How did you get started writing?

I began by writing career profiles. I thought about jobs I wanted to know more about, interviewed people who did that type of work-- and highlighted their background qualifications, education, and training required-- then I painted a picture of the "day in a life" of this job, added in their salary, and the competition for that job in the marketplace. 

I sold these profiles to Careers and Career World magazines. It was a good exercise in interviewing and I detailed the lives of an FBI agent, a crane operator, a sheet metal worker, a chimney sweep, a jewelry designer, and many others.

I also wrote for a local newspaper here under the byline "No Stone Unturned." I had that weekly column for eleven years and wrote 600-plus articles. Great training for deadlines and quick writing. And it made me famous in my community.

What made you pursue a book on party games for grown ups? Is it something you were already interested in or something that you noticed wasn't already out there?

At this particular time in my life, I belonged to many local organizations such as Beta Sigma Phi, Mac Users Club, a Pinochle group, etc. These were active groups with a lot of social time and I seemed to wind up on the event/party planning committees. I was also placing foreign exchange students with host families, and parties are the best way to check to see if the student is getting acclimated to their new family life.

After a while, I became a "Game Lady," and folks were either asking me about games or busy participating in my collection of games. Then it naturally came to me that if games were so successful with pulling people together and making parties more interesting, why not create a games book to fill that need? I checked the Books in Print volumes and found lots of children's party game books listed, but nothing for adults. So, with 100+ time-tested games under my belt, Great Games for Great Parties came to life.

What is a book proposal?

A book proposal is a sales document. A detailed pitch. A market analysis. An audience delineator. A cogent outline. A promotion plan. A resource evaluator. A methodology to help the author bring their idea and book to fruition.

A book proposal is not: a vehicle for self-expression, a way to show others how talented you are, or a series of unorganized or disparate thoughts.

With this document you are seeking an investor. Someone who will like your new idea as much as you do, and want to work with you to make it a great product.

And that's the short version of your answer, Amy, because it is also a piece of work that is highly psychological and very thought-driven.

Have book proposals changed much since you wrote your first one in 1990?

Yes. The market grows and changes as if it were a living entity. People's perceptions of life are always evolving and the book trade is like a mirror hoping to reflect that change.

Today's book proposals are being crafted by writers who have a history with their subject. They are highly-educated, often Ph.D.'s. They also have a medium or way to tap into their audience needs.

This is not a business without restrictions. This is not a project for wimps.

Why are book proposals so daunting to writers?

One simple word: thinking. Thinking is hard work. We really spend very little time during the day actually thinking. We spend a lot of time preparing to think.

Let me explain a little further. Every idea has been done. When people want to create a book, they have an idea. I am going to write a book on how to train dogs, for instance. Okay, there are a lot of dog training books. But what sets your book idea apart from the others? Publishers do not want a do-over. They want original material. So, the writer has to hunker down and try to think of an approach and a method with which to deliver their information in an exciting, NEW manner. That means that first-level thinking is no good. We all come up with ideas that are trite to begin with-- now we must stretch to create. Perhaps you need to test a method to train dogs using whistles. Now if you hold classes, and 50 classes worth of dogs are performing to your whistle technique, you may have the beginnings of a book.

Why are they (proposals) so important to agents and publishers?

Well, in essence, you are asking someone to invest about $60K into your new idea.

The publisher has heavy costs: rent, utility bills, employee salaries, operating costs and overhead, printing fees, distribution costs, and on and on.

In order to sell them your idea, you must make it clear to agents, editors, and publishers (the trifecta of gatekeepers) that your book will make them money, over and above what they invest. It's as simple as that.

Is there an average turn-around time between acceptance of a book proposal and submission of the completed manuscript?

On the author's part, he should specify in the book proposal itself, how long he'll need to make the book a reality. (And that's another reason to do your homework.) I often tell publishers I can have the book ready for editors anywhere from six months to one year. But, of course, that depends on how much work and research has already gone into the book idea.

On the publisher's end, most of my contracts have said that the book would be published within 18 months of receiving the final ms. (manuscript). And that is probably very accurate.

I would suggest however, that the writer not delay starting his book while waiting for his first advance payment. Publishers usually pay 1/2 up front, the first payment upon signing the contract, and the other 1/2 upon delivery of the finished book. (Sometimes for larger advance monies, that can be broken into thirds.) 

In any event, both contracts and checks from publishers always take longer to arrive than you think. For example, with royalties (payment on books sold), if it says in your contract you will receive your check in April and September-- they will be mailed out on the last day of April and the last day of September.

Are there any key qualities you look for when considering which publisher to send a proposal to?

Absolutely. There are so many things to think about with agent selection, and finally, the publisher choice. You want the company to be reputable, have a nice body of work, produce products that you think look good and are appealing. Then, do some detective work and try to contact some of their authors to inquire as to how they have been treated. 

With a large publisher, you may be the guppy in a very large pond, whereas, with a smaller publisher, you may be a large catch. In this business, all contractual agreements and expectations should be worked out in a realistic manner.

Any red flags that you'd suggest writers avoid?

Hmm… red flags. Well, if you've done your work and can snag an agent, you will work out a lot of the details with him eventually. But, remember, you are accepting that agent, and the agreement there is that he/she is working on your behalf. Therefore, do not accept everything told you willy-nilly. Invest some time into learning about the publishing business and ask your agent intelligent questions.

I think the first hurdle is finding better-than-adequate representation. There are a lot of good places to look for agents, lots of guidebooks, and Literary Market Place is pretty exhaustive. (It can be found at most libraries.) Also, I would recommend an agent who is a member of AAR-- The Association of Artist's Representatives because they have a code of ethics and are not allowed to charge reading fees and other details. Their link is: 

http://www.aar-online.org/mc/page.do

What motivated you to begin teaching your course on book proposals?

Golly, I've been teaching online for a decade or more. I taught forensic science courses to mystery writers for Kiss of Death, a chapter of the Romance Writers of America. I also taught for Carmel Thomaston's Painted Rock Writers and Readers Colony before her death; and I had a long stint with MediaBistro. 

I really love the medium of online courses and in the eight-week period, I get to know my students well. They generally remain in my circle of friends and tell me about their progress from then on. 

There is a heavy psychological element to writing a book proposal that is not evident and it usually requires some introspection. It's nice to help the students work through that. And I'm pretty good with that. Besides, I'm accessible and even though I am tough, it builds bonds and produces great products and good networking.

What methods do you use to market your books and courses?

I try to stay "in the loop" so to speak (boy, two trite sayings in a row!)-- BUT, no matter the clichés, they are still true. 

I send out a bi-monthly author's e-newsletter called "Soup's On" and it has information about where I'm speaking, what's happening with my business and I often interview my friends for it. I also have several websites; my main one was just featured in the July issue (2007) of Dynamic Graphics Magazine as a makeover! (Now I just have to take their advice and update, and it would happen sooner if I could clone myself).

I also do quite a few speaking engagements and teach workshops at a variety of conferences.

Last year too, I chaired the first Mystery Writers of America conference in Arkansas. It was called Murder in Spa City and we had 65 attendees and made money. That makes one recognizable regionally.

I also volunteer for organizations like ASJA, the American Society of Journalists and Authors, Inc. I've been Chair of the Hospitality Committee for about four years now and I get to welcome all the new members. (Who doesn't remember the person who welcomed them into the organization?) Plus, I go to the conference in New York every year and I always tack on a few extra days to make it a week and that is for visiting with publishers, editors, and writer friends.

I also don't hesitate to add a signature to all my e-mails. (That's a no-brainer.)

And just like other authors, I have bookmarks, brochures, and nice hardcopy materials which I freely distribute wherever I can. 

And every so often I write an article for The Writer to maintain some visibility.

Also, I write two blogs, both crime related, among some prestigious other players. See: http://www.incoldblogger.blogspot.com

Finally, this may not be so obvious, but if you mentor others or have some form of outreach, you'll be noticed and remembered.

How do you keep your newsletter, Soup's On, fresh?

Omigod, I've been doing them since 2001. I guess I just try to include the things that interest me. Articles about marketing, promotion, the publishing business. Last issue I featured Pete Masterson in a Q & A interview and he told us about book design and production. I just started my own publishing company, Primate Press LLC, so my interest along those lines will pick up. I am going to feature an interview with a book distributor soon.

Here is the link to see the archived "Soup's On" issues and to sign up. It's strictly subscriber based.

http://www.authorsden.com/visit/viewNewsletter.asp?authorID=1791

Do you have any tips for writers thinking about starting their own newsletters to keep friends and readers in the loop of their own writing?

Just do it. There are a lot of vehicles to help someone distribute their own little publication so, just come up with a clever name, a format, get interviews or do a little research on helpful writer topics; make it easy to subscribe from your website, and let her rip!

You're a member of The American Society of Journalists and Authors, Inc., Mystery Writers of America, and Sisters in Crime. What's the most rewarding thing about being a member of a professional organization?

Ah, making cool friends. Now before I go to New York (or really any city) I look at my e-mail addresses and send notes to people telling them I'm coming to their town. We meet for lunch or dinner and kibbutz.

And when you get involved in an organization, people want to work with you. 

For example, when I organized Murder in Spa City, I invited Arkansas authors to give programs. Well, Charlaine Harris came, Laura Castoro came, Radine Trees Nehring and Velda Brotherton all presented programs. 

Then, last April Charlaine and I drove to Houston for the Romantic Times BookLovers Convention, (we were invited by our mutual friend Susan McBride); and, finally, in November, I invited both Charlaine and Laura to a "Celebrate Arkansas Authors" function put on by the Garland County Literacy Council (I got to pick seven authors for it, how cool is that?)-- so, you see, networking is rewarding.

Amy Brozio-Andrews is the managing editor of Absolute Write.

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