“What’s in it for me?” That’s a key question on the mind of a potential follower/book buyer who is interested in mind/body/spirit nonfiction, the type of book I work on. (Editors, like ghostwriters, specialize in certain genres.) Whatever you are writing, it should sit firmly in that sweet spot where you and your work meet up with someone else’s need or desire to become informed, amused, inspired invigorated, etc. When you conceptualize a memoir or self-help book based on your story of overcoming challenges, you need to remember the needs of your potential reader. She wants to learn how she, too, could be like you, and do what you have done. She wants to feel a bond with you. If you want to write a story about a series of terrible situations you survived, do that because it has meaning for you and because it can be a valuable step in your healing process. But don’t assume people want to share in your trauma. They have their own traumas to process. If you want to write mind/body/spirit nonfiction that inspires and educates others, you have to step back from your story and imagine what your reader wants to read. She wants to share in your recovery from abuse, low self-esteem, addiction, and so on. The story of your trauma should be just a small piece of the book you are writing for her.
I hear daily from would-be authors who want to write their story of trauma, and I tell them that if they want to write and inspire others, they need to focus on how they overcame the trauma. As a reader, I always want to know the answer to “What’s in it for me?” I hope the answer is, “An engrossing story that educates me on how I can overcome trauma in my own life.”
Karin Volo’s memoir, 1,352 Days, tells an absolutely harrowing tale of how she survived nearly four years of being locked up in a county jail fighting extradition to a foreign country where you’re presumed guilty, not innocent. When I worked with her as a developmental editor to tell the story in an inspiring way, I encouraged her to maintain riveting details about her painful experiences, including the shock and fear she felt when hauled away from an airport gate in handcuffs or locked into a cell with strangers who could have committed a horrific crime for all she knew. However, the story that resonated for me, and that I knew would resonate for readers, was the story of how she got through those years in which she was separated from her young daughters and family, how she kept sane and optimistic, and how she came to forgive herself and her ex-husband for their roles in bringing about this frightening series of events. The book is a memoir, but as a reader, you will feel it’s about you and what you can do to own your role in bringing about difficulties in your life, and what you can do to change your habits of mind and behavior and let go of anger, resentment, and shame. It’s her memoir, but in essence, it’s about… YOU.
Other nonfiction books I’ve worked on are in the self-help vein, and have practical strategies, tips, exercises, and action plans for transforming your life. They incorporate stories and anecdotes, but those stories don’t go on page after page in exhaustive detail. I took my own story about discovering my son had sensory processing disorder, and learning how to help him, and wove it in my book Raising a Sensory Smart Child, but I kept the stories short. I deliberately tried to paint the scenes emotionally so other parents could relate to my experience. I made myself vulnerable on the page, because it’s always easier to take advice from an author who admits to her own failings. In short, in telling those stories, I was always aware of how my reader would feel reading them.
Here’s a trick for making sure your stories are as much about your reader as they are about you. Watch how often you write “I” compared to how often you write “you” or “we.” My general rules are as follows:
Consider using “we” to create a bond with your audience: “We parents know what it’s like…” “We all try and fail at times…” Consider using “you” to give advice or create an intimate conversation with the reader. “You can consult with an occupational therapist…” “You might want to look at how you approach your child when he’s totally absorbed in what he’s doing…” “You, too, might be feeling overwhelmed by all the choices…” If you use too much “we” language, it can start to sound as if you’re pontificating, so be cautious. In self-help, I favor “you” but will often switch from “you” to “we” when I’m concerned that the author might take offense at the assumptions I’m making about her. Rather than write, “You play a role in your child’s inability to control his temper”–ouch!–I would write, “If our children are unable to control their tempers, we parents need to know that we play a role in that” or “We might hate to admit it, but we parents always play at least some role in our children’s inability…” I might stick with “you” language and write something like, “You may not realize it, but you could be playing a role in your child’s inability to control his temper.” People don’t like to read about their failings, and they don’t want you to be the expert on high telling them what they are doing wrong and never admitting you screw up, too, so make sure that your language reflects their need to feel connected to you instead of judged by you.
Never forget that you are writing for a reader, not just for yourself, and your writing will be much more engaging, and much more likely to attract followers to your work.
(P.S. Want more helpful advice on getting started writing and publishing your book? Sign up for my email newsletter!)