Okay, today I have a fan trained in the direction of my feverish brow, my feet up on a big block of ice, and a bevy of maidens singing softly in the background, to calm my mind as I recall the hectic proposal-writing process of last summer. Today, I am going to talk about the second part of the book proposal: a discussion of whom you expect to buy your book and why.
It is very, very common for book proposals to skip this step entirely, moving directly from the overview to the marketing plan. In fact, a significant minority of books and articles out there on how to write a proposal either advise limiting this information to a line or two in the marketing section, or ignore the issue entirely. If an idea is good enough, everyone will want to buy the book, right? No need to descend to the sordid mention of submarkets and demographics. Certainly, the proposal is less work if you omit this section, and it’s definitely easier on the writer’s ego not to wonder about who is going to buy the book in the future. Let’s face it, quite a lot of us writers truly want to believe that there are charming people out there who will rush out to buy a book simply because we have written it. I’ve met many an aspiring writer who has actually become angry when I asked who their target market was, as though the very question implied that their work has something less than universal appeal, or as if pausing to consider market forces for even an instant somehow compromises that quality of the writing as Art. Let me let you in on a secret: this is not a question that troubles career writers. I have literally never met a successfully published writer of either fiction or nonfiction who didn’t have an awfully good grasp on who buys her work and why. Marketing a book is simply too hard for a prudent person to leave to random, uniformed chance. And, frankly, to professional eyes, the omission of a specific section on the target audience can look like fear that there might not BE an audience for the proposed book; agents and editors tend not to be too impressed by prospective writers who haven’t done their homework. Even the artiest editor, even the least worldly agent keeps a very close eye on market demographics. This is just common sense: otherwise, they would go out of business rather quickly. If you do not identify the target market, your agent will have to, in order to sell the book to the editor, just as the editor will have to explain your book’s market appeal at editorial and sales meetings prior to buying it. If you have given a lucid, well-researched presentation of your target market in your proposal, both the agent’s and editor’s job become substantially easier. So don’t listen to the seductive calls of self-love, laziness, or fear: there are very good reasons to take some time to picture the people who will be reading your book. Think of it as an act of respect to your reader: how will your book improve this reader’s life? Will it add pleasure, knowledge, practical tips on how to do something? The target audience section is the place to demonstrate how the book will accomplish this. But first, you will need to identify your target reader. Oftentimes, it is someone very like the writer herself: in a pinch, you can always identify your own demographic, or the demographics that apply to the people in your case studies. Allow me to use my own book as a practical example. For my memoir about my adolescent relationship with SF author Philip K. Dick, it was significant that there were 44,800 websites devoted to him and his work, and that between 5 and 12% of the U.S. population suffers from agoraphobia, as Philip did: naturally, these startling statistics made it into my book proposal. However, it is also significant that I am a Gen Xer: there are 47 million Americans in my age group, 40% of whom have divorced parents. Obviously, not all of them will be interested in Philip’s work, but almost 19 million people in my demographic have watched their parents deal with their exes. Since my memoir deals in part with the unusually cordial post-divorce relationship between Philip and my mother, I could legitimately identify these people as potentially interested readers. Do include statistics if you possibly can, just in case your target agent and editor haven’t done a book on your subject recently. Yes, I know: you’re a writer, not a demographer. However, the average agent or editor isn’t a demographer, either; you do not want to run the risk that an uninformed guess at an editorial meeting will underestimate your audience. You’re better off telling stating the facts outright, so the dream editor for your bass fishing opus can say to her colleagues, “Wow! Who knew there were that many people reading books whilst standing thigh-deep in rivers?” If you can’t find the statistical information you need on the Internet, most large-city public libraries have a research librarian who can tell you where to start looking. Be very polite to this person: she may well help you so much that you will want to name your first child after her. When you are hunting up your statistics, give some thought to not merely the ideal reader, who is already out there buying books on your topic, but also the more casual reader, whose interests may abut your topic. While my memoir is not primarily about mourning, it does discuss several important deaths of people close to me that occurred during my adolescence. By dint of doing a bit of research, I learned that in 2004, 8 million people in the US suffered deaths in the immediate family; of those, 400,000 of the survivors were under the age of 25. Before they are old enough to vote, more than 2% of Americans have lost at least one parent. Didn’t these people have life experience that might lead them to be interested in my book? Keep brainstorming until you come up with several categories of reader. Even if your book is primarily geared to a genuinely huge demographic (the kind politicians target, such as soccer moms or NASCAR dads), including a few smaller groups in your target market discussion will demonstrate that you have given the matter thoughtful consideration. Quite simply, it will make your proposal look more professional than those that identify a single demographic group. Once you have identified a few market segments, you will need to show many of these fine people are there out there, and how they may best be reached. If there has been a major bestseller that targeted any of your target markets, mention its sales here. Yes, if you are writing on a common topic, pretty much any editor who specializes in the type of book you want to produce will have a clearer idea than you do of how many sales a particular bestseller racked up. However, part of the point of the book proposal is to demonstrate to potential agents and editors that YOU have taken the time to do your homework – and thus are not going into the book-writing process without some idea of how the industry works. You, by implication, will be a well-informed joy to work with throughout the whole process. (And yes, Virginia, part of the way the industry works is that people tell one another things everyone concerned already knows.) Tomorrow, I shall delve into that bugbear of proposers everywhere, the marketing plan, but for now, my ice is melting. In the meantime, keep up the good work! — Anne Mini