[by Ross Browne]
If you’re a nonfiction author pursuing a traditional publishing deal, understanding what agents and editors truly look for in a book proposal is essential. The Authors Guild recently hosted a panel that offered more than the usual checklist of proposal components—it delivered actionable, real-world clarity on what matters most, what misconceptions can derail your efforts, and how to determine whether your project is a good fit for a trade publisher, university press, or some other path.
Panelists included literary agents Jane Chun (Transatlantic Agency), Ismita Hussain (Great Dog Literary), editor Robin Coleman (Johns Hopkins University Press), and moderator Ariel Curry, senior nonfiction editor at Sourcebooks. Below are highlights from the discussion, along with a few insights drawn from my own 30+ years helping authors develop proposals that work.
First, a Quick Note
If you’re unsure what a book proposal is—or why submitting one is often a smarter move than sending a finished manuscript—click here to download our free guide and, if you wish, schedule a no-cost consultation with one of our editors. Otherwise, read on for key takeaways.
Is a University Press Right for You?
Maybe—but only under the right circumstances
Robin Coleman opened with a useful reality check: university presses are not trade publishers. They primarily serve academic or scholarly audiences and publish books written by credentialed experts. Submissions typically go through a stringent peer review, and the subject matter often falls into areas such as cultural studies, regional histories, and scholarly memoirs. Popular nonfiction, memoirs by laypeople, or books with general market appeal usually aren’t a good fit.
The good news is that university presses often accept unagented submissions, but be realistic: budgets are limited and advances are modest. For the right project, though, they can be an excellent home. A recent example from our world is Accidental Shepherd by Liese Greensfelder—edited by our team and published by the University of Minnesota Press, which demonstrates how exceptions can be made for the right story with literary and cultural merit.
Is a Big Five Publisher Right for You?
Possibly—but only if your book clears a high bar in terms of sales potential
Remember that major trade publishers (Penguin Random House, HarperCollins, Simon & Schuster, Macmillan, Hachette) focus on broadly marketable nonfiction. As agent Ismita Hussain emphasized, if your book serves more of a niche or academic audience, it probably won’t be a good fit.
Memoirs, in particular, face stiff competition. Unless you’re a public figure or your story taps into something with mass appeal and distinctiveness, major houses are likely to pass, even if your manuscript is really good. Stories of overcoming hardship alone—even if powerfully told—often aren’t enough to attract a major publisher.
To attract a trade publisher, your book should:
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Address a topic of wide public interest
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Be exceptionally well-written and accessible
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Offer a fresh angle and clear market potential
What If Your Book Doesn’t Fit Either Path?
Don’t worry, small presses and self-publishing are becoming increasingly viable options, especially if you’re working with:
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Personal memoirs
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Community-focused narratives
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Books with niche appeal
Writing a Memoir—But Not Famous?
Here’s what you need to know
Agents and publishers are inundated with memoirs from non-celebrities. The hard truth: compelling life stories alone rarely sell to a major publisher. To give yours a shot, your proposal must answer a critical question: Why should a stranger care?
That means:
- Framing your story in a way that explores universal themes and/or offers significant takeaway value
- Showing how it connects to broader social or cultural issues
- Demonstrating that it can stand out in a crowded genre, ideally by exploring an extraordinary experience or an unusual perspective
If your memoir covers common themes—trauma, illness, abuse, addiction—it needs to stand out through exceptional writing, distinct positioning, and a strong perceived potential to sell widely. Otherwise, your best bet might be a smaller press or self-publication.
The good news is that many self-published memoirs and titles from smaller publishers have found success by carving out a strong niche and building authentic connections with readers, even without a famous name behind them. Self-publishing offers more creative control, a faster route to publication, and can provide more favorable compensation thanks to considerably higher margins on sales. If your goals focus more on reaching readers than landing a six-figure advance, these options are well worth considering.
For more information on some potential advantages of going indie, check out PATHS TO PUBLISHING: A Decision Guide on Traditional and Self-Publishing Options for 2025 and News, Insights, and New Resources for Authors Considering Self-Publishing.
How Important Is Platform?
Yes, platform matters—but not in the way many authors think.
The panelists agreed: your platform isn’t just about a social networking profile or follower count. What matters most is your reach—your ability to drive book sales.
A strong platform might include:
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An engaged newsletter or mailing list
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Speaking gigs, workshops, or courses
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Podcasts—either hosting or frequent appearances
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Presence in a niche field or community
Think influence—not just numbers. A loyal audience of 2,000 can be more powerful than 20,000 casual followers.
How Proposals Are Read (And Which Sections Count Most)
Each panelist offered a glimpse into their reading process:
- Ismita Hussain: Focuses heavily on the overview (which she suggests limiting to 300 words max) and author bio. Her reaction to these two sections alone often determines whether she’ll read further. The overview should clearly position the book in the market and show why the subject matters now. The bio should prove you’re the best person to write it.
- Robin Coleman: Reads proposals in sequence. She expects each section to build momentum, from title to subtitle to overview, chapter summaries, and sample chapters. A well-structured proposal makes a strong impression and propels her from section to section.
- Jane Chun: Also reads cover-to-cover but gives particular attention to the query letter. A clear, compelling query with a strong sense of the book’s vision and the author’s authority can make or break her interest.
- Ariel Curry: Puts more emphasis on comparative titles. She wants to see that you understand your book’s place in the marketplace and can name recent, relevant comps.
Can Cold Submissions Still Work?
Good news: all panelists confirmed they do read unsolicited submissions. The slush pile isn’t dead—it’s just super competitive. If your query is strong and your proposal well-crafted, you absolutely can catch the eye of an agent or editor, even without industry connections. (We can help with query letters, too. Click here for more information.)
A Parting Word of Guidance
One thing the panelists agreed on is that one of the most common reasons book proposals get rejected involves too much repetition of the same information. While it’s natural to want to emphasize your project’s strongest selling points, repeating them in multiple ways can backfire. It may signal that there isn’t enough substance in your concept to justify a full-length book.
To avoid this, don’t make the same point in different sections of your proposal or dwell too long on a single aspect of your project’s appeal. Trust that your work’s most compelling selling points will create impact on their own, without repetition. Above all, make sure your proposal clearly conveys that your concept merits the length and depth of a full book.
Recommended Resources
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The Essential Guide to Getting Your Book Published – Arielle Eckstut & David Henry Sterry
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Write the Perfect Book Proposal – Jeff Herman & Deborah Levine Herman
Need Hands-On Help?
Whether you’re starting from scratch or polishing a draft, The Editorial Department offers expert critiques, coaching, editing, and full-service ghostwriting to support you at every stage of the proposal development process. Our team includes several editors with in-house acquisitions experience—seasoned professionals who know firsthand what agents and publishers are looking for and are uniquely qualified to help you meet those expectations.
Click here to tell us about your project, or contact Ross Browne in our Tucson office to schedule a no-cost, no-obligation consultation to discuss how we can help.
