One of the most common pieces of advice given to writers is that their manuscripts must be complete and as perfect as possible before querying agents or editors. That is true in most cases, but there are some instances where complete manuscripts are not required. In fact, just a proposal will do.

What? I have an idea for a book, a really good idea, and I can sell it based on a synopsis? How can I make that happen?

Unfortunately, it is not as easy as it sounds (nothing in publishing is as easy as it sounds). There are some cases that specifically call for proposals – for example, Rebecca and I signed several work-for-hire contracts with this method – but in the majority of cases, especially for writers not yet established, this is not an option.

To get a better understanding of proposals and how they can fit into your writing life, we asked three authors, Alysa Wishingrad, Erica George, and Olivia Chadha, all who debuted in 2021.

What does “writing on proposal” mean?

Erica: For me, writing on proposal means that I’ve plotted and outlined an entire novel. If I don’t know where the book is going, I don’t feel like I can accurately write a synopsis or even sample pages. Typically, my agent sends the editor a 2 page synopsis and about 50 sample pages that we’ve edited and revised together.

Olivia: Writing on proposal means that an author hasn’t fully completed the project and has used a proposal to sell their work. Proposals usually consist of a long writing sample of the work, a full synopsis. Though many times it’s just a one-page synopsis and a few pages. It really depends on the author and the editor. Regardless, the author hasn’t written the complete book yet. If the editor buys it, the writer gets to work! And fast! 

Whose idea was it to write a proposal? Yours, your agent’s, editor’s, or a combination?

Alysa: I guess it was both mine and my agent’s idea. I had written the first 50 pages of this book between drafts and edits for my debut and sent it to my agent. She loved it and we decided that it would be what we’d present for my option. She also advised me to not push to finish it until we got some feedback in case the editor wanted to take the story in a different direction.

Erica: For my debut, it was kind of a group decision, if that makes sense. We had already sent my editor a full manuscript of a different book that she had brought to acquisitions twice but couldn’t get past sales, so she knew my writing pretty well. My agent had mentioned to her in a conversation what I was currently working on, and my editor agreed that she wanted to see whatever I had. We sent along the synopsis and the sample pages, and apparently that was enough!

Olivia: My case was a little different. My book sold as a duology, though I only had the first book finished. Quickly, I wrote a synopsis for book two. My editor and I worked on the outline a bit. Then I got to work on a draft. And like most revision processes, there’s a developmental revision process as well. 

Which book did you write on proposal (1st, 2nd, 3rd, etc)?

Alysa: My second novel.

Erica: My debut novel, Words Composed of Sea and Sky, was written on proposal.

What was the easiest part of writing a book on proposal?

Alysa: Honestly? Not having to finish it before selling it.

Olivia: It was nice to know that the duology was a pair of books, so I could plan the scope of the series plot and conflict and character development from local in the first book to global in the second book. I’m not sure it was an easy process though. For me, even when I have a detailed outline of a project it is just as hard as writing a book. And sometimes, when I know the secrets and am not fueled by the desire to uncover them during the drafting process, I can lose steam or get lost. There’s a balance between knowing where the book is going exactly and having a compass with a general direction. Some of us need the latter to give space to world build and create. 

What was the difficult part?

Alysa: I wouldn’t necessary say difficult, but having to plan out the whole book after only writing 100 pages, was  challenge for me. I’m a plantser. But it was also a great skill to learn how to do, and I’m grateful for the experience. The other difficult part was having to finish on a tighter deadline. But I think a second book will always have a tighter deadline that your first, unless you sold your first book on proposal. I’m sure that does happen occasionally, but I imagine that’s very rare in the world Kidlit fiction.

How much of the book was pre-plotted? How much of the story changed from the original idea?

Alysa: I actually thought it was all pre-plotted. But as I sat down to write beyond the first 100 pages,  I realized that so many of the mechanisms I had designed weren’t going to to work. So while the story and MC arc has remained the same, how we get from A to Z has changed. It was working out these plot mechanics on a deadline that made drafting this book a challenge, and made me swear never to write on proposal again. BUT, and there’s a big but, I have since rescinded that promise. When I was freaking out that about sending a book that’s very much a first draft to my editor, my agent reminded me that when an editor buys a book on proposal they know they’re not getting an edited and cleaned book. I’m still a few weeks from my deadline, but that helped calm my thinking greatly, and now I’m looking forward to working collaboratively with my editor to get this book where it needs to be. 

Olivia: My book two was outlined, and yet after I finished the draft, I realized I needed to change a lot. So, while there was an outline, I changed the entire second half. It ends in the same place, but what happens from A to Z shifts. I think it works better to fulfill the promise of the book. 

Erica: I think the biggest change that was made from the proposal to the final project was fleshing out characterization. The plot remained the same, but my editor and I wanted to make sure that the characters had proper motivation for their actions, so we worked together on crafting scenes that fulfilled that need.

Thank you to these wonderful authors for providing insight and their personal experiences with writing on proposal. We encourage you to check out their websites and read their books.

Alysa Wishingrad has been telling stories her entire life, first through theater, film, and TV, and now through books for middle-grade readers. She believes 8-13 year-olds are some of the smartest, most open, and inquisitive people around. She’s dedicated to writing stories that help them to question their world, their place in it, and to hold onto the magic and power of inquiry as they grow up. Alysa’s favorite stories are those that meld the historical with the fantastic, and that find ways to shine a light on both the things that divide and unite us all. When she’s not writing she’s probably out walking her two very demanding rescue dogs, or she might be trying to figure out what to make for dinner – again! – for her family. But, if she’s very lucky, she’s out at the theater getting lost in a wonderful story. Website, Goodreads

Erica George is a writer of young adult fiction. She is a graduate of The College of New Jersey with degrees in both English and education, and is currently an MFA student at the Vermont College of Fine Arts. She resides in scenic northern New Jersey, but spends her summers soaking up the salty sea air on Cape Cod. Many themes in Erica’s writing rotate around environmental activism and helping young people find their voice. When she’s not writing, you can find her exploring river towns, whale watching, or engrossed in quality British drama with her dog at her side. Website, Goodreads

Olivia Chadha is the author of the YA sci-fi duology Rise of the Red Hand and Fall of the Iron Gods, and the adult novel Balance of Fragile Things. Website, Goodreads