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Creative Nonfiction: What It Is, Why You Should Use It And How

Creative nonfiction is a genre of writing that combines the formality and factual basis of traditional journalism with the more subjective creativity of storytelling. This blog post will discuss what it means to write in this genre, why it matters and how you should approach it.

What is creative nonfiction?

The genre of creative nonfiction is one of the most interesting kinds of nonfiction, and a popular way to present fact-based literature. Particularly effective in historical writing, biographies and world affairs, it can often read like a novel despite being based firmly in real-world truths. It blends the factual reporting typical of journalism with more creative approaches to connect ideas, develop themes and weave a broad tapestry of narrative. Creative nonfiction can make connections between isolated facts that are real, but difficult to see when each element is viewed independently.

Creative nonfiction is often written without a strict chronological order, which allows it to be flexible and free-flowing while still grounded in truthful events. It may contain subjective commentary that can color those events, often by pulling in archival reporting or dialogue from the time, as well as first person narratives by witnesses as they recount past events. Using these sources naturally lends itself to interpretation and sometimes bias, but a good creative nonfiction will balance personal accounts to provide a full picture of events.

Why is creative nonfiction important?

Creative nonfiction is a valuable tool to educate and build new understanding. Unlike old-fashioned history books that provided dry, date-filled accounts of events from a high level point of view, creative nonfiction works to bring the reader into the events, giving glimpses of what really happened from very personal perspectives. Whereas old-fashioned history books set out merely to inform, creative nonfiction wants to enlighten.

As a nonfiction writer, it’s important to be able to employ an array of tools and techniques in order to create a compelling piece. Facts are essential, as is the proper presentation of interviews (no mis-quoting!). But from this framework of truth certain ideas will emerge, and the writer can choose what to highlight in order to bring those ideas to life. Creative nonfiction allows the writer more freedom to emphasize certain themes or viewpoints within their work while still being grounded in reality.

What are the 6 characteristics of creative nonfiction?

Creative nonfiction tends to focus on real-life events and people. Sometimes it can be categorized as journalistic because it contains well-cited research from primary sources or interviews with witnesses. But whereas traditional journalism usually steers clear from offering personal opinion within a piece, creative nonfiction gives the author freedom to provide commentary and insights about the facts.

Another characteristic of creative nonfiction is its use of dialog passages or first person narratives recounting events – this could be anything from public speeches, private conversations, journal entries, letters, old interviews and so on.

What are the key elements of creative nonfiction?

There are 6 elements to creative nonfiction:

Everything is based on facts
Direct use of primary references and witness accounts
Many scenes are told in a fiction-style narrative
A sense of progression, even of story, in the narrative
A commonality of theme that is introduced early, built upon and brought to conclusion
Thoughtful commentary from the author to tie everything together

Dialog in creative nonfiction

Scenes in creative nonfiction often include dialog. Many times these are direct transcripts from official or public records, and even though they may be edited for style (the removal of words like “umm,” etc.) and sometimes edited for content (to remove side topics that were discussed at the time but that are irrelevant to the theme of the book) they will be true to the meaning of the original.

When no such transcripts exist, dialogs can sometimes be re-imagined based on reliable witness accounts. In this case the exact wording of the dialog will be the invention of the author, but the meaning behind it will be true to the facts. In cases like this, it’s best, as the author, to make it clear to your reader which dialogs are direct transcripts and which are recreations.

What is an example of creative nonfiction?

There are many great examples of creative nonfiction. Here is one of my personal favorites:

What makes good creative nonfiction?

Good creative nonfiction should have a unique voice and theme. It has to have a purpose – a point it wants to make. Creative nonfiction may be based in facts, but it is never a dry recitation of those facts. The author’s task is to find meaning within those facts and bring the people and events to life within that meaning.

If a work is exploring a famous historical event it certainly won’t be the only book on that subject, so the author will need to imbue the work with a new perspective. There may possibly be new information that’s come to light, or a new eye-witness has agreed to share their thoughts. It needs to be grounded in reality, but the author can choose what parts of reality to emphasize or focus on to tell the story. This can create vastly different books talking about the same person or event – and both of them, if written well, will be true and accurate.

For example, two authors set out to discuss the Battle of Britain from the perspective of a single Royal Air Force squadron. But one author focuses on the mechanics desperately trying to keep the Spitfires ready to fly, while the other author follows the pilots as they endure the exhaustion and stress of near-constant battle. These two books are covering the same historical event, will mention the same battles, will describe in detail the same buildings and aircraft, and may even share characters. But they will be very different from each other.

How do you write creative nonfiction?

The best approach to writing creative nonfiction is to write from personal experience and set your own narrative. If you can report on real events as a witness you’ll bring your own unique perspective to the historical facts. But even if you’re separated in time and space from the events, you can still bring your own personal experience into the narrative.

For example, you might want to write a creative nonfiction book about ancient Rome. If you’re a civil engineer, your own training and experience can bring to light many fascinating details of how the Romans built their cities. If you’re a teacher, you can offer intriguing insights into the emphases Romans put into their education system and how that shaped their society.

Ultimately, creative nonfiction is intended to enlighten, and your personal perspective as an author will help you do that.

How do you analyze creative nonfiction?

Reading creative nonfiction is the best way to understand it. There are many great examples out there and the more you read the better prepared you’ll be to embark on your own project. But how do you analyze creative nonfiction? How do you “get behind the curtain” and learn how your favorite authors do what they do?

The first thing to do when analyzing creative nonfiction is to figure out what type of voice the author is using. Is it personal and intimate? Or objective and detached? Or cynical and funny? The tone of the writing gives the first clue to what sort of theme the author is exploring, and what kind of thoughts and feelings they wish to evoke in their reader.

The second thing to do is look at how the story unfolds. Does it follow a purely chronological path, or do the chapters jump back and forth in time? Does one thing seem to lead naturally into another, or does the narrative seem to be broken into separate paths (with them hopefully all coming together at the end)? Leaving the reader puzzled (for a short while) can even be a technique in creative nonfiction, if the author wants to force the readers to think for themselves.

As with anything, the more you study and practice, the better you’ll be at it. Good luck!

Best wishes!

If you enjoyed this article and are in the process of writing a nonfiction book, be sure to check out my free nonfiction success guide, drawn from years of experience editing books for bestselling authors (including a New York Times bestseller) and ghostwriting for CEOs and politicians. Simply click here to get instant access.

Ben

Leave me a comment below if you have any questions or a specific need that I can help you address – I operate an author services firm that specializes in helping entrepreneurs, professionals and business owners who want to publish books as a calling card for prospects, to establish their status as an expert or to generate additional leads for their businesses.

Here are some related posts I highly recommend:

The 7 Most Effective Book Promotion Ideas For Nonfiction Authors

How to Find The Best Book Marketing Services For Nonfiction

How to Promote Your Nonfiction Book to Rank High on Amazon

Bennett R. Coles is an award-winning author of six books published through Harper Collins (New York) and Titan Publishing Group (London). He is also the publisher at Promontory Press, editor for multiple bestselling authors (including a NY Times bestseller), ghostwriter for CEOs and politicians and the founder of Cascadia Author Services, a boutique full-service firm that specializes in premium author services specifically designed for busy professionals. Our end-to-end services include writer coaching, ghostwriting, editing, proofing, cover design, book layout, eBook production, marketing, printing and distribution.

How Many Sentences Are In A Paragraph?

by Bennett R. Coles Leave a Comment

If you’re unsure about how many sentences are in a paragraph, then this post is for you. You’ll find out what the purpose of a paragraph is in nonfiction and fiction writing, how paragraphs should be structured, their typical length, and the number of sentences in a typical paragraph.

What’s the Purpose of a Paragraph?

A paragraph is a group of sentences that are related to each other. Most of the time they’re related by subject – that is, every sentence in a paragraph is connected to the same topic. Most topics require multiple paragraphs to explore fully, but each paragraph should, by itself, fully encapsulate a single idea.

Sometimes a paragraph will introduce a new idea without fully exploring it, instead providing a transition into the next paragraph where that idea will be examined.

How Are Paragraphs Structured?

Paragraph structure depends on whether you’re writing fiction or nonfiction. A typical paragraph in fiction will capture a single idea in the drama. Examples include: a description of the scene; the complete movement of the character (such as entering the room, or completing a fight move); the complete thought process of a character; the description of a single item in the drama (such as the journey down a road, or the description of a dinner party).

Sometimes a fiction paragraph is very short – even a single sentence or even a partial sentence. This technique is used to add suspense or tension, either by adding stark emphasis on what has just happened, or interrupting the narrative with a surprise.

In nonfiction, the most common type of paragraph is the topic-sentence paragraph, which opens with introductory material related to the subject before transitioning into the supporting details. This sort of paragraph will typically have three main sections, introduction, support (or body), and conclusion.

How Many Sentences Are In A Paragraph?

The length of a paragraph varies depending on what style you’re writing in.

Fiction Writing

Because fiction writing varies so much based on style, it’s difficult to give a single answer to this question for all of fiction. But there are some guidelines we can consider.

First, the general style of fiction writing in recent decades has continued to move toward brevity. Many classics of English literature, such as the works of Charles Dickens, contain very long, descriptive paragraphs.

Others, such as the works of J.R.R. Tolkien, move forward at a leisurely pace, giving ample description not only of the scene but also of the character’s thoughts and even backstory.

Today, fiction writing is considered best when it’s brief. The reader is expected to use their imagination to “fill in the details” of a scene, which the author will describe in a few well-chosen sentences that provide more of a feel for the scene rather than every specific detail.

You certainly can provide specific details, but only do so if that detail is crucial to the story. In modern fiction writing, highlighting a detail is a signal to the reader that they need to remember that detail for later.

The move toward brevity also demands shorter paragraphs, so when you consider which idea your paragraph is going to encapsulate, think smaller rather than larger. If, for example, your narrative requires you to describe an entire school gymnasium during a basketball game in some detail, don’t try to fit it all into a single, massive paragraph.

Have one paragraph to describe the overall look and feel of the gym, a second to describe the two teams playing and a third to describe the cheering fans.

A good rule of thumb is to limit your fiction paragraphs to four or five sentences. It’s fine to occasionally stretch to six or even seven, but do so sparingly. Also try to mix up the narrative with shorter sentences as well, especially when your scene is high-tension and demands a brisk pace.

Dialog is an important part of fiction, and it obeys its own rules for paragraphs. In general, always start a new paragraph when a new person begins to speak. Sometimes dialog paragraphs can last for several sentences, but more often each one is short – often one or two sentences.

A line of dialog is sometimes only one word! Even so, you still need to start a new paragraph when the next person begins to speak.

You can combine dialog and narrative into a single paragraph, but only if the two ideas are directly connected. Usually the narrative sentence will describe an action by the character who is speaking that line of dialog.

It’s best to have the dialog come first and be followed by the narrative companion sentence, but it is acceptable to reverse this if the action must precede the speech.

Nonfiction Writing

In nonfiction writing, the first sentence of a paragraph typically introduces its topic and subsequent sentences discuss it in more detail, followed if necessary by a concluding sentence.

As in fiction the number of sentences in a typical paragraph can vary based on the style or subject matter of the writing. Nonfiction can generally get away with longer paragraphs than fiction because of the more coherent structure of nonfiction paragraphs, but even so the modern move toward brevity applies to nonfiction as well.

Think about how many times you’ve had to read a painfully boring (or confusing) nonfiction work. One of the biggest reasons readers get lost in nonfiction writing is over-long paragraphs that try to deliver either too many ideas or too many details supporting a single idea.

Because nonfiction very often is about the details, the need for in-depth paragraphs is real. But even so, it’s usually possible to break down a big idea into several sub-ideas and give each one of them its own paragraph. These sorts of linked paragraphs often don’t need a concluding sentence, because the subject matter moves clearly and smoothly from one paragraph to the next, but topic sentences are still very important.

Transition paragraphs should be short, with few details on offer. Their purpose is to reorient the reader to a new topic, but not to delve into that topic. A short transition paragraph – two or three sentences – is sufficient to set up the next paragraph, which properly explores the new topic.

When writing nonfiction be sure to study other works in your field to get a sense of what the norms are. Self-help nonfiction is very different from investigative journalism, for example, and nonfiction audiences are less forgiving than fiction audiences if you unintentionally ignore the conventions of your genre.

As a rule of thumb, though, start with six to seven sentences for a typical nonfiction paragraph. This is enough room for your topic sentence and the supporting details you need to fully expand your idea (or sub-idea).

On occasion you can stretch this to eight or nine sentences if required to get your idea across, but try to save this sort of length for key points or chapter conclusions. And no-one will ever fault you for shorter paragraphs, so long as they contain a complete and coherent thought.

Conclusion

Determining the right number of sentences for your paragraph is more of an art than a science, and it can be affected by your subject matter and the style of writing expected in your genre.

But if you can use the above rules of thumb for fiction and nonfiction you’ll be in good shape to build your narrative around well-organized and easily digestible topics which your reader will enjoy.

Best wishes!

Ben

Here are some related posts I highly recommend:

The 7 Most Effective Book Promotion Ideas For Nonfiction Authors

Learn How to Market a Nonfiction Book to Get Solid Results

How to Find The Best Book Marketing Services For Nonfiction

How to Promote Your Nonfiction Book to Rank High on Amazon

20 Powerful Ideas to Promote Your Nonfiction Book

Punctuation Marks: A Guide for Nonfiction Writers

by Bennett R. Coles Leave a Comment

I know – grammar class was like the most boring class in school. And punctuation marks were never an exciting topic. But punctuation will make or break your writing.

Punctuation marks are important to the flow of a sentence. They insert necessary pauses, they provide clarity, they create links and they express emotion. Punctuation marks can also make the same words convey different meanings, depending on how they’re used. This article will talk about why we use punctuation, outline some basic punctuation rules you really should know, and give an overview of some of the most important punctuation marks in nonfiction writing.

Why Do We Use Punctuation?

Punctuation marks bring structure to a sentence. Without them you just have a series of words that can be interpreted in multiple ways unless they’re given the right context. Punctuation is what adds that context, providing meaning and clarity to sentences. Take this example:

“Some people find inspiration in cooking their families and their dogs.”

Compared to…

“Some people find inspiration in cooking, their families, and their dogs.”

Or how about this example:

“A woman without her man is nothing.”

Compared to…

“A woman: without her, man is nothing.”

In both cases we have the exact same words in the exact same order – but dramatically different meanings. I hope you can see why punctuation matters.

Punctuation is essential to effective writing and it uses very consistent rules. Make sure you know the rules well.

What Are Punctuation Rules?

Punctuation marks are each designed to perform specific functions, and they each have clear rules attached to them. While some punctuation marks are sometimes interchangeable, such as the comma or the dash for a subordinate clause like this one, every punctuation mark is meant to be used consistently. Even in the cases where you can choose one of several punctuation techniques – such as using a dash instead of commas to separate a subordinate clause like this one – there is probably one punctuation mark which is better in each specific instance.

Here are some basic punctuation rules:

Commas, these little marks you see before and after this clause, help separate thoughts within a sentence. They can also help out in lists, summaries, and collections.

Semicolons are used for linking two closely-related sentences into one; they’re particularly good when the two related thoughts are of equal importance.

A colon can also link two related sentences, but there’s a twist: when you use a colon, you’re indicating that the second sentence is more important.

Colons can also be used for other purposes: starting lists, adding emphasis, and introducing concluding thoughts.

Parentheses can enclose information (like side comments or clarifications) that may be interesting but don’t affect the main point of the sentence.

Periods indicate that the sentence is complete.

Question marks, like they sound, are placed at the end of any sentence which is a question. Is this always the case?

Yes! Exclamation marks are used to add emphasis to a thought.

What Are the Most Important Punctuation Marks?

While there are many punctuation marks in English, there are about a dozen that are most commonly used in the nonfiction genre.

The Comma, the Semicolon and the Colon

The comma is the primary mark for separating thoughts, ensuring clarity and making what we’ve written easier to understand. The comma is the main tool for structuring thoughts within a single sentence, giving the reader a moment to pause before going on to the next thought.

The semicolon and the colon each connect two related sentences more closely than a period. Both punctuation marks can also be used in lists: the colon to start a list and the semicolon to separate the items in a list.

The Period

The period is the mark that indicates the end of a sentence. It’s used to complete sentences and to mark an abrupt pause or a thought change. It can also be used for a particular kind of emphasis if you really want to drive a point home, but use this technique sparingly. Very. Sparingly.

Dashes and Hyphens

Dashes and hyphens connect things in a sentence. They’re both horizontal lines – like this – but the dash is the longer of the two and is used to connect related ideas or show a dramatic interjection as one idea jumps to a new one. The hyphen is shorter and is most commonly found connecting two words, like ninety-five, to form a single idea.

Dashes give you a way to jump from sentence to sentence in a way that is abrupt but also connected – kind of like the way we speak. This is a specific style, though, and not always acceptable in nonfiction writing.

Brackets

There are different kinds of brackets, but they all share a similar function: to enclose content you want to highlight in the text. Often this highlighted text isn’t necessary for the main idea of the sentence but it adds something of interest.

Brackets can also allow you as the writer to offer opposing ideas intertwined in the same sentence. For example, you might think that using brackets is poor style (even if the style guides approve) because it clutters the sentence (but adds depth).

Brackets can also be used for noting small details or providing information that otherwise would be left out of your paragraph.

The Apostrophe

Apostrophes are used for contractions and possessives. An example of a contraction is “don’t” versus “do not” – the words have been pushed together into one and the apostrophe indicates the missing letter. Possessives in English are always indicated by the addition of an apostrophe followed by the letter s. So the “bike belonging to the boy” becomes the “boy’s bike”.

Depending on what country you’re in (and what style guide you’re using) if a word already ends in s then you’ll still use the apostrophe to indicate possession but you may or may not add a second s. If the bike belongs to James, for example, in America it would be “James’s bike” but in the United Kingdom it would be “James’ bike”.

Question and Exclamation Marks

These punctuation marks are often used to show a change in tone or indicate an emotional response. The question mark shows uncertainty, like when we ask questions like “What do you think?”

The exclamation mark is most commonly found after words, phrases, and sentences that express strong feelings. It can also be used for emphasis, but be careful employing it outside of dialog or commentary. Exclamation marks are easy to overuse!

Quotation Marks

Finally, quotation marks are used to create a clear separation. They’re most commonly used to indicate speech, capturing all of the spoken words and separating them from the rest of the narrative.

“I love punctuation,” stated the high school student. “It’s useful and fun!”

But quotation marks are also used to create separation within a sentence if you want to highlight a phrase or even cast doubt on it, such as:

We observed the “training” with some concern.

This use of quotation marks is intended to isolate part of a sentence from the rest, usually to create a contrast.

Breaking the Rules of Punctuation

Can we break the rules of punctuation? Yes, but only do so rarely, and only for a good reason. That reason is usually to grab the reader’s attention – upsetting the normal rhythm of a narrative by breaking punctuation rules is the written equivalent of a shout – but even so it has to be done carefully. Most of the time, you can use punctuation as it’s intended and still score dramatic points.

Conclusion

Punctuation marks are an essential part of writing. Without them our words just run together in an endless stream of consciousness, difficult to understand and easy to misinterpret. Every writer needs to master the basic rules of punctuation and use them consistently. Punctuation marks provide a lot of flexibility for the experienced writer, and while breaking the rules may occasionally be required, most of the time the punctuation rules will give you everything you need to write well.

Best wishes!

Ben

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What are the Different Types of Nonfiction Editors?

by Bennett R. Coles Leave a Comment

New authors writing fiction can build up their experience through trial and error by writing several short stories over time cost-effectively as they hone their craft. By using low-cost or no-cost self-publishing services like Kindle Direct Publishing or Lulu to design and publish those early trial books, they can become seasoned writers without suffering any reputational loss.

The world of nonfiction, however, is not quite as forgiving. When you publish your first nonfiction book, you’ll be automatically deemed to be an expert in your field, right along with those who might be on their fifth or sixth books. After all, why would a non-expert bother writing a nonfiction book?

So from the get-go you’ll have to ally yourself with (and budget for) professional editors who will take your manuscript writing and structure to the next level, allowing your book to bring about your subject-matter expertise in a compelling and engaging way.

Before you hire any editing resources, let me help you get familiar with the different types of editors required to make your nonfiction manuscript truly shine.

Types of Nonfiction Editors

There are four main types of nonfiction editors you can hire, depending on your unique circumstances and budget:

• Developmental Editor (sometimes called a Conceptual Editor)

• Content Editor (sometimes called a Substantive Editor)

• Line Editor (sometimes called a Stylistic Editor)

• Copy Editor (sometimes called a Proofreader)

Sometimes an individual editor will combine two of these editing levels into a single service, so it’s always good to discuss beforehand exactly what level of editing you’re looking for, and what they intend to provide.

Let’s now look at the distinct functions each one performs:

Developmental Editor

The first type of professional editing that your nonfiction book will require is developmental editing. This type of editor will look at the overall structure of your book to assess if it’s adequate to support your main thesis.

As the author, you’re simply too close to your book to be able to have an unbiased opinion, and your developmental editor will help you gain the necessary perspective to help you “see the forest for the trees” and make objective decisions.

In short, the developmental editor is like a coach who’ll lay out the overall strategy you need to follow for your book to achieve its full potential. They’ll do so by using the following two mechanisms.

The Editor’s Letter

Through this letter, they’ll tackle the biggest structural issues in your book by making suggestions so that you can take the necessary corrective action.

This might entail re-writing certain chapters, swapping them around, perhaps writing new ones and eliminating sections of the book that don’t support your thesis and don’t add any value to your readers.

Once you’ve completed this major initial revision, your manuscript will have a much more solid foundation, strong enough to begin the second phase of developmental editing: page-by-page commenting.

Page-By-Page Comments

Here, your developmental editor will go through every page of your manuscript and leave you notes in the margin. These notes won’t be related to spelling, grammar and punctuation errors but to the actual content of the text.

For example, they may point out that an idea you’re exploring is out of place with the other ideas in that chapter and should be moved elsewhere. Or they might show how the subject of one chapter is an outlier compared to the rest of the book and question whether it should be included at all (or re-worked to fit the rest of the book).

Content Editor

The content editor will pick up from where the developmental editor left off and move down to the chapter and sub-chapter level. Their main job is to ensure that your message is delivered with clarity to meet the needs of your target audience. They’ll ensure that your ideas flow naturally from one to the next and that you haven’t included any ideas that aren’t relevant to your main thesis.

For example, they’ll make sure that all chapters have the right structure (at its most basic: a beginning that introduces the main idea, a middle that expands on it, and an end that summarizes it). They’ll also suggest rearranging ideas within a chapter if doing so will improve clarity and flow.

Line Editor

A line editor goes deeper still, right down to the paragraph and word level. They’ll check your manuscript for readability and style, and make suggestions to improve clarity. They’ll do so by rewriting those phrases that are clunky and hard to read, adjust paragraphs that are unclear, shorten run-on sentences and so on.

Finally, they’ll suggest the right placement for any illustrations, images, tables, or any other type of graphical element in relation with the text and the flow of ideas.

Copy Editor

Copy editors are not concerned with idea flow or paragraph clarity: their job is to ensure that your book’s content is correct and its facts are accurate.

They will catch spelling, punctuation, grammatical, syntax, capitalization and hyphenation errors. They’ll ideally correct any fact in your book that is inaccurate, from wrong dates to wrong places to wrong names.

They’ll flag any potential legal infringement issues, check for major formatting inconsistencies, check for proper word usage and check for any type of anomalies in your text.

Before you publish, you want to be certain that your nonfiction book is devoid of errors, omissions, typos and inaccuracies.

Your copy editor will make sure that your book is free from:

• Punctuation, spelling, grammatical and syntax errors

• Formatting inconsistencies

• Incorrect references

• Inaccurate facts and figures

• Erroneous captions

Unlike most of us, copy editors have the uncanny ability to laser focus on the language of your text without getting distracted by the art.

In other words, the reason we mere mortals can’t seem to detect as many typos as they do is that since we’re so focused on the narrative of the story, our brains will happily skip these minor speed bumps for the sake of our reading enjoyment.

Congratulations, now that the copy editing stage is completed, your book is ready to go to the printer!

What Rates do Nonfiction Editors Charge?

Rates differ with experience, but here are some general guidelines so you know what to expect:

Developmental Editing can charge two separate fees, depending on the nature of your book — a per-word or per-page rate for the textual component of your book, and a per-hour rate for books that are research-intensive (e.g. highly academic, scientific or specialized).

Per-word rates range from 8 cents to12 cents depending on the level of difficulty of your text (or $20-$30 per page). Per-hour rates are typically around $60/hour for non-editing research activity.

Content editors charge a lower rate than developmental editors, which is typically based on dollars per 1,000 words.

For books with standard text – that is, non-specialized, non-scientific or non-academic text – the content editing rates will range between $40 and $50 per 1,000 words. For difficult text (specialized, scientific or academic) the range goes up to $50-$70 per 1,000 words.

Line editors charge between $30 and $40 per 1,000 words for standard text and anywhere between $40-$60 for difficult text.

Finally, copy editors charge between $25-$35 per 1,000 words for standard text and between $35-$45 per 1,000 words for difficult text.

Next Steps

When it comes to editing cost, always keep in mind that the quality of your book will be directly related to your credibility and your professional reputation, so cutting corners in editing isn’t recommended.

On the flip side, consider that a high-quality book will result in more business later on, since your book will act as powerful calling card to promote your professional services. At the end of the day, your editing investment will be return to you multiple times.

Also, as a nonfiction writer, you’ll need the help of top-notch editors to be able to produce a book that can compete with all the bestsellers in your niche, which are guaranteed to be professionally edited.

When it comes to finding the right people for the job, many book editors will specialize in a particular stage, but occasionally you may find a super-editor that can do two stages. Some may even be able to do three, but it’s always good to get at least one more set of professional eyes on a manuscript before publication, especially for copy editing, so I always recommend using two different editors for the different stages.

So, be prepared to hire multiple editors, keeping in mind that the total editing cost may not change that much with fewer editors because all four stages still need to be implemented for your nonfiction book to be competitive in the marketplace.

Now, once your manuscript reaches an advanced stage of editing, it’s time to begin lining up professional layout and book cover designers. Here are a couple of articles to guide you in the right direction: 10 Nonfiction Book Layout Tips That Will Glue Your Audience to the Page and 5 Book Cover Design Principles for Nonfiction Books.

Best wishes!

Ben

Here are some related posts I highly recommend:

How to Write a Compelling Book in 12 Steps: A Must-Read Guide for Nonfiction Authors

How to Grow Your Business Writing a Nonfiction Book

How to Make a Book Cover for a Nonfiction Book

by Bennett R. Coles Leave a Comment

The Importance of a Good Book Cover

The bar for nonfiction book cover design is much higher than that for most other genres.

Unlike works of fiction, where the primary goal is to entertain a general audience, nonfiction books are usually more serious in nature. Whether your goal is to help your audience at a personal level or in their business, your book will position you as an expert in their eyes.

As a result, the quality of your book’s presentation will have to meet a high standard: that’s the natural expectation readers have from experts.

Your book cover design is an area where you can’t afford to cut corners by using an inexpensive gig site or cover design templates, because your professional reputation will be riding on the final product.

What Makes a Good Cover Design?

Since you’re writing a nonfiction book, chances are that you’re doing so to solve a problem for your audience. Therefore, your unique solution needs to be reflected on your cover in a way that’s clear and unambiguous.

Since problems tend to have a strong emotional component, your solution and the imagery of your book cover must clearly reflect this fact. A good nonfiction cover design needs to pictorially reflect the outcome of your solution, which is the desired state that your target audience seeks to achieve.

For example, consider the book “The 4-Hour Workweek” that provides strategies to escape the rat race and gain personal and financial freedom.

The title doesn’t explain how this is achieved and neither does the cover – you have to read the book to find out! But the front cover clearly shows the intended outcome by depicting the outline of a person lying on a hammock between two palm trees with a sunset in the background.

The end result is that this cover is able to establish a direct emotional connection with the source of its audience’s problem (living in a financial rat race) while offering an aspirational outcome that symbolizes personal and financial freedom.

Top 3 Best Practices for Your Front Cover Design

Below you’ll find three best practices you need to apply to your front cover to ensure that your book stands out from the crowd:

1- Make Your Title Short and Catchy

Over the last twenty years or so, there’s been a trend in the nonfiction genre from longer titles and shorter subtitles to shorter titles with longer subtitles.

A classic example from the old days is The 7 Habits of Highly Effective People. Even though this title is a bit of a mouthful, it does say all you need to know about the contents of the book.

However, with the migration of book discovery from the offline to the online worlds, ruled by small, smartphone-sized screens, you’d now find it challenging to clearly make out all these words from a tiny thumbprint image.

As a result, books put out by publishers and self-published authors alike have been trending toward short titles in the 1-5-word range with longer subtitles used to expand on the book’s main premise.

Here are some examples:

Quiet: The Power of Introverts in a World that Can’t Stop Talking

Yes!: 50 Scientifically Proven Ways to Be Persuasive

The E-Myth Revisited: Why Most Small Businesses Don’t Work and What to Do About It

2- Use Book Cover Images that Reflect the Aspirations of Your Target Audience

In order to compensate for the limited real estate of book front covers viewed online you’ll need to rely more than ever on your cover imagery to paint a clear picture of your book.

This wasn’t an issue when The 7 Habits was released back in the late 80s – in fact, the original book cover had no imagery whatsoever, just a background color behind the title with some strategic underlining.

But today, you have to lean more than ever on cover visuals to complement your title. In fact, for maximum effect, you want to choose illustrations or photographs that clearly reflect the aspirations of your target audience.

Don’t choose images that illustrate your audience’s current problem – choose images that illustrate the solution!

3- Use a Color Scheme in Line with the Expectations of Your Niche

When it comes to the color palette for your book cover, there are unlimited choices and combinations available to you, making the task of choosing the right color appear to be overwhelming.

Since colors are very subjective, you certainly don’t want to make a mistake and risk being labeled amateurish or inappropriate by the buying public. Fortunately, different niches tend to gravitate to specific color patterns that align with the expectations of their audience.

For example, you wouldn’t want to use red for the cover of a book on investment advice, since red is typically associated with financial loss. Likewise, you wouldn’t want to color a cookbook in a way that’s not reflective of the type of cuisine that your book conveys.

Colors have the ability to trigger an emotional response in your readers and you want to make sure that this response is always positive and in line with your niche.

The 5 Key Elements of a Nonfiction Back Cover:

Now, let’s switch to the back cover of your book. The goal of your back cover is to shore up the marketing pull of your front cover. In other words, while your front cover draws people in, your back cover needs to do the selling job.

For the marketing pull of your back cover to be effective, you need to hone in on the following five key elements.

1- Testimonials (from Recognized Experts!)

The first order of business is the solicitation of glowing testimonials from people your target audience considers to be experts in your niche. The stronger the name recognition, the better.

Now the question is, how do you get recognized experts to agree to give you a testimonial? Well, you’ll have to be resourceful. You have to uncover direct paths to them and then work those channels to get introduced to them.

Here are some suggestions:

Perhaps you know someone who knows them – check LinkedIn to see if you share a common business acquaintance, making them a 2nd-level connection, then ask them to make an introduction.

Attend paid seminars or workshops that they offer and simply ask them directly (always towards the end of the engagement, once you’ve developed a relationship of trust). This is a little bit harder to do when attending a webinar because all exchanges are publicly shared, which brings us to the next tactic.

Book a paid one-to-one session if they happen to operate a consultancy in your area and then ask them politely (if they published books earlier in their careers, they’ll empathize with you!).

Keep in mind that they won’t endorse you book simply because you ask – as a starting point, your book has to be professionally designed and edited and its content has to be excellent in their eyes.

By giving you an endorsement and having their name appear on the cover of your book, they’re putting their reputation on the line and they’ll be reluctant to do so if they feel that your content is substandard.

Having said that, there are benefits to them in providing their endorsement. If your book does well in the market they’ll benefit from free promotion for their own books, which will be mentioned along with their names.

2- Marketing Blurb

The goal of the marketing blurb, or marketing text, isn’t to provide a summary your book but to engage and entice readers to consider buying it. The text must connect with their emotions, which is ultimately what’s behind most purchasing decisions.

Therefore, your blurb will need to:

Clearly identify the main problem afflicting your readers, which your book will address
Show them what your book will do to relieve this pain (your solution) without revealing any of its secrets (the “how”)
Address their aspirations by painting a picture of what their lives will be like after implementing the lessons contained in your book

3- Your Author Bio

You author bio needs to establish your expertise in your book’s topic. It must mention what your credentials are, show how long you’ve been practicing your trade and give an account of your experience.

When it comes to style, it’s customary to write author bios in the third person. It’s also customary, although not strictly necessary, to close the bio with a personal touch.

This closing could be as simple as mentioning the general area where you live (e.g. west coast, the name of a state, a city, etc.), mentioning how many children you have, if you have a pet, perhaps their name, and so on.

You can also make it as personal as you feel is required to connect with your audience – for example, mentioning a mundane experience from your life that your readers can easily identify with.

4- Author Head Shot

Your author head shot could either be a black and white or a color photograph (black and white is a common choice for nonfiction books), however, make sure it’s taken by a professional photographer.

Although some authors use casual shots for their author bios, I don’t recommend this approach for nonfiction authors because it creates a disconnect with your image as an expert.

When you meet a lawyer or an accountant, you have a certain expectation on how they present themselves – ripped jeans and a t-shirt won’t inspire a lot of confidence. This is no different with experts who publish nonfiction books.

5- The Barcode

The final key element in your back cover is the ISBN barcode. You want to make sure that it’s of the highest possible quality to ensure that laser scanners in retail locations can read it.

Some barcodes have the suggested retail price encoded, but this isn’t mandatory, especially if your book will be offered in multiple currencies.

Depending on where you live, the barcode may be supplied by the same agency that generates the ISBNs. In the U.S. this agency is Bowker (https://www.myidentifiers.com/identify-protect-your-book/barcode)

Next Steps

In order to formulate initial ideas for your cover, search Amazon for bestselling books in your niche and inspect their covers for visual and textual messaging.

Figure out what you find compelling about them, how they make you feel and how they align with the book’s thesis and the aspirations of their intended audiences. Then take notes about those design elements you think would work on your book.

The goal is not to copy what you see in other books, but to use those books as source of inspiration and an idea generator for yours.

Good luck with your cover!

Ben

Here are some related posts I highly recommend:

How to Write a Compelling Book in 12 Steps: A Must-Read Guide for Nonfiction Authors

How to Grow Your Business Writing a Nonfiction Book

Bennett R. Coles is an award-winning author of six books published through Harper Collins (New York) and Titan Publishing Group (London). He is also the publisher at Promontory Press, editor for multiple bestselling writers (including a NY Times bestseller), ghostwriter for CEOs and politicians and the founder of Cascadia Author Services, a boutique full-service firm that specializes in premium author services specifically designed for busy professionals. Our end-to-end services include writer coaching, ghost writing, editing, proofing, cover design, book layout, eBook production, marketing, printing and distribution.