Do you know what your audience’s question is?

If you do, great. The title of your book should address that question. And the answer found in your book should be powerful. Actionable.

If you don’t know what the audience’s burning question is–find out. Ask. Call. Interview. Read market research reports. In fact, if you don’t know, don’t publish a book until you do–that is, if you want anyone to read your book.

A house? You think this track leads to your dream house? No way.

Why?

Very simply, because you have no idea what goes first, and what goes next. Never mind permitting and all the stuff that has to happen before construction. How about a foundation?

You get the idea.

Your book is the same.

Just start writing, and you’ll have… a bunch of writing. But it won’t be a book.

A book has structure. Create the structure first. Then write. That’s the quickest way to produce a book.

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LET THE LISTS FALL WHERE THEY MAY

Probably the most universal how-to question for GTD neophytes is this: How do I keep track of all the things that you’re recommending I keep out of my head? What’s the best tool? The answer is pretty simple: however you most effectively can create and review lists.

You will need a good filing system, an inbox and a ubiquitous capture tool, a box for stuff to read, and maybe a tickler file; but for the most part, all you need are lists. But you’ll need several. And they need to be complete. And you’ll need a place to keep them.

For many newbies, the multiple lists they may see in any of our systems can overwhelm them at first glance. More

How do you keep a Polack busy? (“Polack” means simply “Polish man.” There is nothing derogatory about the word.)

Give him a card that has printed, on both sides, “Turn card over.”

I am that Polack.

My geekishness is often expressed as a fascination with things that are of absolutely no interest to most of the population–especially things that exhibit a measure of complexity. I am attracted to complexity, per se. I love its richness; I have a feeling that, just around the corner, I will find the answer to some important question.

Usually I don’t.

But that doesn’t deter me; complexity continues to fascinate me.

Here’s one way it manifests: I love to explore programs that claim to manage your information and show it to you in different ways. Here are a few examples:

• Personal Brain, from TheBrain.com. I actually use this as my diary, journal, and general repository of knowledge.
• Evernote, from Evernote.com. I use this, too; it syncs with my iPhone, and lets me capture and store a huge variety of text, graphics, and more. And it attempts to read any text in the graphics; so if I snap a picture of a business card with my iPhone, Evernote will OCR (optical character recognition) the text, so that I can find the name of the person using its powerful search facility.
• Voodoopad. A wiki on your (Mac) desktop. Amazingly powerful and simple. I haven’t integrated it into my workflow, but hope springs eternal.
• Tinderbox. The ultimate time sink. (Mac only.) Incredibly robust and powerful outliner, graphical mapper, database, and so much more.

I am forever searching for the system that will allow me to store anything, link anything to anything else, extract email addresses for mailing, keep track of people and events, web clippings, etc. You get the idea.

Each tool excels at some things, and sucks (I hate the word, but cannot resist it any longer) at others.

And when I downloaded the latest version of VoodooPad today, I realized: Turn card over. I’m doing it again.

I haven’t found a 12-step program for people who are determined to find The One System yet, but if it doesn’t show up soon, I’ll have to start one.

Ask me how this relates to writing books.

I found his recent thoughts on the future of publishing on his blog. I agree with all of them, and many pertain to non-fiction as well as to fiction. Here’s a teaser and a link:

The Future of Publishing

The world of publishing is currently going through massive turmoil. Some people believe that the rise of e-books is going to be the biggest single change in publishing since Gutenberg’s invention of movable type.

I’m not a prophet nor a seer nor clairvoyant. But I do have my eyes open, and in this column, I give you my best predictions for the coming years. They may be right. They may be wrong. Either way, one thing seems certain: Huge changes are coming.

I offer these predictions to suggest ways you might plan for your future. I’m using them to plan for mine.

Prediction #1: E-books Will Surpass P-books Soon

I define a “p-book” to be a book printed on paper. Click here for more

I think it’s a left-brain/right-brain issue. If you are drawn to the niceties of fonts, it’s because your right brain has itches that need scratching. By all means, honor them—but not during writing time. Treat your attraction to typefaces as a hobby, a passion to be pursued in time you’ve allotted for it.

I’ve spent hours on type and typefaces with the feeling that it’s the stuff of books. And it really is—but for designers, not authors.

Having issued that dire warning, let me now share a couple of resources I ran across this morning. First, Typetester, a site that makes it really easy to compare fonts:

Next, the current issue of the Big Brand System biweekly newsletter has fascinating information, including why you should avoid Verdana on your website. (Sign up for this free missive here.)

• You write alone, or
• You have clear boundaries in the collaboration, and
• You observe the boundaries assiduously.

Whether you have read my book, heard me speak on my method, or just been a reader of this blog, you know the essence of “The Simple Secret To Writing A Non-Fiction Book In 30 Days, At 1 Hour A Day!”: Structure first, then content.

Sounds simple, I know. But it is not something most people are used to doing, and they don’t know why it might be important when undertaking to write a book. The metaphor I usually use is the building of a house: You don’t start with a trip to the lumberyard. If you do that, you will wind up with a yard full of stuff, and no idea as to how to assemble it into a house.

You start a house with a trip to an architect, who creates a plan. The plan makes its way into the hands of a builder, who uses it to create a list of materials. Then, after the materials have been acquired, a foundation is prepared and a frame built. That becomes the skeleton of the house.

It’s the same with a book. If you create your “framework”–your outline–first, it’s easy to write your book. If you don’t–well, good luck. You’ll need it if you hope to get a book done.

Creating the framework has an additional benefit: It makes the delicate process of collaborative writing practical. It does so by creating boundaries.

You see, once your framework is complete, all the book’s pieces–its chapters and subchapters–are defined and named. So if two people are to work collaboratively on a book, they should:

• Structure the book together, at least at the table-of-contents level.
• Then they can split the chapters between them, and each create the list of subchapters for his or her own chapters,
• Or structure the whole thing together, and split the subchapters up.

The place where many collaborations bog down is at the level of paragraphs. By dividing up subchapters and chapters, that opportunity for failure is avoided.

You and your partner may choose to identify yourselves as the respective authors of different parts of book. Or you may choose to have an editor “Homogenize” your distinct writing styles into a consistent “voice.” Either can work.

Structure makes collaboration possible.

I’ve been amazed how many of the people I’ve spoken with have a well-established platform for marketing their book and other products. What’s a platform? It is a collection of ways in which you already have contact with a significant audience–frequent presentations; a newsletter; on-line or newspaper or magazine columns; and so on. If you contact a literary agent or a publisher, they are sure to ask about your platform. Do you have one? What is it?

A solid and broad platform is the key to immediate volume sales of your book. One person I spoke with has a continuous stream of corporate presentations on the very topic about which he is writing. I pointed out to him that most of his corporate clients are likely to want a copy of his book for each member of the audience; this could double his revenue from a single engagement! He agreed.

If you already have an established platform, think how you might take advantage of it to promote your book. If you don’t yet have one, consider investing time and energy into the creation of an appropriate one; it will both greatly increase the volume of your book sales, and enhance your market presence for your professional services.

Arielle Ford says in the Huffington Post:

“I don’t buy authors, I don’t buy books, I buy platforms.” – #1 Self-Help Publisher in the world

One of the biggest mistakes authors make is thinking that they have to first write a book or the book proposal and then go out and look for a publisher. In reality, the biggest thing you need to do before you approach a publisher is to build your platform.

You want to be able to say to any publisher, “I have 3,000 names in my e-mail database. I’ve have been a guest speaker on 10 radio shows. I have done 20 paid speeches, and I am scheduled for four weekend workshops. Here is my list of upcoming speeches, the interviews I have done and my press kit.”

The reason you want to be able to tell a publisher all of this is because the only question they really have for you is, “Who is going to buy your book?” If you have something important to say and you are on to something that’s really great, you still aren’t ready to be an author until you have a platform.

Pay attention.

If you’ve read my book, or picked up pieces on my blog, you know that the basis of the Joel’s BookProgram method is one simple rule: Structure first, then content. In case this is the first you’ve heard of it, here’s my favorite metaphor: If you want to build a house, you do not begin with a trip to Home Depot. For what will you buy? How many 2×4′s? How many pounds of nails? Feet of Romex cable? And so on.

To build a house–assuming you’ve got a place to put it–you need a plan. So your first stop is the office of an architect.

After extensive discussions to establish just what you are seeking in a house–talking about everything from type of construction, number of floors, bathrooms, how long before the kids move out, room for the electric trains, to the swimming pool, and much more–the architect will draw up plans. Only after they have been gone over, revised, and re-revised, can they be turned over to a builder for estimates–and ultimately, for the creation of shopping lists.

The book equivalent of a house plan is your structure. Any writing you do without having a complete structure in place–a detailed outline down to the sub-chapter level–is likely to be a waste of time.

Your book is really its structure. The structure determines the order of what will be said, in order to get your message across. So how do you create it?

Before you even start, recognize that this is the creative, artistic part of book-writing. And for many of us, that puts us in a place of emotional intensity. We may experience exhilaration, anxiety, frustration, progress, disappointment, and fulfillment–in rapid succession, and repeatedly. Recognize that this is the nature of the process, and if you are having these feelings, you are on the right track.

The two tools that I show you for use in this phase of your book-writing journey are clustering and “the diamond.” They are all I’ve found so far, and they are powerful. But there is one other form of help you can use: Feedback. Talk through your thoughts with a coach or trusted friend.

And if you come up with any other ways to make structuring easier, please share them with me!

What can you do?

You can have someone–like me, for example–write your book for you.

The typical process depends on the writer. Most will interview you to understand your goals and direction. If you have material you’ve written that you want incorporated, that may speed up or slow down the process.

How much does it cost? There is a wide range. Hillary Clinton’s ghost writer got about $500,000 of her $8,000,000 advance (possibly the highest flat fee ever paid to a ghost writer). You can find writers in India and elsewhere who will work for very little–$3000-$4000 for a 100-page book.

Most 120-180 page ghost-writing projects will cost around $25,000-$35,000. Editing may be separate.

Why pay tens of thousands of dollars to have a book written for you? Because of its value to you, and the opportunity cost of your time. I currently have two such contracts. One is with a successful inventor, who wants his ideas to be exposed to a large audience. The other is with an up-and-coming consultant/coach/speaker, who values his own time at $500 an hour. “I can’t afford to take the tens–maybe hundreds–of hours I’d need to get my book out. Plus, I’m not a great writer,” he told me. I’ll finish his book in a couple of months, while he earns much more than I’m charging.

When hiring a ghost writer, chemistry is critical. You must be comfortable with the writer, both as a person and as a skilled craftsperson. Take your time interviewing different ones. Look for track record; empathy; and compatibility with your personality.

If you’d like to speak with me about your writing needs, schedule a free strategy call with me. I want to help you finish your book. Let’s talk.