In my YouTube video on structuring a self-help book, I described the parts of a self-help book. When you divide those parts into chapters, you may have one or more chapters per part. However, you might find that one of those parts, such as the action plan, just needs to be a section of a chapter. When that’s the case, you probably have exercises throughout the book. Self-help books have exercises for the reader to use to start understanding and applying the book’s ideas and strategies. An action plan in a self-help book gives them an overall strategy for using the exercises and strategies over a period of time to build new habits. I’ve worked on books that have an action plan at the end of the book that lays out how to employ the strategies and exercises the reader has learned (an example is Goddesses Never Age by Christiane Northrup). However, the typical place for the action plan is within the book itself after the reader has been set up to truly understand the ideas and strategies they’ll be employing.

Here’s a handy guide to remembering the way the parts of a transformational nonfiction book are commonly broken into chapters in a self-help book:

Self-Help Book Contents

Introduction: How I Came to Write This Book and Do the Research Plus How to Use This Book/How It’s Organized

Part One, Defining the Urgent Problem

Chapter 1: The Urgent Problem (Don’t Worry—You’ll Solve It Thanks to This Book!)

Part Two, History of the Problem

Chapter 2: How You Came to Have This Problem (The History of Your Woes)

Part Three, Preparing for Action

Chapter 3: More of What You Need to Know Before Tackling Your Urgent Problem (Trust Me—It’s Important!)

Chapter 4: More of What You Need to Know Before Taking Action to Solve the Problem (No, You’re Not Done Learning Yet)

Chapter 5: Even More of What You Have to Know Before Taking Action (Be Patient—Each of These Chapters Is Necessary for You to Achieve Lasting Transformation)

Part Four, The Action Plan

Chapter 6: The Action Plan (What You’re Going to Have to Do To Transform, Including Exercises You Should Actually Do)

Chapter 7: More Details of the Action Plan (More of What You’re Going to Have to Do to Transform, Including More Exercises You Shoudl Actually Do)

Chapter 8: The Action Plan in Action (What It Looks Like: Descriptions and Anecdotes So You Truly Understand How to Apply the Ideas and Strategies in This Transformational Nonfiction Book to Your Everyday Life)

Part Five, Troubleshooting/Maintenance/Challenging Times

Chapter 9: Troubleshooting When Problems Arise (Somewhat Unusual Circumstances That You Might Face)

Chapter 10: Expanding Outward (Maintaining Your New Habits, A Pep Talk to Keep You Going, And Advice on Connecting with Others Who Support Your New Habits)

Part Six: Looking Forward (Stay in Contact!)

Resources, Acknowledgements, Appendix, Endnotes Citing Sources, Recommended Reading, Etc., Ending with a Call to Action, Namely, “Stay in Contact and Join My Community” on the Last Page

Of course, you don’t have to have ten chapters. You might have six, twelve, or twenty-three. What’s most important is that the overall structure supports the reader’s journey, or what might be called a hero’s or heroine’s journey, that meets them where they are and takes them where they want to go. They start with identifying the problem (and being emotionally engaged by your book!) to feeling empowered to create new habits and sustain them, allowing them to experience personal transformation and even affect the world in a positive way. Along they way, they hear stories of others who took the journey while also receiving practical guidance. Self-help books have exercises that can include guided visualizations, journaling/workbook-type exercises, meditation/body scan exercises, and practical experiments such as trying out a new behavior every day (reciting affirmations, for example).

Now, that last piece about affecting the world in a positive way might sound lofty, but many people want to improve some aspect of their lives not just to alleviate discomfort or embarrassment, or make more money or have better relationships, but to expand on their joy by inspiring and encouraging others, attracting new clients and friends and partners, and improving how things work in our families, workplaces, and communities. Increasingly, I’m finding my clients are putting more consideration into what goes into this last part. Asking readers to join your community by signing up for your mailing list or a group you moderate on your site or on Facebook (such as a closed group) keeps people connected to your brand and participating in a larger conversation and movement. We’re all exquisitely aware of how much the world is changing and how strongly we want to affect it positively. I encourage those of you who are writing self-help to give some thought to what would be in the last part of your self-help book and how you will stay engaged on social media and through a mailing list, speaking events including workshops, and other outreach.

“Oh no! I have an URGENT PROBLEM I need to solve! Where is the perfect self-help book for me?”

A handy guide to the six-part self-help book structure with chapters listed.

Was this blog piece and handy self-help book structure guide helpful? I hope so! If you do get stuck, contact me at nancy@nancypeske.com and give me details so we can set up a consultation.

“Don’t judge a book by its title”—but that’s what we do when we’re looking at books and considering whether to buy them. A title can make or break your book. Here are three utterly mindblowing tips for titling a nonfiction book.

1. Think holistically. Your title, subtitle, and jacket work together to sell your book. I coauthored a book that got all three right: Raising a Sensory Smart Child is clearly is aimed at parents (hence “child” in the title and subtitle, and “raising a … child”). The title presents an intriguing concept (what are “sensory smarts”?). And the jacket features a happy, active child that has emotional appeal to parents who are stressed out and worried and want their child to be joyous and full of life. Sensory kids often can’t sit still so the picture puts a positive spin on that phenomenon.

Jacket, title, and subtitle work together to make a great book package.

2. Speak to the heart and mind. A great title will make you laugh, intrigue you, touch your heart—in short, it will speak to your mind and your heart. Here are some of my favorites:

That Crumpled Paper Was Due Last Week. If you laugh and say, “Yep, that’s my kid,” you know you have to check it out, right?

Eat More, Weigh Less. My boss at HarperCollins, editor-in-chief Susan Moldow, acquired this New York Times bestseller by Dr. Dean Ornish. We used to joke about variations such as “Work Less, Earn More.” Talk about a simple, compelling promise!

Mindblowing Sex in the Real World. The author, Sari Locker, PhD, wanted a twist on “The Real World,” which was an MTV hit at when the book was in production (I was the acquisitions editor). I thought a contrast would be good and came up with the word “mindblowing.” One of the suits at the publisher pushed hard against it but we pushed back. The book and title were hits, and years later, the title was mentioned in the New York Times. That is a title with staying power! (Pun intended.)

3. Switch It Up. Bev West, my coauthor and cousin, came up with “cinema therapy” and “mood movies” or “movies to match your mood.” Our book proposal’s cover sheet shows what we settled on. Someone in-house at Dell, our book publisher, suggested making “cinema therapy” one word, Cinematherapy, and using it as the title, relegating the “mood movies” concept to the subtitle. We also wrestled with “girl” vs. “gal” and other alternatives (“girlfriend’s guide” was taken). Contrast the proposal title/subtitle to the final jacket.

Cinematherapy, movie therapy for women: a vision turned into a successful book series and television show. Original title and subtitle were flipped around.

So as you’re titling, start picturing your book’s jacket. Look at other books—not just online but in a bookstore. Look at their jackets. Which ones do you respond to, and why? What are the title and jacket trends in your genre? Do you want to match them or buck them?

Do you have a one- to three-word “hook” that works for your brand and your book? Cinematherapy spawned Bibliotherapy, Advanced Cinematherapy, Cinematherapy for Lovers, Cinematherapy for the Soul, Cinematherapy Goes to the Oscars, Gay Cinematherapy, TVTherapy, and Culinarytherapy. How can you use your “hook” within your title as in your brand to emotionally engage and intrigue readers?

Thinking of self-publishing? Should you choose the editing or editorial evaluation package from the self-publishing arm of a publisher, or from self-publishing houses?

As a former in-house acquisitions editor at HarperCollins, a current ghostwriter and developmental editor, and the coauthor of several successful books, I can help you make the right choice for yourself and your book based on your goals (and your budget). You need to know whom you are hiring (and yes, you want to hire someone who knows why I used “whom” right there!). You also want to get the most bang for your buck, and that means making sure your book’s structure, approach, voice, and concept are solid before you start line editing it. You don’t paint the walls of a house before you’ve installed the plumbing and wiring correctly!

Many editors don’t know anything about structuring and editing books, which is a skill of its own. Also, those of us who are developmental editors do not work on every type of book there is. I am well read in many areas, but in some, I admit, I know next-to-nothing! I do turn down and pass along projects I know for certain I’m not the right editor for because I don’t have enough background in working on that type of book. My clients benefit from being able to work with someone who keeps up on what’s going on in the publishing world, the book marketing world, and the worlds of wellness, motivational speaking and writing, business, health, and more.

Some of the books I’ve worked on include business books, self-help, inspiration, life lessons books, and memoirs.

ADVICE FOR NONFICTION AUTHORS

Here’s what I recommend for authors who want to self-publish nonfiction: Work out your outline and the beginning of the book, looking to other successful books as your guide, and then call in a developmental editor who can evaluate the material and advise you BEFORE you get off track. Write a clear description of each chapter whether or not you do a whole book proposal before contacting an editor. Don’t make the editor guess at what’s in each chapter based on the chapter titles. If you’re looking to sell the book to a publisher and need a book proposal, follow the standard instructions for creating one (you can use the guidance on my website, and please pay close attention to the all-important comparative books list). Then, ask a developmental editor with an acquisitions background or success in shaping proposals that sold to evaluate it. A developmental editor will alert you to writing issues you need to be aware of, and will guide you on structural changes you need to make. If you’re writing a memoir, you will want to be sure you know what the purpose of the memoir is. Memoirs by non-famous people have to have strong themes and titles to capture the attention of readers who aren’t friends and family members.

When you’ve gotten the manuscript into the best possible shape, hire a copyeditor/light line editor to clean it up. He or she should simultaneously create a style sheet for a proofreader to work from (a style sheet lists all the proper nouns and the grammar and punctuation rules you decided upon, such as whether or not to capitalize the first word in a full sentence that follows a colon). Hire a proofreader and ask a friend or fellow author to be another set of eyes.

ADVICE FOR FICTION WRITERS

If you want someone to evaluate your novel (or your completed memoir or other nonfiction manuscript), recognize that it will take hours just to read it, much less to read it, make notes, and correct those notes afterward. How often have I thought, “Oh, I see—now I understand what she was talking about back in chapter 2. Let me go back and change that note.”! If you want to get an evaluation and save money, create an expanded chapter outline and a plot description. Otherwise, the editor has to skim and skim to get the big picture. I was trained to do this as an in-house editor and had lots of practice reading for literary agents, book clubs, and publishers, and I regularly met with other editors doing the same sort of work to compare notes. We became masters of skimming and evaluating. But even masters need time to go through a manuscript whose entire cover letter with plot description is three sentences long! Make it easier for an editor to evaluate your book by creating the one-page synopsis at the very least. And if you can also write up a list of chapters with short descriptions, that’s even better. It will help the editor and it will give you a big picture view of your book in the process. Maybe in preparing the chapter outline, you’ll spot sections that need to be edited down, for instance.

If you decide that you really must write the whole book and “get it on paper,” so to speak, before getting direction from a developmental editor, don’t let me stop you. Just know that if you go that route, you are likely to have to do a lot of cutting and restructuring, and you may end up spending a lot more money paying an editor because you’re presenting that person with a manuscript and no “cheat sheet” with plot description or chapter summaries. Don’t be married to what you wrote.

I hope this helps! I really don’t want any of you feeling you must approach the book writing process a certain way, but I also don’t want you shocked by how much money and time it takes to shape your very raw manuscript.

Good luck on your writing and editing!

Last night’s American Idol was a wonderful example of what happens when an aspiring artist looking to achieve success takes the risk of saying “no” to the so-called experts and trusting in his inner vision.  Both Casey Adams and James Durbin rejected the well-meaning, “play it safe” advice of musical consultant Will I. Am and music producer Jimmy Iovine and performed songs they felt were right for them regardless of how big of a risk they were taking in the competition. The results? Check out the reactions of the audience and the judges (click on their names above to reach their April 13, 2011 performances of Nature Boy and Heavy Metal respectively).

As a writer, you have to accept that staying true to your vision may mean saying no to a potential book publishing deal. It may mean that a literary agent will drop you from her roster.

Let me tell you just one more encouraging story. On request from an in-house editor who knew our work, my coauthor and I wrote a proposal for a book called Mood Movies, which was a guide to something called “cinema therapy.” The editor loved it but later informed us that his in-house colleagues discovered that “cinematherapy” is a genuine form of therapy so therefore, in their opinion, they couldn’t possibly publish a humorous book about cinematherapy by two women who were not clinical psychologists. Our literary agent at the time felt the proposal was unsalable too, although he did say that as a favor to us, he’d send it to a few houses just in case he was wrong. We stuck with our proposal, found a new agent, found an in-house editor whose book publishing house loved it, and the rest is history. Cinematherapy has sold over 340,000 copies in all editions through out the world and we sold TV rights to Women’s Entertainment (formerly Romance Classics) which turned it into a prime time television show.

We could have been wrong. It’s possible that no agent would have agreed to represent the book project. And it’s possible that no publishing house would have bought it—in fact, we were turned down by every house but one. My coauthor and I could have avoided the terrific term “cinema therapy” (or “cinematherapy”), which we’d mistakenly believed was something we coined, in order to avoid confusion with actual cinematherapy—but we didn’t. We stuck with our vision, to great success. And wouldn’t you know that actual therapists ended up using and recommending our book to their patients?

So if you have a strong vision and your gut instincts tell you to stick with it despite the very well-meaning advice or feedback from professionals who supposedly know better than you do—go with your gut.

Cinematherapy, movie therapy for women: a vision turned into a successful book series and television show