |
| depends on the nature of your book. If, say, you have | | | | on the cover. This usually consists of two chunks of |
| written a cookery book about pizzas, you might get | | | | sales copy about the book and one short chunk about |
| interest from a national chain of pizza restaurants. If | | | | you, the author. However how many sections and |
| your book is about cats, you might get together with a | | | | how many words in each will be determined when the |
| catfood manufacturer. If your book is about DIY | | | | cover is designed, and that should happen first. |
| property renovation, you might get interest from a | | | | Just as the title and cover design are critical elements |
| chain of DIY stores. And so-on. | | | | at the point of sale for your book, so is the jacket |
| Well, now that you've decided on a publishing route... it's | | | | copy. This has to sell hard enough to make them carry |
| time to write your book. | | | | your book all the way to the checkout and stay there |
| Writing your book | | | | until they've paid for it. If you're self-publishing and don't |
| A daunting prospect? Not if you approach it | | | | feel you can create the snappy words required, hire a |
| methodically. Here are some tips. | | | | pro copywriter to do it. It won't cost very much as it |
| When you come to write the book and are faced with | | | | shouldn't take them long to complete, and it will be well |
| what many people call that "huge, impossible project," | | | | worthwhile. |
| here's a trick that I was taught when shivering with | | | | How the main text looks |
| fear about my first book. | | | | When you're setting your raw text out for uploading to |
| Forget thinking about your book as one project. Think | | | | the designer and production people, start as you mean |
| of it as XX discrete projects (one for each chapter.) | | | | to continue by ensuring that paragraphs are |
| Get that notion fixed firmly in your mind. 15 writing | | | | reasonably short and that you break up your text with |
| projects of 4,000 words each feels a lot more | | | | some or a mixture of the following: |
| comfortable than one writing project of 60,000 words. | | | | *Section headings in bold, larger point size than main |
| You also get a greater sense of achievement as | | | | text |
| you're working through the book, because the | | | | *Cross headings in bold and perhaps underlined |
| completion of each chapter becomes a major | | | | *Emboldened words and phrases |
| milestone. | | | | *Phrases pulled out from the text and centred, as a |
| Planning and structure | | | | cross heading |
| Don't try to rush the planning stage and don't rush into | | | | *Small diagrams, charts, photographs |
| writing the first chapter. Carry a notebook around with | | | | *Bullet points and numbered lists, if appropriate |
| you and scribble ideas, reminders and any other | | | | Remember, for readers there's nothing more offputting |
| inspiration you get while doing the chores or shopping | | | | than long, unbroken blocks of text. And you want them |
| for groceries. Play around with spider maps or | | | | to read all of your book, don't you? |
| mind-mapping programs or whatever works best for | | | | Marketing and selling your book |
| you. The time spent will repay itself many times over. | | | | Publishers say they do marketing, but the reality is they |
| With non-fiction of any kind it helps enormously to | | | | don't do much. And it really is annoying when you think |
| work to a closely defined structure. Spend a good | | | | that they are taking the lion's share of the proceeds |
| chunk of time planning your chapters and ensuring they | | | | from your book sales. So if you want your book to be |
| run in the right order. Subdivide the chapters down into | | | | marketed, you have two choices. |
| bullet point structure of their own and flesh that out as | | | | The first choice is to hire a publicist. This is quite |
| far as you can. | | | | popular among American business gurus and public |
| If you're going to use research material you need to | | | | speakers who do not have the time but do have the |
| assemble it and file it under each chapter of your book. | | | | money. Opinions are divided on whether or not you will |
| Particularly if the research material is printed on paper, | | | | get back what you pay the publicist in extra book |
| assemble it in the same order as the running order of | | | | sales you wouldn't have had otherwise. |
| each chapter. That way you don't have to leaf through | | | | The second, and the more realistic choice for most of |
| piles of material to find what you want. | | | | us, is to DIY. To achieve that without spending big |
| If you have collated information electronically, read | | | | bucks you need to consider a number of important |
| through it all and cut and paste the bits you want into | | | | points following publication of your book; however, |
| another document, so that it runs in the order that your | | | | once again, book marketing is not rocket science. It's |
| chapter runs. Then have it available as a document | | | | much more about using your common sense and |
| called "Chapter X, background research" which you | | | | taking up opportunities to get the word out there. |
| can either open in a separate window while you're | | | | Well, that's it - with luck you'll sell a good number of |
| working or print out and refer to on paper. | | | | books. Enjoy the experience! |
| Chapter breakdown | | | | |