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Posts Tagged being a ghostwriter
In the last episode, we discussed how to make a writing career out of your special expertise and knowledge. This time we turn to another kind of writing career – writing secretly as other people. Aka ghostwriting. Also, writing for book packagers, which is a junior form of ghostwriting.
You might already know I have a secret past as a ghostwriter. Some might call it murky. There are certain things I’ll admit to, certain things I won’t.
Asking the questions is independent bookseller Peter Snell. Answering them is me! Peter was dead-keen to get me spilling the beans. For years, he’s been looking around his shelves, stroking his beard and wondering which titles I wrote. This episode contains magnificent silences and the sound of tumbleweed. But a lot of info too. If you’re seriously interested in ghostwriting, I also have a professional course.
Stream from the widget below or go to our Mixcloud page and binge the whole lot.
PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.
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A few months ago, a blogger challenged me with this question. Is it cheating to use a ghostwriter? (Why would anyone ask me this? I have a secret past.)
And just this week, John Doppler of the Alliance of Independent Authors wrote about the ethics of ghostwriting, how he was initially doubtful but is now using a ghostwriter for books of his own.
So here’s the short answer. It’s complicated.
Who wrote that book? Maybe more people than you think.
Publishing has always been a team effort. This is often a surprise to readers, and also to inexperienced writers. There’s a belief that the published book is exactly what the author first sent to the publisher.
The reality is different. Your manuscript is only the start. It becomes a patient in a long and intricate operation. It will have editors, of several varieties – some for the big picture, some for the detail goofs you didn’t know were possible (how many Tuesdays did you put in one week?). There are also designers, marketers and publicity folk.
Your book may have germinated from just you, but by the time it greets the world, it’s had many midwives.
With ghostwriting, you add one more midwife. The writer splits into two people – the person with the life, ideas and experience, and the person who crafts that into text.
But… (I hear you say…) all those editors, designers etc are assistants. It’s the writer who’s at the helm, who ‘invents’ the book. The writer might have guidance, sometimes heavy guidance, but they do the most work.
Up to a point, yes. But sometimes a person has the raw materials but can’t turn them into a book. Maybe they could learn; maybe that would be impossible. Maybe they could write but don’t have enough time. But when publishers spot a commercial opportunity, they are chasing an immediate market. They need it done fast.
This is a crucial word: commercial. Ghostwriters are generally used in the high-volume sectors of publishing, The books are usually fronted by a person who is marketable because of fame or life or expertise, but doesn’t have writing-fu. Or perhaps they’re too busy running businesses, winning grand slams or saving the world. So a ghostwriter is brought in – who can write exactly what’s needed and in a timely way. If all goes well, everyone benefits.
But.. (I hear you say…) isn’t it a cheat? To imply that a person can write a book when they can’t?
I agree with your qualms. Morally it is questionable. It might undermine the skills of real writers. We have a myth that anyone can write a book, probably because everyone seems to. Mumble-minded sports stars can do it, so it cannot be very difficult. Indeed, they apparently dash off a memoir or tome of life advice without pausing their all-consuming day job.
Thus the use of ghostwriters might make the public (and your aunt) assume that anyone can toss off a book. In their spare time, indeed.
There’s also an issue of trust. The byline is sacred, isn’t it? It’s the promise on the tin. It should be the name of the person who sweated the book personally onto the page.
Well, the ghostwriter’s sweat doesn’t go unacknowledged. Money is a good acknowledgement. Ghostwriting is paid at a commercial rate and there might be royalties.
Ghostwriters aren’t always invisible. Sometimes we get a co-credit. That depends on the individual deal and whether it looks ‘bad’ for the ‘author’ to have had help. Getting murky again…
Oh yes, there is murk. Sometimes the ‘author’ isn’t co-operative, or isn’t as interesting as the publisher hoped, or some of their content can’t be used because of legal issues. The publishing team must salvage what they can to get a book on the shelves. Usually no harm is done. Usually.
I can see you’re itching to mention Donald Trump’s Art of the Deal. Its ghostwriter has gone on record to say the book contained hardly any Trump, yet helped create his reputation (full story here ).
What other murk is lurking? Oh yes, the kinds of books you think should not be ghostwritten.
But surely not novels…
Do you assume ghostwriting is only for non-fiction? Memoirs, business books, self-help, autobiographies? You’d better sit down. A sizeable amount of fiction is ghostwritten too. (Writing fiction for others used to be my speciality. Shhh.)
Remember: in commercial publishing, books are sold by names and notoriety. Verily, even in fiction. Put another way, if a celeb needed help to write their memoir, they’ll sure need help with their novel. Some are entirely up front about this.
Even among the ‘genuine’ authors, there are books that have many midwives. James Patterson makes no secret of using other writers to help him meet demand. Others keep their ‘assistants’ a secret, or possibly don’t realise how much is done to make their book respectable. Many editorial staff in big publishing imprints have had to rewrite a manuscript because the author reached the limit of their craft or the clock was running down. Editing and ghostwriting are two ends of a long and blurred spectrum.
Does that worry me? Yes and no. As a writer who works hard at their craft, I’m not thrilled if a book that needed substantial rescuing gets a good reputation it doesn’t deserve. But that is commercial publishing.
If that irks you too, you’d better sit down, because I’m about to reveal something bad. No, lie down; it’s thoroughly grubby.
Are you lying comfortably?
There are authors who are offered novel deals with en-suite ghostwriters because they are distinguished in other areas of life. If those novels do well, those authors become literary pundits, judge literary prizes etc.
With most ghostwritten books, the deception is largely harmless, because the writing is not the chief draw. The content is. But where the writing is the thing… Any writer who is struggling to be recognised for their skill and quality will find that hard to stomach.
Before we write ghosting off as evil and underhand, we should consider one defining factor. For the writer (the actual wordsmith writer) a ghostwritten book isn’t the same as your own.
The ghostwriter creates a book that someone else would write…. If they could. They don’t write a book and have it torn from their hands. They create a book to a contract, for a purpose. They apply their craft and skill to raw material from another person – a life story, technical or business expertise, a special world. In that respect, the name on the cover and the face in the author pic are honest. They are the true soul of the book. (Though see the caveats above.)
Perhaps ‘ghost’ is the wrong term. Perhaps it should be ‘medium’.
Ghostwriting is also a business arrangement, like any professional service. It has to be, in order to pay both ‘author’ and ghost – and at a decent market rate. Ghostwriters are hired by publishers or by people who’ll get a good return on their investment, and many writers use it as a second line to help fund their ‘real’ books.
Which means that, amid the chicanery and shadows, there is an honest living to be made by the ghostwriter.
If you’re interested to know more about how to break in and how the industry works, I have a professional ghostwriting course.
And if you’re curious to know what I’ve been up to in my genuine writing life, here’s my latest newsletter
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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
Interested in learning more about ghostwriting? My professional course is here
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