Posts Tagged ghostwriting
Is it cheating to use a ghostwriter?
Posted by Roz Morris @Roz_Morris in The writing business on January 12, 2020
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.
Commercial
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?
Qualms
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…
Murk
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.
And breathe.
But…
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’.
Business
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.
Thanks for Venice carnival mask picture, Sweetaholic on Pixaby. Thanks Olivander on Flickr for the monkey. Thanks Actualitte on Flickr for the London Book Fair.
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
Writing multiple projects and keeping in touch with a book when you take a break – interview at Joined Up Writing podcast
Posted by Roz Morris @Roz_Morris in Interviews, podcasts on May 12, 2019
In common with most freelances, I’m always working on multiple things at once! Books, courses, editing assignments…
One of those books is my third novel, Ever Rest, an undertaking that seems as gigantic as the mountain itself, and has to be fitted around other deadlines.
Hopping between projects is a way of life for most writers and is one of the subjects I discuss with Wayne Kelly on this new episode of his podcast. We also talk about ghostwriting (my course on that is here if you’re seriously curious), how we learn as writers, finding our niche, growing up in a landscape full of stories and the new Nail Your Novel Workbook. Do come over.
PS If you’re curious about why Ever Rest is taking so long, and how many other mountains I’m trying to tackle at the same time, there’s more in my newsletter
The secret life of the book ghostwriter – podcast at The Bestseller Experiment
Posted by Roz Morris @Roz_Morris in How to write a book, Interviews, podcasts on March 30, 2018
What’s it like writing books that other people put their names on? How do you get this kind of work? What makes a good ghostwriter?
I recently recorded this interview at The Bestseller Experiment, and I’m hugely flattered because their guest hotseat has held some pretty famous bottoms. Bryan Cranston has sat there. Richard Morgan who writes Altered Carbon has sat there. Tad Williams and Michelle Paver have sat there (and Michelle and I share a liking for Everest so I made sure I listened to that one). Anyway, it’s my turn. You can find the others if you dig around their vaults.
And if my interview has made you seriously consider ghostwriting, don’t forget to check out my course.
Writing a book for easy money – a myth examined
Posted by Roz Morris @Roz_Morris in How to write a book, The writing business on March 11, 2018
There’s a question I get asked a lot. So I thought I’d let two Rozzes, 15 years apart, slog it out.
Young Roz, fresh-faced ghostwriter: Why don’t you write a quick series of novels that would sell shedloads and make a mint. Then you can spend the rest of your time on your, er, slower-selling books. The arty ones.
Older, wiser Roz: Hmmm. It’s not that simple.
Young Roz, FF ghostwriter: But you’ve had the best bootcamp ever for commercial fiction writing. You’ve worked with ruthless and brilliant editors. You’ve seen your books as posters on the London Underground.
Older, wiser Roz: When I ghostwrote, I was new to professional writing. Unformed. Looking for my way. Then I started on my own novel and everything changed. Once upon a time, my goal was to please those taskmasters. I discovered I could suddenly please myself. I’d learned to drive the car; now I could take it anywhere I wanted.
Young Roz, FF ghostwriter: Well come on, why do those books take so long? I can hammer out a ghostwritten novel in six weeks. I thought My Memories of a Future Life would be a left-field suspense. Lifeform Three was supposed to be a light futuristic romp. What on earth were you doing?
Older, wiser Roz: The books kept changing. The more I worked on them, the more they seemed to pose an irresistible mystery about life. A novel in progress isn’t just a thing I pick up at the keyboard and put down again. It travels with me. An endless conversation. A personal crusade. Keyboard-time is when I catch up with the points I honed as I watched a film, worked an editing shift, went for a run, cooked dinner, groomed a horse. That process is one of the pleasures of building a novel. And frequently the frustration. Do you know what? I don’t want to live with a book unless I can take it to its genuine limit.
Young Roz, FF ghostwriter: Don’t over-think it. Just write to a trend.
Older, wiser Roz: Hmmm. I was chatting to a senior editor at a Big Five publisher. ‘Roz,’ he said, ‘we’re looking for another Girl On The Train. Just knock one off. The manuscripts we’re getting from agents are rubbish. We need you.’
Young Roz, FF ghostwriter: I am totally going to do that.
Older, wiser Roz: Yes, you will. You’ll take a publisher’s informal hint and write a thriller that chases a trend. By the time it’s ready, the trend will be over. And anyway, I don’t read books like that.
Young Roz, FF ghostwriter: But … bestsellers. Hot categories. Salivating now.
Older, wiser Roz: Yes, the cash doesn’t just rain out of the air if you write one manuscript. You need to feed readers regularly. You won’t just write one, you’ll write several. Even a book that is fast to draft has a lot of other time behind it – knowledge of the market, promotion activities, reading the innovators so your work is fresh enough. Have I mentioned that readers will spot if you don’t adore that genre to your very boot-soles? Writing like that is not a part-time job, it’s a dedicated role. It’s full on, full time. What bandwidth does that leave for crafting a nice book for the soul?
Young Roz, FF ghostwriter: But there are surprise breakouts. I’ll take a few rejections on my determined chin, and eventually we’ll be Rowling in £££s. I’ll whack a book on Kindle when it’s invented, learn some sales-fu and watch it rain dollars.
Older, wiser Roz: Oh just buy a ticket for the lottery.
Young Roz, FF ghostwriter: Think of those Tube posters for the books we ghostwrote. Wouldn’t it be nice to see our real name there?
Older, wiser Roz: Yes, there was a time when I could dash off a genre book. I was new and eager and didn’t know what I wanted to write for myself. I’m happy to ghostwrite non-fiction, because that’s creative journalism. I like editing too; it’s the fun part of problem-solving, helping another writer with their vision. Being a supportive godmother instead of the flailing, gnashing parent.
In the professional world of publishing, there’s no such thing as writing a book for easy money. So I prefer to be careful how I spend my creative energy. Because there’s a lot I want to do.
(Psst… if you’re curious to know more, sign up for my newsletter.)
Indie publishing the 2017 way – video chat with sci-fi author Nick Cook
Posted by Roz Morris @Roz_Morris in Interviews, podcasts, self-publishing on November 7, 2017
When I was first hanging around Twitter, I came across Nick Cook, who was taking his first steps building a presence as a science-fiction author. I watched over the years as his hard work paid off – he found representation and then a book deal with Three Hares Press (which, by coincidence, was founded by an editor I used to work with).
After three books (one for each hare) Nick will publish his next series independently, and asked me onto his video blog to chat about this new and unknown territory.
After years of waving hello on line, spaceships passing in the night, our worlds collide properly for the first time.
We had so much to natter about that we split the video in two. Part 1 is how I came to self-publish, the rewards and freedoms.
Part 2 is the challenges, developing a fanbase for your work even if you make surprising detours (ahem), ghostwriting and the phenomenon of the celebrity author, how indie and traditional publishing co-exist and how they’ll move forwards, and my all-time favourite film. No, I couldn’t choose just one film, I chose three. (One for each hare.)
In disguise: from ghostwriting to a voice of my own – interview at Slack podcast
Posted by Roz Morris @Roz_Morris in Inspirations Scrapbook, Interviews, podcasts on December 22, 2016
Sometimes, the way to find yourself is to start by being someone else. That’s the subject of this podcast by the messaging app Slack. Each episode they interview people who find their identity in the work they do – and this time they’re looking at disguises. So they typed ‘ghostwriting’ into Google and found my grinning face … (Quick mention here of my ghostwriting course in case you’re professionally curious)
We talked about how I got started, the pressure from publishers to carry on writing sure-fire bestsellers, and the struggle to strike out as myself, writing my own fiction on my own terms. Along the way, presenter Lily Ames describes My Memories of a Future Life in a way I’ve never heard before … which proves yet again that someone else is always better at summing up your novel than you are.
The second half is a seasonal tale of a Vietnam veteran who became Santa Claus – and the surprising ways that this red, woolly-bearded disguise has made a genuine difference in people’s lives.
Find it here on iTunes or stream it directly here (they concentrate on the Santa story in the write-up, but I’m on as the warm-up – you are in the right place!).
And merry everything xxxx
5 essential habits I learned while ghost-writing – guest post at Jo Malby
Posted by Roz Morris @Roz_Morris in How to write a book, The writing business, Writer basics 101 on July 29, 2016
Some of you know that I began my writing career incognito, as a ghost-writer. It gave me certain habits and approaches that I still use to this day, and I’m sure they were a head start for productive writing processes. Today I’m talking about those habits at Jo Malby’s blog. (And as I’ve had two guest posts this week, I hope you’ll forgive me for taking the rest of the weekend off. There is bank holidaying to do, as well as a spot of writing.)
And if you’re wondering about ghost-writing yourself, let me clear my throat discreetly and point you to this…
How to become a ghost-writer – post at Jane Friedman
Posted by Roz Morris @Roz_Morris in The writing business on May 9, 2016
So here’s the final part of the ghost-writing blogfest – and perhaps the most important. If you’re interested in becoming a ghost-writer, what’s involved?
In this post at Jane Friedman’s blog, I outline the mindset and skills needed, some of the challenges you might encounter …. and most of all, why ghost-writing is an attractive option.
All aboard the ghost(writing) train… and get an early bird deal for my course
Posted by Roz Morris @Roz_Morris in How to write a book, The writing business on May 7, 2016
For the next few days, this blog will have a ghost-writing flavour. The reason? I’m launching my online course.
It looks something like this:
Now, if ghost-writing is not your thing, rest assured that this focus is temporary. So if you’re new here, or you’re worrying that the blog has taken an unwanted diversion, sit back and the posts on writing, writing life and publishing will be restored in a few days. There’s an Undercover Soundtrack on Wednesday as well. But I’m hoping that you’ll find a few interesting snippets in the launch posts for my course, even if you’ve got your hands totally full with your own writing.
And if the idea of ghost-writing DOES tickle your fancy, let me also mention that the course is supported and hosted by publishing industry legend Jane Friedman, co-founder of The Hot Sheet newsletter for authors and former publisher of Writer’s Digest.
You should also know there’s an early-bird discount. From now until 17 May, you can register at US$149. On that date, the course goes up to its regular price of US$199. Step this way…