Whether you subscribe to the manager’s lament that time is money or consider the matter more poetically, writing a book requires a budget—in terms of cash and commitment.
Most people know that writing a book takes a lot of time, but—ironically—foreknowledge doesn’t make reality less surprising. This is particularly true for authors who have been mulling over their ideas for years, have reached the now-or-never precipice of action, and are ready to work.
In the case of a book, the "work" is often slow and circuitous. It can take a long time to think of and test out ideas, outline and draft and revise and outline and draft and revise again, solicit readers and reviewers and editors, and efficiently integrate the best and most applicable feedback.
That's why our nonfiction authors take nine months to two years to develop an idea into a book that can be pitched to and secured by a traditional publishing contract. On average, our nonfiction authors who begin with an idea but not a draft work sixteen months before they are ready to approach publishers.
For memoir writers, the timeline can be longer. This might be because memoir writers, although they frequently arrive with a draft in hand, must do strategic work to identify and understand their audience. Further, unlike argument-based nonfiction, the parameters of memoir writing are nowhere near fixed. An author must decide which of the almost infinite moments that make up a life will meaningfully move readers.
The point of this post is not a reality check, though, I swear! Whether or not authors keep their expectations realistic is a moot point: The difficulty of finding time to write and then actually writing makes reality almost impossible to avoid.
The point of the post is to develop your book with a plan that budgets not just money (which I’ll discuss next) but hours, days, weeks, maybe months, possibly years. When you enter a line item for time, you make a wise investment.
Business owners and consultants frequently solicit our services for turning their content into a book. Niche business books can do excellent work in the world, but they often don’t because business-owning writers habitually mistake their primary audience.
A primary audience is the audience most likely to receive value from reading your book. These readers need your book because it has answers to their most-frequently-asked questions and offers them relevant and usable information.
Primary readers are not just inherently attracted to your book’s title; they also intuitively know where in the bookstore your book is likely to be shelved—usually because they read (or know the titles of) the other books with which your book is in conversation.
This means that your primary audience never has to work too hard to find and make use of your book’s value: Your book is written for—and to—them. You determine your book’s content, but your primary audience determines everything else, from the voice and style you adopt, to the types of evidence you use for support and persuasion.
Because the primary audience determines so much, correctly identifying it is crucial to your book’s success and should be completed in the foundational stages of strategizing your work.
This is not always easy to do. In fact, business owners often misidentify their primary audience as prospective rather than current clients. The difference may sound irrelevant, but the designation results in two very different books.
Books written for prospective clients have value, of course, but the value is usually narrowed to sales. Perhaps surprisingly, "capturing sales" is too-general a foundation: It may require comprehensive knowledge of your pitch, but it requires little to no knowledge of real readers. Without understanding them, writers will find it painfully difficult to meaningfully answer questions related to argument, voice, style, and even design and publication strategy.
Mistaking prospective clients as a book’s primary audience will result in a bad book. But it’s a hard mistake to avoid because prospective clients are precisely the audience to whom business presentations are pitched.
In a follow-up post, I’ll discuss how to specifically identify your book’s primary audience so as to safeguard yourself from negative reactions, like, “This could've been a PowerPoint.” I'll also show you how early identification of your audience makes the work of developing every other element of the book easier and more clear.
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English PhD, former arts administrator, obsessive cook, native East Coaster, mom to two rabblerousers.
English PhD, former high school teacher, obsessive organizer, native Midwesterner, mom to three troublemakers.