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Posts Tagged ghostwriting
In this season of the notorious Zoella ghostwritten novel, I’m getting deluged with questions from people who know I ghostwrite. What’s it like? Who have I done? Well, I can’t tell you that because it’s a trade secret. Also because to divulge the details might get me shot. (Though I can give advice on how you get into it – here’s my recent post on that.) As the nation sings Zoella, Zoella, I thought you might like this piece on ghostwriting, originally penned for Authors Electric.
An acquaintance from my dance classes read My Memories of a Future Life last month and has since been seeing me in a whole new light. I can tell by the thoughtful looks he gives me as we wince through stretches and wobble through pirouettes; an expression that says ‘I never knew you had that weird stuff going on…’
After class the other day he said to me: ‘that freaky scene with the hypnosis in the underground theatre… you must have been to something like that?’
‘No,’ I said. ‘It’s research and imagination.’ He looked a little disappointed.
I stomp on your dreams
Had that taken away a little of the magic? Do readers prefer to think they’ve been led through your rearranged memoirs than the fruits of your persuasive art?
Some clearly do. There’s a long tradition that people who’ve had extraordinary lives sit down to dash off a novel. Many of them are not writers, and so the actual words came from people of ordinary amounts of courage and glamour, in charge of something no more racy than a blank page.
I know; I’ve done it. This is the lot of the ghostwriter.
A publisher introduces me to an ‘author’, and I write the novel they would if they could.
A surprising number of writers ghost for others, leaving behind our literary egos to live on the page as someone totally different. (It’s great discipline and allowed me to develop a method for getting novels ship-shape to order – all boiled down into my writing books.)
No, I didn’t do Jordan or Madonna. For some reason, I’ve trended in testosterone, with a run of adventurers and special forces types. I don’t know why. I don’t have a Y chromosome, for starters.
I now have an arsenal of rather wonderful faked experience. Just as you never forget how to ride a bicycle, I’ll never forget how to fly a plane, microlight, glider, hang-glider, helicopter. Or handle guns. Or hotwire various vehicles. I’m a dab hand with plastic explosive. I can make you believe I’ve abseiled out of helicopters into thin air, tracked assassins through jungles and India’s most impoverished slums, humanely killed a fatally wounded rhino and inhumanely despatched drug bosses. And done a whole rainbow of hallucinogenics.
In real life, my passport rarely gets any outings. But between the covers I’ve out-trekked Michael Palin.
After all that, hypnotising someone in an underground theatre is child’s play.
Fake to fake
Once, I went to meet my publisher and arrived in time to see my ‘author’, giving a presentation to the sales reps. Behind him was a wall of advance copies, floor to ceiling like bathroom tiles. I stood at the back and watched while he enthralled them with titbits of the characters and plot in the book I’d built on my hard drive.
We were faking, both of us. He was faking being a writer. I had faked being the soul who lived the stuff of novels. I watched for a while, then like a good ghost, slipped out, unseen.
It always amuses me to hear that maxim, ‘write what you know’.
Any questions? You can ask whatever you like, but I may have to answer with a seraphic smile. Or tape over my mouth.
Thanks for the pic NIck_Blick
NAIL YOUR NOVEL PLOT BOOK Right now, chez Morris, the plot book is in the final throes of production. If you want to share my pain, er, pick up some handy professional tips, I’m currently formatting for print (part 1 and part 2). Then I’ll have to write the back-cover blurb (share the torture of that here). And if you’d like to know as soon as it becomes available, sign up for my newsletter.
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‘Can I ask you about ghostwriting….?’ As you may know, this is how I first got published, writing novels that were released under the names of other people. I was the secret hand that wrote these (and others…)
I get asked about ghostwriting all the time, from people curious about it as a career path, or thinking about hiring a ghostwriter, or the plain curious. So here’s the dirt. Or as much as I can safely reveal.
Which books are ghostwritten?
Celebrity biographies and novels If someone has an interesting life story or is popular, a ghostwriter might be engaged to help them write a memoir. If that sells they might be asked if they fancy doing novels.
Megabrand genre novels It’s well known that James Patterson uses ghosts, outsourcing early draft work to keep up with demand. And that publishers hire writers to keep popular authors feeding the market after they die – eg Robert Ludlum. There are also plenty of other big-name authors in commercial fiction who are still alive and use ghostwriters, unacknowledged. (Knowing wink. You would be scandalised.)
So there’s plenty of work.
It’s all about who you know.
Editors and agents If you have a literary agent, let them know you’re up for ghosting. Also it’s worth mentioning to book editors you’ve worked with.
Journalism Journalism is another way to break in, especially for non-fiction. You might meet someone who wants help writing their life story or a book on their patch of expertise (but see below).
Author services companies I get frequent approaches from author services companies, who want reliable ghostwriters they can recommend to clients. I don’t know what the terms are, but, in general, I worry about working for services companies. Judging by other areas of publishing, one party gets a bad deal – either the client pays over the odds, or the freelance gets a lot less than market rate.
Pros and cons Cons first. You’re caught between two masters – which you realise when the ‘author’ wants one thing and the editor wants another. You will be amazed at the issues that blow up into diplomatic incidents and you’re left trying to please both. (Knowing wink. You’ll earn every dime.) Commercial ghostwriting is satisfying because the book will be published, and because of the cost of hiring you, it will probably be well marketed. Depending on your deal, should be a worthwhile addition to your CV and earnings stream. If you ghostwrite for an author services company, you may find there’s no long tail because the book is far less likely to earn in money or reputation.
What will you be paid? Deals vary, obviously. But to generalise, you get much better terms if you have representation. My agent is horrified at the contracts I have from my ghosting days.
My personal beware list
Don’t do any ghosting work for individuals unless you’re very sure they’ll get a publishing deal. Even if they’re a celebrity you know personally.
Don’t do any work on spec for agents. In more naive days I spent four months rewriting a thriller for a phenomenally well-connected gentleman, persuaded by an agent to do it for a future profits share. The book never sold and I never saw any payment.
Be even more careful of the situation that might land you in court – or worse. I get a lot of approaches from people who want me to help them write a book about their murder trial. Such a book couldn’t be published without cast-iron legal backing, which only a major publisher has the chops for. And as for the chap who wanted me to write the book about how he was manipulated into assassinating … No I can’t tell you. (Knowing wink with a nervous twitch. You might be dead.)
Can I hire a ghostwriter myself?
Question. Can you afford to pay six to nine months’ salary for a writer to do a proper job of your book? This is why, in commercial publishing, ghostwriters are generally funded by the publisher, not the writer (although they don’t always get a fair fee – see above). But if you have a strong concept for a book and a writer who is a good match, you could seek a deal together.
What about royalty-split deals? See the caveats above, but these are frontier-busting times. Indies are leading the way with new ways to fund books, as we’re seeing with ACX for audiobooks and translation deals.
How can I break in?
Aside from personal contacts, there are opportunities for beginners if you know where to look. Book packagers are companies that dream up commercial ideas for novels, which they pitch to publishers. Some of these become phenomenally successful. They need writers.
They give you the plot in painstaking detail, so your job is to flesh out the story into scenes. Sounds a doddle? There are two downsides. One – the pay is rubbish. Two –they demand rewrite after rewrite because they design the story by committee and change their minds. But it is a way to get experience, and you might make useful friends. Find them in Writers’ and Artists’ Yearbook, or the US equivalent. Contact them and ask if they’re looking for writers. If you send them a sample and it’s good enough, they might ask you to try out for a live project.
Have you any questions about ghostwriting? Or wisdom to add? Your turn!
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You may recognise Helen Hollick as a recent guest on The Red Blog, where she stirred up a storm with raging seas and black-hearted doings, all devised with the music of Mike Oldfield, among others. She’s also a bestselling author who’s hit major charts with her pirate novels, so that’s probably a better reason why you might know her.
After she guested for me, she was curious to find out more about how I use music and how I developed the idea of The Undercover Soundtrack into a blog. Especially as it’s been going for more than two years now – and contributors are now lined up into July!
Some of you NYN old-timers might have heard this tale before, but in case you haven’t, or you want a brief intro to my fiction, or you want to see where Helen lives on line, head over to her blog …
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I’ve got a couple of slightly apparitional guest spots around the web today. I’m at Candace Austin’s Tumblr blog, Past Life Ponderings. Her novel is about past lives and she collects other authors who play with those ideas. She’s also keen to know about our own claims to former lives … come this way…
Still with the theme of shadows, I’m also at The Write Life Magazine. This time I’m talking about ghostwriting – how I started, what it takes to do the job and how you might break in. The Write Life is an online magazine, downloadable as an app or on PDF. There is a sign-up form but don’t be put off – it’s free and you also get essays about writers’ life-changing experiences, an interview with New York Times Bestseller Ingrid Ricks and a Q&A with memoirist Susan Shapiro. And it’s very pretty…
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‘The more I wrote, the more my novel seemed to vibrate with meaning and questions. I found these fascinating but they could have drowned the book, whereas most of all I wanted to tell a mysterious story. It was music that kept me straight.’
Today I’m at Writers & Artists, talking about a subject that will be somewhat familiar to regulars here – writing with music. They were fascinated by the concept of Undercover Soundtracks, and asked me to explain to their readers.
(And would it be gauche of me to do a happy dance because my creative salon is being featured on Bloomsbury’s writing blog… Look where you might end up if you start a series just because you want to. Have a great weekend. x)
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Ideally we’d all write from personal experience, but most of us have much bigger imaginations than our pockets, lives, bravery levels or the laws of the land can accommodate. So we have to wing it from research.
Ghostwriting is the ultimate rebuke to the idea that you write what you know. We pretend all the way, even down to our identity, outlook and heart. When I was ghosting I became a dab hand at travel by mouse – there was no way the publisher paid enough for me to jet to my book’s location. Or would spring me out of jail.
So here are my tips for bridging the experience gap.
Good first-hand accounts
Obviously the web is full of blogs about just about anything. They’ll give you up-close, spit-and-sweat details from those who are living the life. But look further afield. Good memoirs and novels will not only provide raw material, they’ll show how to bring a place alive on the page.
There are scores of books published for writers who want to bone up on unfamiliar areas – whether crime, ways to kill or die, historical periods and what might be possible in steampunk. Or how to write a vampire novel. Some of you may know I’m an obsessive equestrian, and Dave’s roleplaying fraternity used to ask me constant questions about what you could do with horses until I wrote this piece for them.
What everybody else may already know
If there are famous books or movies that tackle your subject or feature your key location, get acquainted with them. Some readers hunt down every story that features their favourite keywords. They will not be impressed if you miss an obvious location for a murderer to hide a body, or an annual festival that should muck up your hero’s plans.
Flickr is wonderful for finding travellers’ snaps. But don’t discount professional photography. The best captures the emotional essence of a place, not just the visual details. I wrote one novel set in India and found a book of photographs of the monsoon. Those exquisite images of deluge gave me powerful, dramatic scenes.
Before the days of broadband, my go-to was National Geographic on searchable CD-ROM. I bought it as a Christmas present for Dave many years ago and probably you can now get the same thing on line. Sublime photography and descriptive writing that will get your fingers tapping.
Befriend an expert
Misapprehensions are inevitable if you’re appropriating others’ experiences. If possible, tame an expert you can bounce ideas off – especially if you’ve hung a major plot point on your theoretical understanding. When ghosting, I could ring my ‘authors’ for advice, but they weren’t always available so I found other sources to get my facts straight.
You’ll be surprised where these experts could be hiding. I never noticed my neighbourhood had a diving shop until I needed to write scenes featuring scuba. They were flattered and excited when I asked if I could pick their brains for a novel. When I was working on My Memories of a Future Life, a friend mentioned her family knew one of the BBC Young Musicians of the Year. Voila – I had an introduction to a concert pianist. Right now, I’m recruiting high-altitude climbers and pop musicians. Say hi in the comments if you know any.
What do you use to write what you don’t know? Share your tips in the comments! And do you have any research needs at the moment? Appeal for help here and you may find your perfect partner!
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Savoury chocolate, bad reviews, finding an agent and writer’s block – interview at Lorna Suzuki’s blog
If you come to my house for dinner, I will cook the most bizarre recipe I can find and it will be a dish I’ve never tried before – so an adventure for us all. That’s probably how I approach my fiction too, although I didn’t realise until Lorna Suzuki asked me a bunch of questions at her blog All Kinds of Writing. (Lorna’s pretty cool, BTW – she’s a fifth-dan instructor of Bujinkan Budo Taijutsu which she draws on for her kick-ass fantasy series Imago.)
Once we’ve dispensed with the chocolate porcini risotto, we settle down to more useful matters – how to handle bad reviews, what to do if you’re struggling to find an agent, tips for self-publishers, how to handle writer’s block… Come on over (and bring a good supply of Lindt 99%)…
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When I was ghostwriting, I longed to have a novel published with my own name on. Today I’m talking about my journey to make that happen at The Alliterative Allomorph, bloggish home of author, singer, poet and songwriter Jessica Bell.
Her name might be familiar to you as a recent guest on The Undercover Soundtrack, where she made a big impression by revealing she wrote her own unique soundtrack for her debut novel String Bridge. Yes, that Jessica Bell, I knew you’d remember her… Come over and see where this very cool lady hangs out.
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Here’s a typical post I’ve been seeing a lot lately. ‘A few hundred words a day add up to several thousand a month – which will let you bank a good two or three novels a year.’
We’re not counting the first book, of course. Then, you were running not just before you could walk but before you even learned to tie your shoes. Your novels after that will obviously be faster, but how fast? Two or three novels a year? Whole novels, finished, filleted to perfection?
If a goal like that turns you hysterically italic, then relax. It makes my serifs curl too. Not all novels can – or should – be written fast.
I’ve done fast writing. One year when I was ghosting, I knocked out four entire novels. (There they are on the scales, plus the one I started next.) I had the characters, it was a well trodden genre.
My own novels take me aeons by comparison.
I had the idea for My Memories of a Future Life in the 1990s when I was hopelessly unable to do it justice. A decade later I wrote it properly, which took at least a year of mining and quarrying. It wooed an agent, I did more edits and I hoped for another round before it was published. In the end I became my own publisher – diagnosed the last tweaks it needed and nuked 50,000 words. A lot of that time, of course, was learning curve. But My Memories of a Future Life could not have been written in four months.
The novel I’m revising again, Life Form 3, took more than a year. If you’ve been knocking around this blog for a while you might remember my anguished posts when it tested my faith quite sorely. I’ve now got great notes from a publisher who identified some sticky spots that I agree on. And finding the solutions has taken me three months.
Although we do aim to finish our books, not fiddle forever, I worry that we are too obsessed by speed. It’s as if all writers are being encouraged to aim just for quantity – ‘I’ll have a pound of novels, please’. My writing pace isn’t unusual; I recently finished reading The Lessons by Naomi Alderman and was heartened to see a four-year gap between novel 1 and novel 2. She marinates even longer than I do.
You do what’s right for your material, your muse and your market. A thriller designed as an airport read is probably not going to get much better if you spend a year honing every paragraph. Series are faster too – you know your characters and where you’re going, so half the work is done for you already. A more literary, thoughtful work takes discovery. I sometimes worry that all I’ve got is muddle, and no model to tell me how to put it together. But with time, it comes.
If you’re well tuned to your audience and your genre, you can turn a novel out efficiently – but that doesn’t always mean fast.
Are you a fast writer or a slow writer? Do you feel pressured to write too fast?
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How did I develop the underwater world of the Soothesayers for My Memories of a Future Life? What experience did I draw on to create the musician narrator Carol? Did I start my blog to plug my writing book (a timely question considering this week’s post)? What’s this Life Form 3 novel I mention from time to time?
My Memories of a Future Life was reviewed yesterday at Underground Book Reviews, and today they’re in interview mode, digging for answers… including how do I prove I ghostwrote those bestsellers? And will my career as a movie extra ever amount to anything? Come and delve…
If you have tackled any of the questions I was asked about – including creating worlds or understanding a character’s passion, share in the comments!
fantasy worlds, ghostwriting, having ideas, how to create a fantasy world, how to write a novel, interview, interviews, literary fiction, music, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence, novels, piano, publishing, reincarnation, Roz Morris, self-publishing, writing, writing a novel - Nail Your Novel, writing life
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- And then there were three (NYNs)… Do you find plot more difficult than character? Plus the midpoint of Blade Runner December 20, 2014
- ‘Summoning Christmas in July’ – The Undercover Soundtrack, Jan Ruth December 17, 2014
- Living the stuff of novels: the ghostwriter’s lot December 14, 2014
- ‘Harmony from fragments’ – The Undercover Soundtrack, Rochelle Jewel Shapiro December 10, 2014
- Editing seminar snapshots: writing for a blog vs writing for a book December 7, 2014
- Editing seminar snapshots: negative criticism and author control December 5, 2014
- ‘We become readers in our listening’ – The Undercover Soundtrack, EJ Runyon December 3, 2014
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