Unlike a novel, where you can just get on with it already, non-fiction books require some introductory matter, in varying degrees and lengths. Below the fold, we’ll take a look at common pieces of ‘front matter’ and some tips for making sure they work.
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At their best, front matter elements help your reader. They provide roadmaps, previews, and in some cases, credibility assurances. At their worst, they’re random pages to flip through before getting to the meat. You should always consider, as you are adding front matter elements, what the reader – not you – will get out of it. Not all of these elements are necessary in every book; but they should all be focused.
(Note: we will not be covering title, copyright, and figure listings pages here – those are fairly standard and are defined in large part by the publisher.)
The Table of Contents
At minimum, the table of contents (TOC) points you to the starting place for each chapter. At its most expansive, it provides section headings and short abstracts.
How do you choose how far to go? I believe it depends on two things: indexing and genre.
- If you have an extensive, well-detailed index, you probably don’t need an extensive, well-detailed TOC. If you have any index at all, you probably don’t need an extensive, well-detailed TOC. However, if an index isn’t being used (for various reasons that we’ll address next week), you may wish to add more detail up front.
- If your book is a history or biography or chronology, you probably don’t need much detail in a TOC. However, if your book is a process piece, a more detailed TOC is probably handy. Now I’ve seen this a lot with technical manuals or collections of articles, and sometimes with cookbooks. However, this seems to vary a lot – do you list all the recipes up front, or just the main areas (Meats), or maybe breakdown a little further (Meats, with subheadings Pork, Beef, Veal)? I suspect it’s up to you and your editor.
The Foreword
Forewords are written by someone other than the author; sometimes it’s someone else in the field, other times, it’s a mentor or interested observer. Recounting Minnesota's foreword was written by Kos; this provided not only credibility for the work but also a bit of name recognition.
Forewords are never very long – 500-1000 words should do it. They are intended to entice your reader, to assure them that at least one other person, someone with some authority and knowledge, thinks this is good and believes it is important. See, for example, Markos’s last paragraph:
That’s why this book – yet another community-built and fueled project – is so important. Rather than let his work swirl down that memory hole, the finest has been captured in a medium that can best preserve it. And yes, even in these digital times, it’s the analog book. Within these pages, you’ll come to understand how a community, with WineRev leading the way, educated itself on the complex saga of the fiercely fought Minnesota Senate seat while, at the same time, clearly having a blast.
Ask your desired foreword writer early in the process – you don’t want to be scrambling the week of production to find someone to scribble down some words. Then, as soon as you are able, provide them with some sample chapters, the outline, or maybe even the unedited manuscript. It helps them to know what it is you’re writing about, after all.
The Preface ... or maybe The Acknowledgements?
Whatever you call it, this is all you: how the book came into being ("I never meant to write this book, just post a few stories of local color about a quick recount here in Minnesota... but things got a little out of hand") and your thanks to the people who made it possible. It’s a good thing to talk about what inspired you (watching Ken Burns’ The Civil War) and how long it took (in three short months). It is also okay to thank not only your editors and designers but also family and close associates. Resist the urge to thank every single teacher or lover or coworker; only thank those who truly added significant inspiration, information, and support. Also, it’s okay to omit someone who might have contributed but not so that you’re truly thankful to them. One of my favorite non-omission omissions comes from Rita Mae Brown, who said in Six of One, "I do not acknowledge the person who typed the manuscript. She got paid well enough." (Thanks, WineRev for the actual quote.)
The Introduction
This section generally introduces the topic and ‘what you’ll find inside’. It may also provide some perspective; where you’re coming from, your biases, who the book is for, and what you know is not in the book (I will not review common clocking functions). Sometimes it provides background on the topic so everyone's starting from the same spot.
This is often the section I will read while standing at the shelf of the bookstore; I will get an understanding of what the author is going to do and how in-depth (or mercifully introductory) the material will get. I will also know by reading the introduction whether this author’s perspective is one I’m looking for (I am likely to turn off from a book on women’s spirituality if the author tells me he’s going to dismantle any belief in the femininity of god).
So the tip here is to make your introduction a solid view into the world of the book, with helpful section-by-section or chapter-by-chapter abstracts.
The Prologue
The only time I’ve seen a prologue in non-fiction is in the occasional history. Because the prologue is by definition, the words before the story, most non-fiction does not need any sort of preparation like that. Just get on with it, I say.
However, with histories, especially of a particular event/war/epoch, you may want a prologue to set the stage of what had happened right before (Ho Chi Minh being denied access at Yalta as a possible spark for further events in Southeast Asia) or what conditions were like right before (the all-male atmosphere of West Point). It’s very much up to you – but use it with care.
Other Front Matter
In some cases, it’s important to explain material is cited, how to use the book, other quirks (like internetspeak), or definitions of common terms or acronyms. You may also have notes about translations, annotations, abridgements, or second editions. Sometimes you want this up front to explain why the book might be unusual. Whether it’s a note from the publisher or from you, discuss any other front matter with your editor.
Next week, we’ll look at the stuff in the back of the book. Meanwhile, enjoy your Labor Day evening and see you next week!
Cheers!