Gotham CEO Dan Gerstein and COO Alison Schwartz Get Specific on Big-Picture Thinking for First-Time Authors.
Their discussion ranged widely, from how AI can get you from a blank page to a first (but definitely not sparkling) draft to why asking “how can I get on the New York Times Bestseller list” is a wildly misguided question. You can watch the full session here.
Dan and Alison also examined what it takes to get a book deal, how books get into airport book stores, and what publishers are looking for when it comes to the elusive “platform.”
Here are some highlights:
How do I get my book in an airport bookstore?
The kind of books that thrive in this rarefied retail environment generally have a timely, unique hook exploring distinctive and powerful ideas, but are also familiar enough to sell without any special marketing.
To put it another way: to be an airport author, your book has to be sufficiently distinctive to stand out and, at the same time, be familiar enough that passengers know exactly what the book is about while rushing to Gate 24B.
The vast majority of airport reads are published by a traditional publisher (i.e., working with an agent and getting a book deal), and that means first starting with a banger of a book proposal and a robust platform — and then hitting a bestseller list.
If you’re taking the hybrid path, your hybrid publisher can quote you for co-op placement (i.e., faceout, front-of-store placement), which costs about $45,000 if your book gets picked up by the Hudson News powers-that-be.
What we talk about when we talk about platform
“Platform” is an author’s connection to an established and engaged audience.
Let’s get the fuzzy part out of the way: there are no specific data standards that need to be met. Rather, it’s a cumulative assessment of your collective social media following, how many newsletter subscribers you have, how often you appear on television or popular podcasts, how often you give paid speeches and appearances, and so on. Publishers holistically consider these data points to determine an author’s credibility and total reach.
When it comes to traditional publishing for nonfiction at this moment — and for the foreseeable future — platform is paramount. Publishers count on an author having a big following and being able to sell books themselves in order to minimize the publisher’s risk when they acquire the book.
Ask yourself honestly and without ego: Do you have a large following? Do people recognize your name? Do you already have built-in credibility? Is there existing, built-in demand for what you have to say?
What about the quality of the writing?
Good writing matters — and if you don’t have a platform, then it’s imperative that you have a killer concept, really powerful, distinctive ideas, and a beautifully written book.
A seasoned ghostwriter can ensure that you go to market with a detailed and attention-grabbing book proposal that communicates to agents and acquiring editors that you can in turn deliver a compelling, and immensely readable, full-length manuscript.
The essential elements of a book proposal
Nate Roberson, Gotham’s Managing Director of Bookwriting, shares his “non-formula” for what a book proposal must do and deliver:
Every proposal is different. Like a cover letter or a pitch deck, templating can establish some useful guidelines, but the good ones often break the mold in some way. The main elements that most proposals include, however, are:
Summary/Overview. A brief (usually 1-2 pages) description of the project. What is the book idea, who is the author, and why should an agent or editor see potential in it? This shouldn’t be a dry, factual breakdown like a Wikipedia entry, but more like the back cover copy you might read if you picked up the book, summarizing the contents in a way that sounds intriguing and compelling.
Detailed outline. A chapter outline that includes 1-2 paragraph summaries of what each chapter will contain. The goal here is to give a reader a sense of the overall scope and structure of the book, such that each chapter description makes them want to read it and that the overall outline makes a case that there’s a book’s worth of good content here and that the author has put real thought into how they’ll execute the project should they get a book deal
Author bio. Who is the author, and what do they bring to the table that a publisher might value? Are they an expert or established success in a related field? Do they have a rigorous schedule of speaking engagements, or have a large social media following? If they’re hiring a writer, does that writer have credentials or prior credits that would bring additional complementary value to the project?
Comp titles. What are some other books, ideally published in the last few years, whose commercial performance demonstrates that there is a real audience for the project? Every good book is going to be unique, so this isn’t about finding books exactly like your project; rather, it’s about identifying books that sold well and that might appeal to the same reader as your project. Thoughtfully chosen comp titles serve as evidence that the commercial potential is real and quantifiable.
Marketing plan. Not every book will have this, so if you don’t have a marketing plan, then leave this out. But if you do have both the resources and a plan to promote the book, highlight your plan so that agents and publishers can factor that into their strategies and calculations.
Sample chapter(s). Offering at least 1 (and perhaps even 2 or 3) sample chapters will give readers a sense of the voice and overall reading experience your book will deliver. Note that these don’t have to be the book’s first chapters — if you think that a middle chapter is going to be the best choice to showcase a powerful, gripping section, that’s a great sample chapter candidate.
(Note: if you’re a debut author with a memoir, then skip the book proposal stage. You’ll need a full-length manuscript.)
The discipline of this exercise is invaluable in terms of honing the message, identifying the core audiences, and positioning the project — in particular, the hook and author’s platform — to literary agents and acquiring editors.
And if you find that the market does not support a traditional book deal from one of the “Big 5” traditional publishers, a smaller independent publisher, or an academic publisher, fear not. The work you’ve done at this stage will still be incredibly relevant if you pivot to alternative publishing paths, including self-publishing or hybrid publishing.
