chapter titles


Why should someone buy your transformational nonfiction book? Because you’re going to solve an urgent problem of theirs.

Back when I was an in-house editor at G. P. Putnam’s Sons and HarperCollins, I used to evaluate book proposals (selling tools used to try to get editors like me to give authors book deals). The book proposals for transformational nonfiction books—think business books, self-help, parenting, lessons on achieving success, and so on—had to make a compelling case that the book would solve an urgent problem for the reader.

When you write a transformational nonfiction book, you’re promising readers you can help them go from problem to solution. You’ll help them achieve this goal by offering them information and strategies, yes, but you also want them to feel they have to buy your book right now. It’s emotion that draws people in. Make your potential reader experience a sense of urgency about their problem and finding a solution that will end their headaches and frustration at last.

 

And keep this in mind: A reader’s urgent problem your book will solve might actually be a combination of problems.

 

My book, Raising a Sensory Smart Child, was written for the parent who wants to know how to help their child who has sensory processing issues. When I first began thinking of writing the book, there was information out there in bookstores and on the Internet but not enough for a parent like me to have a solid sense of what to do to get my child’s teeth brushed and to prevent him from melting down at the grocery store. Plenty of parents were stressed out and confused about what to do for their kids. My book would meet that urgent problem by offering even more information and strategies than they currently had. However, I knew that beyond needing those things, parents of kids with sensory processing issues are afraid that if their kids are struggling to function well (which is the case when kids with sensory issues don’t have them adequately addressed), kids are likely to become demoralized and give up on themselves. No parent wants that for their child so I knew that addressing that particular fear was important. My coauthor and I reassured potential readers with the promise that the book could help them go from being lost, confused, and worried (as I once was) to feeling competent and capable and actually helping their child manage their sensory issues (where I ended up after learning about sensory issues and developing “sensory smart” parenting strategies).

Problem and promise.

Both were infused with emotion.

My expertise was in going from where they were to where I was—an effective parent of a happy kid who yeah, had sensory processing differences, but that’s okay and even a good thing in some ways.

The narrative arc of my story was emotionally compelling.

I wanted to make sure people believed and felt that if I could do it, they could, too.

 

Increase the emotional reassurance factor of your book and you will have an easier time getting people to buy it.

 

Your narrative arc of going from your worst point to your greatest success increases the emotional factor of your book if you make your readers feel your fear, shame, and distress back when you were at your low point and feel the excitement of having reached your high point. Make them feel you empathize with their plight. That will help you attract readers who are in crisis or nearly frozen with anxiety about what will happen if they don’t fix their urgent problem.

If your readers have the problem you’ve identified but you’re concerned it might not feel very urgent to them, you can increase the emotional impact of your book by warning them of what might happen if they don’t make a change now—they might end up where you did! Simultaneously, you can encourage them to believe they can get to where you are—success!—if only they read your book and use your strategies for addressing their problem. In sum, you can make their problem feel more urgent. And you can offer the tantalizing promise of solving it at last.

 

Effectively convey the urgent problem and your promise of helping them solve it.

 

Once you have identified your potential reader’s problem or problems, and you’ve offered a promise, you’ll need to make sure you clearly and effectively convey them. Use your title and subtitle combination, your book’s jacket, the short description of your book they’ll find on its back, and copy and images on your author website to get across the problem and promise. Also, spell out the urgent problem and your promise for solving it at the beginning of your book. Keep in mind, too, that you’re going to want your chapter titles to reflect the reader’s ability to go from where they are (having an urgent problem) to where they’re going to end up (problem solved or nearly so because they’re now better informed, have a clearer sense of what they need to do, and feel more confident). What’s the promise? What can they actually achieve? What will their journey from problem to promised outcome look like as they read your book?

As you try to identify the urgent problem or problems you reader has, consider the following:

How long has your reader had this problem? Is it ongoing and frustrating? Has the amount of stress the problem has caused them and is causing them enough to make them, well, pretty desperate for help now?

Does your reader feel he has tried everything? Has he become skeptical about whether the problem can be solved or at least addressed sufficiently that it no longer bothers him? Can she start believing there’s hope because of your inspiring story that led to your writing your book?

Have you anecdotes about working with people just like your reader who thought there was little hope for change and who discovered that by using your ideas and strategies, they were able to achieve it after all?

What’s your reader willing to give up or do to make the urgent problem go away at last? Is he willing to commit to an action plan for change? Is she willing to question old ideas that have her stuck in a failure mindset?

The greater your reader’s frustration, the greater her urgency to finally find a solution. The greater the impact of the problem on your reader’s life, the more motivated she is to give your book a try.

Maybe you have the right action plan and approach that no one else has offered.

Maybe your personality, voice, and approach will make your book the game-changer for your reader because unlike other books, your book gives them hope for the first time in a long time.

Maybe your hand-holding, compassionate way of talking about their problem will make them set aside their shame and embarrassment and tackle their problem at last.

Increasing the emotional impact of your book’s message will definitely give you a better shot at having your transformational nonfiction book sell. Even more than that, it will make your book more effective at helping readers to transform their lives for the better. Believe me, hearing from a reader that your book changed their life feels fantastic. THIS is why you’re writing your transformational nonfiction book!

 

Need help writing your business book, self-help book, life lessons book, or other transformational nonfiction book? Contact me and let me know what your expertise is, what type of book you have started to write, and what kind of help you feel you need.

 

transformational nonfiction books solve an urgent problem

 

As you structure your transformative nonfiction book, whether it’s a self-help book, business book, life lessons book, or something else, here’s a tip: Don’t forget to keep a list of contents at the beginning of the manuscript in all drafts.

 

The list of contents (no longer called a “table of contents” but just “contents”) belongs at the beginning of your manuscript even before you begin writing chapter one. Why? Because you want to offer a roadmap to where you’re going.

 

What are you planning to write? How many chapters will you have? Will you take your reader on a hero’s journey or heroine’s journey of self-discovery, struggle, mastery, and triumph? If you’re writing a book of life lessons, what are the life lessons and in what order will you present them?

 

Check your contents list against the actual chapter titles before submitting to an editor and a publisher. Having the up-to-date contents list at the beginning of the document file provides guidance for the developmental editor or acquisitions editor at a publishing house, who will check the contents against what you had your book proposal (if you submitted one).

 

Will they find differences? Not if you double-checked your contents!

 

Chapter titles almost always change in the writing of a book—ditto the order of chapters. For example, you might split a chapter into two or combine two chapters. You might come up with a more clever chapter title, one that better captures what you wrote about.

 

Help your editor out by saving her the time she would spend cutting and pasting chapter titles and querying any differences.

 

Is there anything you want to change about the order or titling of your chapters?

 

Note that while it’s not strictly necessary to have consistency in chapter titles (or even header titles, for that matter), it can help the reader feel a sense of familiarity. Many of my clients have had double chapter titles similar to a title and subtitle combination, in other words, CLEVER CHAPTER TITLE: Subtitle for the Chapter Title That More Clearly Explains the Concept. If you can come up with clever chapter titles that also clearly explain the concept, fantastic!

 

Struggling with your chapter titles and order? You might want to check out my article on structuring self-help books.

 

And as always, if you need help pulling yourself out of the weeds while writing your book, contact me about my services.

List of contents self-help book transformative fiction roadmap reduces confusion

Maintaining and updating a list of contents in your self-help book or other transformative nonfiction book means always having a roadmap.

 

Nonfiction authors typically start writing chapter titles that are as vanilla as can be, but ultimately, you want to consider chapter titles that are engaging for the reader. At the same time, you don’t want your chapter titles to be so creative that someone looking at the list of contents (also known as the table of contents or just “Contents”) to have no clue what’s in your book!

Here’s a solution: You can use a clever chapter title followed by a subtitle that explains the concept a little more clearly.

In Cinematherapy, my coauthor Bev West and I had a chapter called: “I Hate My Life and I’m Moving to Bora Bora: Seeking Greener Pastures Movies.” True, you might not know what Seeking Greener Pastures Movies are, but when you look at all the chapter titles, you can see that each is around a particular theme: Mother Issues Movies, Martyr Syndrome Movies, and so on.

You can use the same trick for headers within the book. In Raising a Sensory Smart Child, one of the headers in the chapter on improving speech skills and picky eating reads “You Say Potato and I Say Topahhhhhhuuuduh”: Problems with Motor Planning”

Using an intriguing quotation within a chapter title or a header is a great way to be provocative and intriguing, but don’t sacrifice clarity. 

Writing a memoir? Often, memoir chapters don’t have titles and sections within chapters don’t have headers, but here’s your chance to get creative. You never know what title or header might grab someone’s attention. Think about taking an interesting image from a story you tell, such as “The Purple Rabbit” or “Twelve Pretzels.” Set up a dilemma or intrigue: “The Purple Rabbit’s Whereabouts” or “Twelve Pretzels and a Warning.” 

You might also use a quotation—I always loved the sound of “Bora Bora” and think that was the perfect word to use in our funny quote related to movies about seeking greener pastures and getting away from frustrating situations. Think about things you’ve said or a client has said that sum up a concept in an interesting way. Think of things you typically say to your followers and clients. 

chapter one chapter titles engaging nonfiction headers titles photo typewriter

 

You can also do a spin on a common saying or cliche. How about: “You Got This (Unless You Need to Freak Out First, In Which Case, Read This Chapter NOW)”?

Or, “Plays Shockingly Well with Others: Five Keys to Improve Your Collaboration Skills.” 

Which comes first, the clever section header or the section itself? You decide. But I think you’ll find it’s a good exercise to at least consider jazzing up your chapter and header titles.

Need some help with your book as you write it and set up your plan to get it published? Contact me about my services as a developmental editor, ghostwriter, and book publishing consultant.

 

guide to writing engaging chapter titles header titles

We all have a book inside us. We may even have several! If you want to write a book based on your life, are you clear on the type of book you would like to write? I have seven options for you—six nonfiction and one fiction—that might fit well with your plan to write a book.

I like to say a book is a credibility card that solidifies your brand and message. Should you write a memoir, focusing on your personal story?  Would it make more sense to write a book about what you have learned, one that features pieces of your story and a short summary of it at the beginning of the book?

Many of my clients have struggled with the question of what type of book to write to most effectively communicate their ideas and establish their brand and get their message out there. Some of my clients have pivoted with their brand, and a book has been instrumental in helping them do that. For example, one wanted to move from a more straightforward health brand to one that was more lifestyle oriented.

Other clients of mine have wanted to write their story as a book so they can inspire others but soon came to see that a memoir needs to be about a specific theme in their life that ties into their central message.

My video, How to Write a Book Based on Your Life, goes into some detail about the seven different types of books you might write. They are:

An autobiography or personal history. This type of personal project lets you tell your story to future generations. How I wish that my great-grandmother had written such a book so I could know more about how she went from having just a six-grade education to running a family business! Your great-grandchildren would surely appreciate a professionally written book telling your life story.

A memoir. Memoirs are thematic and often focus on just one aspect of a person’s life. Some authors write more than one memoir. Common themes including coming of age and the hero’s journey. Memoirs have a wider audience than an autobiography or personal history.

A life lessons book. Like a memoir, a life lessons book is thematic, but the themes are summed up with compelling statements. I love the title of the book by Starbucks founder Howard Behar, written with Janet Goldstein: It’s Not About the CoffeeWhat a great title that summarizes the book’s central message! All of his chapter titles are statements and lessons that we can learn from.

A business book. A business book can be part memoir, part life-lessons book. The key is to know your best stories and match them up with key ideas you want to put across (for example, that the Starbucks brand is NOT about the coffee!)

A self-help book. I specialize in helping people write this type of book. You may have seen my video on how to structure a self-help book. In it, I offer a structure that I have seen work time and time again. The book should take readers on a journey from here to there so that by the end of the book, they feel their life has changed and they know how to apply your ideas to their own life to make it better. There are two key elements in self-help books: the takeaway and the action plan. (You do not necessarily need an action plan, but you definitely need takeaway, as I explain in my video on How to Write a Book Based on Your Life.)

A parenting book. I cowrote an evergreen parenting book that continues to sell year after year (hence “evergreen”). In fact, it has sold over 130,000 copies. Now, I am not the expert of all time on parenting (my son would agree with me on that!). However, I did interviews and research, synthesized ideas, drew on my own experiences as a child and as a parent, and put it all together with the help of my coauthor, my son’s occupational therapist who treated him. We came up with a parenting book filled with tips and strategies I knew parents needed. I turned myself into an expert in the process. (Two book award committees and dozens of reviewers and endorsers apparently agree, because Raising a Sensory Smart Child has gotten a phenomenal response from those folks.) My coauthor, Lindsey Biel, OTR/L, provided the therapist’s perspective, which broadened the appeal of the book. You might want to consider a coauthor or at least a foreword from someone who has professional credentials who can vouch for the credibility of your parenting advice.

A novel. You can “fictionalize” your life and start writing a novel. Know whether you are going to make it a mystery, a romance, commercial women’s fiction (such as a novel about a mother and daughter who experience conflict they have to resolve), or a work of literary fiction. Know the conventions of these types of books so that you are clear on what you are writing. If you are going to write commercial women’s fiction, read some novels in that category. There’s an old saying: To be a good writer, you have to be a good reader. Did you know that bestselling novelist Jeffrey Archer said he read 100 novels before starting his own? That might have been more than he needed to read, but it goes to show you really do have to familiarize yourself with the type of book you want to write.

I also talk in my video How to Write a Book Based on Your Life about using sensory detail and storytelling so that you “show, don’t tell”—another old saying in the book biz. When you write, put us in the middle of the action and the moment of the scene, even if you are just writing an anecdote in a business book so you emotionally engage us. You don’t have to go on for pages giving us exhaustive detail about a client you worked with, but give us a sense of what it was like to be in the situation that went from uncomfortable to a sense of possibility for change. Show us how you overcame your bad habit of saying “yes, of course” and instead saying, “I’ll need to get more details before I commit to doing that.” Even a nonfiction book has a narrative arc. Perhaps you will show us how you went from hating your body to feeling grateful for the healthy body you inhabit, from weighing yourself obsessively to telling your scale, “Kiss my butt, buddy,” and weighing yourself once a year, not obsessing about the number. You started at a low place and achieved success in some area of your life. People want to see how you did that, and your book can do the job of conveying your story.

Need help conceptualizing your book? Stuck on the title and overarching theme? Not sure if you should go with life lessons around your parenting successes or with a funny memoir? I can help. Give me some details about where you are in your process. Think about where you see yourself going with this book (doing podcasts and public speaking? being on local TV and radio talk shows? having a blog and newsletter along with a popular Instagram account?). And let me know if you’re ready for a one-hour consultation call and perhaps some coaching as you start your writing process. Contact me and let’s get you firmly on the road to writing and publishing your book.

 

how to write a book 7 ways

How to write a book based on your story or work: I can help you figure out what type of book you want to write.

 

Have you completed a memoir, or written a lot of material, and become stuck? A developmental editor can help you figure out what you need to do and how you can reshape your material. I do this work and find it very rewarding because I love helping clients tell their stories. Whenever I can, I offer would-be authors advice on how to get unstuck in the process of writing their memoir or self-help book, and in that spirit, I’d like to share with you an interview I did with a colleague, Al Desetta.

Al Desetta is a ghostwriter/developmental editor I have referred people to when the project isn’t quite right for me or the timing isn’t going to work out given the client’s plans and my schedule. I asked him to shed some light on how he works so that people who follow my blog can learn from him.

 

Nancy: Many people are confused by what a developmental editor does. How would you describe what you do?

 

Al: A developmental editor helps an author develop the true potential in a completed or partially completed manuscript. Unlike a copyeditor who simply corrects a manuscript, a developmental editor looks for ways to help the author improve it, which typically includes helping the writer reorganize the book, rewrite parts of it, add new or additional information, cut or deemphasize parts of a manuscript, etc. For example, I often help memoir writers deepen certain aspects of their stories that they may have overlooked or not considered important. Writers—especially first time writers—are frequently too close to their experience to fully realize the true power in certain events. As a developmental editor, I help authors find the “diamond in the rough” of their experience.

 

Nancy: Who is your typical client? Why do they hire you? For instance, where are they in their process of writing?

 

Al: A typical client is a first-time author who has written a book, but who is uncertain about the quality of the work and seeks me out for objective and constructive feedback. They know they have the germ of a good idea, or even a pretty well-developed book, but they want someone who can offer a professional opinion on the state of the manuscript and ways to improve it.

developmental editor

Stuck on writing your memoir? Hire a developmental editor to evaluate it and help you write it! Developmental editor Al Desetta explains.

 

Nancy: You ghostwrite and you do developmental editing. How do you help a client decide which service is the right one for that particular project?

 

Al: Usually clients are pretty clear about which service they want. Ghostwriting is for people who don’t have the time or skills to write their own books. Developmental editing is for authors who have written their own books, but who are stuck in some way. Sometimes developmental editing also includes some ghostwriting. I’m helping an author right now who has partially completed a memoir. Some of what I do with her is developmental editing—I ask her questions and point out areas where she can improve and develop the manuscript. But I also do a little ghostwriting to help in the process—I interview her about aspects of her life, write chapters based on the interviews, and she then revises these chapters and adds more information.

 

Nancy: When you get full or partial manuscripts from a new client working on a nonfiction book, what are the most common problems you see?

 

Al: Two common problems are overwriting and lack of a workable structure. These problems often surface in memoirs, but are also true of most nonfiction books.

 

Memoir writers often tend to overwrite—they are so close to their experience that they don’t know how to manage or shape it. They think they can write their way out of this problem, but that only compounds the problem. A memoir can’t be about an entire person’s life—it has to focus on an aspect of a person’s experience. What you leave out is as important as what you decide to include.

Related to this is the importance of structure. When an author doesn’t have a workable structure or organization, it’s like driving without a map. Or, to use an analogy that a writing teacher once told me, you set out rowing on the ocean and you lose sight of land. And you keep rowing, hoping to sight land on the other side. But pretty soon you realize you’re lost on the ocean and more rowing (or more writing) won’t get you back to land. Having an organization or structure at the start helps a writer from getting lost, especially in memoir writing, where the author has access to great amounts of information about her life, but often isn’t sure what to include or how to organize it.

 

Nancy: Are there any recent developmental editing projects that stand out for you that self-help mind/body/spirit or inspirational memoir writers could learn from? Any lessons you drew from these recent projects, or were reminded of?

 

Al: One lesson that always stands out is how gratifying the process can be, for both writer and editor. People have life experiences or ideas that they’ve always wanted to write about, but all authors encounter obstacles as they try to write about them. Right now I’m ghostwriting a memoir for a mother and son who were held captive for months by Islamic terrorists in the Philippines. It’s been a wonderful experience to help them create the book they’ve always wanted to write, a process that has also helped them to heal.

 

As a developmental editor and ghostwriter myself, I understand Al’s enthusiasm for helping people to tell stories that lead to healing for themselves and others. If you are eager to get unstuck in writing your memoir, consider contacting a professional, experienced developmental editor to get you back on track.

 

Al Desetta’s website, where you can learn more about his services and the kinds of books he has worked on, is www.AlDesetta.Com

 

 

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