This is the first of a two-part series on establishing an author brand with Brand Strategist, Sam Alexander. Part II can be found here.

So why does an author brand matter? An author brand can really make or break the success of a book and is so important that Greenleaf built out a branding team to help authors with it. On that team is Sam Alexander, whose goal is to help authors understand their message and strategize how to bring that to their audience in the best way possible.

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In today's episode, we'll be discussing ghostwriting with Dan Gerstein, the Founder and President of Gotham Ghostwriters. Gerstein is a nationally recognized political writer, communications strategist, and idea man who has been writing professionally for himself and others for 25 years. To learn more about Dan, his full bio can be found here.

Welcome to the very first episode of Published! The purpose of this podcast is to bring some clarity to the journey of writing a book and give you the tools to launch the book to your readers.

Hosted by Tanya Hall, the CEO of Greenleaf Book Group, Published will dive into a different aspects of publishing in each episode.

A nonfiction book proposal is the key document that allows an agent or publisher to determine the viability of a project. Unlike fiction, where an author must have a completed manuscript ready before they approach a publisher or agent, a nonfiction author only needs to develop a proposal to submit to publishers and/or agents.

The proposal should answer the following questions:

1. Content: What is the book about?
2. Market: Who would be interested in this idea?
3. Competitive Titles: What other books already exist on this topic and how does this one differ?
4. Platform: Who is the author, why is the author the best person to produce this book, and what are they doing to engage with potential readers?

If you are looking to be published by a major publishing house, having an agent is essential. Most of the large publishers don’t accept submissions directly from authors. However, the agent is more than just a middleman. The agent represents the author, presents the author’s work to the appropriate acquisitions editor, and handles contract negotiations for the author’s rights over the work. The agent does all of this in exchange for 10% to 15% of all advances and royalties earned by the author. Avoid “agents” who ask for reading fees or any money up front—they shouldn’t make money until you do.

How do you get an agent?

Start by researching agents who represent your genre. This is important. You waste your time and the agent’s time if you send queries to someone who doesn’t represent your genre. You want an agent who is passionate about your genre and who will know the best place to send your work. It’s also good to go after a new agent—they’re more receptive to new authors. You can locate agents through the following resources:

Whether approaching an agent or a publisher, you will need to draft a query letter. The query letter is a one-page cover letter that introduces you and your book. Query letters usually follow this format:

• First Paragraph: Hook (includes the name of the book, the genre, word count, and the tagline for the book)
• Second Paragraph: A one-paragraph synopsis (think of the book cover copy)
• Third Paragraph: Publishing Credits (avoid any irrelevant bio information)
• Formal closing

Some agents like to know why you selected them. Only include this if you have a very personal or compelling reason. Also, the main focus of your query letter is the book itself, not you the writer. This does not mean the publisher or agent is not interested in you the writer, or in your platform- building activities (which are extremely important). But the reality is that publishers buy books, not writers, and they must be interested in the book first. Once they are interested in the book, then you have to sell them on why you are the best person to write it.

More than ever, media messages and advertising are clogging consumers’ radios, television sets, mailboxes, newspaper and magazine pages, and computer screens. This white paper explores how to cut through the clutter by employing authority-based marketing.

We have entered the information age, and with it comes information overload. More and more often, people are inundated with sales calls, spam mail, and other marketing materials cluttering their mailboxes, email accounts, and televisions. People are tired, and they’re turning off.

Traditional marketing is dead. Direct mail ends up in the trash, emails are deleted immediately, and television marketing is too expensive. So how can a professional or business break through the clutter and connect with potential clients?

This guide serves as a tool to familiarize aspiring authors with the key elements publishers look for when evaluating a potential project.

If you have already written a book, or even if you are just considering writing one, you may have asked yourself what it is that publishers look for.

Unfortunately, there is no magic formula a writer can follow for guaranteed publication. What works and doesn’t work varies by genre, publisher, and other factors outside of the writer’s control. Still, there are some basic elements every publisher considers when evaluating a potential project. Those elements are: content, market, competitive titles, and author platform.