Rethinking Book Proposals

What would it look like if agents & publishers changed some aspects of book proposals?

If you’ve been reading this newsletter long enough, you know that I like to put forth ideas to make people think a bit differently about the publishing industry. Today’s edition of Publishing Confidential is no different. Throughout my career, I’ve read countless book proposals. During my stint as an agent, I even wrote a few of them. While I’m not an expert in the history of book proposals and don’t know who decided they should be structured as they are, I do think it’s time to rethink some elements they include.

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Rethinking Book Proposals

I. Finding Comp Titles is Stressful & Not Always Useful

Publishers want comp titles for submissions because, as we know, no one in the industry can predict what will sell. However, comp titles give publishers an idea of what books that are similar to yours have sold in the past. The problem with continuing to insist on comp titles is that unless a publisher considers what outside factors (economy, pandemic, etc.) affected sales of comp titles, it’s not fair to assess their merit on sales figures solely. Data only tells us one part of a book’s story, which isn’t always fair. Further, no one possesses a comprehensive knowledge of all trade books published within the past five years, so there are comp titles unfamiliar to agents and editors.

Here’s what I’d be interested in seeing: book proposals that use a combination of comp titles, trending topics, TV shows/movies that the audience for your book watches, the music they listen to, where they shop, and what apps they use. By doing so, the audience for the book is identified not so much by the books they’ve previously bought but by their current consumer habits.

This might sound ridiculous, and maybe it is. Still, when 2025 rolls around and publishers look at titles from 2020-2022, it’ll be impossible to accurately compare those sales to potential sales for a book published five years after the pandemic began and when the economy has (hopefully) recovered.

II. Social Media is Fragmented

During the 2010s, social media followings played a big part in deciding what books to acquire and forecasting how they’d sell. Those days are over, and publishers (and agents) need to face the reality that someone could have 500K followers on X (formerly known as Twitter), and maybe 1% of them will see a tweet about buying the author’s book. Additionally, some users abandoned X and spent more time on Threads or Blue Sky, where their audience is smaller.

Instagram is still a great place to discover books, but as with any social platform, we are at the mercy of the algorithm. TikTok, as much as publishers love it, is unpredictable. Both platforms work nicely for specific categories (cooking), but a big following is not a slam dunk.

I think Facebook is all about groups, so highlighting which groups you participate in and how they could help promote your book is a plus.

My point is, why are we still emphasizing ineffective platforms for book promotion? Why should authors be required to put so much work into something that doesn’t provide them with a good return?

III. Substack, the New Kid in Town

Substack will become a more significant player in book sales over the next two years. It’s already making an impact for some authors, which is excellent. Landing in someone’s inbox and having a consistently good open rate is more meaningful than tweeting into the abyss. Should every author create a Substack? Of course not, but if you can find your niche here, that is half the battle.

IV. Redefining Marketing and Publicity Sections of a Proposal

The publicity landscape has drastically changed, and book proposals must catch up. Both authors and publishers must approach this section differently. While listing places where your previous book was reviewed is still meaningful, it's problematic if those reviews didn’t lead to sales. If your last book had a robust marketing campaign, but sales were mediocre, an uphill battle awaits you as your agent puts your next book on submission.

Debut authors are in a tough spot regarding the marketing and publicity section. Bylines are helpful, but the metrics of how many times the piece you wrote was clicked on and shared should matter. You might feel a fire in your belly for your viral tweet, but it isn’t significant to publishers. All it proves is that you were at the right place and time.

V. The Idea and Writing Still Need to be Good

Book publishing is a trial-and-error industry, and I don’t see that changing. Are there books published explicitly to become bestsellers? Absolutely, and I will write about those campaigns shortly. Most books hitting the marketplace are untested—we know this—but authors must still write the best possible book (and proposal). It’s important to remember that the acquisition process is imperfect, and what seems great to an agent, author, and editor may fall flat with others in a publishing house. It’s a matter of taste, yes, but it’s also a matter of being realistic about consumer behavior. The alternative is to put a photo of Beyoncè or Taylor Swift on every book cover.

End Notes

What I’m Reading: My new MBA class started, so I’m reading case studies. Riveting!

What I’m Listening to: This is my go-to playlist on Spotify. Warning: It’s a GenX rock bonanza.

What I’m Watching: Lots of football. My fandom is Patriots, Cowboys, and the Bills because my son works for them.

What I’m Buying: This is female-centric, so I apologize, fellas. I have tested many bodysuits, and my faves are from Summersault. The material is soft, and the sizing is perfect. My daily uniform is a bodysuit, jeans, and these cute low heels from Aerosoles. I’ll throw on a blazer like this one from J.Crew as it gets chilly. There are less expensive options from Old Navy and Madewell.