HOW DO I PUT TOGETHER A COOKERY PROPOSAL?
OK, so you’ve had the conversations with friends, family or colleagues, and there’s no getting away from the fact that you need to write this cookbook. So what happens now? I’ve already spoken about all the factors you need to consider when deciding to write a cookbook, and whether or not you need/want to engage an agent, so now it’s time to get down to the nitty gritty of getting things down on paper (so to speak).
So, what exactly does a cookery proposal consist of? Well, the first thing to say is that there’s no one-size-fits-all approach, and much depends on who you are and what your profile looks like, as well as the kind of book you want to write and the audience you want to reach. For some people with a large existing audience (YouTube/Instagram/TikTok), a proposal might consist of a side or two of A4, setting out the concept of their book alongside their social media stats, and that will be enough for publishers to make a decision about whether or not to pursue the project. But for the majority of first-time authors, even those with a reasonable following, it’s imperative to put together a more detailed proposal that will not only showcase their work but also convince publishers that their book will be a worthwhile investment.
As mentioned in an earlier article (‘Are You Sure You Want to Write a Cookbook?’), drafting a proposal sounds easier than it is. Ranging anywhere from just a couple up to thirty or so pages, it’s a lean and hardworking document that not only demonstrates your intent and ability, but also gives the impression of how the entirety of your book will look and feel, through the presentation of sample material and proposed contents. In order to create such a document, you need to know your way around this whole book, inside and out. Sure, once a book is signed up for publication and the writing and development process begins, the contents and their presentation can evolve, but it’s important to have a clear vision from the start and not to rely on having a basic idea that you can develop while writing.
Because food world is quite small and friendly, doubtless a number of you will know people who have written proposals and secured book deals, either with or without the help of an agent. If you’re lucky enough to be among this number, don’t be afraid to ask for advice. Some authors may feel cagey about sharing their material, but others will be happy to discuss their journey and offer tips – perhaps they’ll even let you see their own proposal. All of which is hugely generous and helpful, but REMEMBER, your book is your book, and it never pays to be overly influenced by the work of another. Too much comparison runs the risk of compelling you to emulate another work, or indeed to consider your own work inferior – neither of which is a good outcome. Instead, stand back a good distance and think carefully about how to apply the best elements to your own work while appreciating your own distinct personality.
So, given the importance of originality and individuality, is it possible to give any general advice as to how to begin working on a cookery proposal? Luckily, the answer is yes! Because while each one is unique, there is some basic information that needs to be conveyed regardless of the author or subject area, and in putting together the following template I hope to make clear what the essential elements are.
INTRODUCTION/SYNOPSIS
This is your foot in the door, your ride with the boss in the elevator. It’s where you’ll explain what the book is about, why it needs to be written, and why you are the person to write the book. It might be a few sides of A4, or just a few paragraphs, but this is where you will distil the essence of the book in a way that immediately grabs the publisher. Some people will go straight in with a punchy line or two (the elevator pitch), while others take a wordier approach. Both have their benefits, and will be reflective of the author’s voice and intent, but always remember that time is short and editors read a HUGE number of proposals, so the sooner you can get their attention, the better.*
*Depending on the direction this first part takes, it can also be a good place to talk about a lack of existing titles in this area. Alternatively, comparisons with other titles can be made in the later section covering marketing, publicity and further info.
CONTENTS
This is where you begin to offer a sense of how the book will look and feel. Curation is a massive part of what cookbooks offer (as compared with, say, internet recipes), and so giving plenty of thought to the structure and running order of your book is essential. Think not only about what suits the recipes, but also how people will use your book. Is it a seasonal cookbook, relying on the availability of certain ingredients throughout the year? Or is it led by type of ingredient (meat/fish/veg)? Or is there a strong narrative thread running through the book that collects recipes together via region or event? Are your audience experimental and ambitious cooks, or are they in a hurry to get food on the table quickly? What can you do to help your readers find the recipes they want as easily as possible?
Once you’ve decided on the chapter structure, it’s time to populate those chapters with recipes. As a first-time author, you’ll be expected to include a full recipe list in your proposal (usually between 80 and 100, but as always there are exceptions), and this is not something to be rushed. It’s fair to say that the recipe list offered in a proposal isn’t set in stone, but neither should it be pie in the sky. Some deviation from the list is to be expected – whether in the name of balance, or because a recipe simply doesn’t work or a better one comes along – but in essence this initial list should more or less represent what will feature in the finished book, so it’s really important to think carefully about what you propose including.
SAMPLE TEXT AND RECIPES
No matter what kind of cookbook you’re writing, it’s good to provide around 6-10 recipes – ideally with images (iPhone photos are fine) – that show a range of the recipes that will be included throughout the various chapters. It’s not unknown for editors to try out these recipes, so make sure they’re ones you know well and/or have tested!
And then, depending on how much narrative your book will contain, it’s important to include some samples of your writing. A more commercial collection of recipes may require little more than a paragraph of text introducing each chapter and extolling the qualities of the recipes within (because they’re quick and easy, comforting, family favourites, etc), whereas a more exploratory cookbook might include vignettes and/or longer text at the start of each chapter. Whichever category your proposed book falls into, do try to include one or two samples of the writing that will feature within.
AUTHOR BIO, MARKETING, PUBLICITY AND OTHER INFO
A crucial part of any proposal, this is the section I most often find myself offering to help clients with. Sometimes it can be cleanly divided into separate sections, but more often the various aspects of this section blend together, especially with the rise of social media and its importance in terms of author profile.
In short, this is where you talk about yourself as an author (although do note that often it’s necessary to do this in the introduction/synopsis as well, in order to explain your authorship of the proposed book), but particularly in relation to how you are positioned in terms of authoring and promoting your book. It’s where you talk social media numbers and influential followers, as well as connections to food and indeed broader media.
It’s also an opportunity to talk about any previous publicity (be that print, TV, radio, digital), ideas for marketing and promoting your book, and any other relevant information – for example, you might have a particular connection to/audience in another country besides the UK.
One of the reasons clients often need help with this part of the proposal is because of their modesty. Of course, it can be a question of needing help with exploiting or emphasising particular opportunities, but more often it’s about people struggling to shout from the rooftops about their own successes and qualifications. Yes, there’s a line, and no one needs to know about your Duke of Edinburgh Bronze Award, but if you’ve done something that relates to the book you’re proposing, let people know! As an agent, I generally recommend that clients offer me a kind of brain dump, sending over any and all information about contacts, conversations, opportunities, etc., which we then fashion into something coherent and compelling.
IN CONCLUSION
As with so many aspects of the publishing industry, there can often be an assumption that people just know how to set about putting together a cookery proposal. It’s an assumption that relies on prior connection, and although the world of food tends to be more inclusive and friendly than many, it’s short-sighted to expect people to follow pathways and protocols that they may not know exist. As always, I do hope to have offered some useful information, and perhaps helped to demystify another element of the publishing process. And now, get writing!