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Posts Tagged ghostwriting
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
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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…
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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.
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Most writers have day jobs. Some of us ghost-write books for others – here’s my own, suitably censored, introduction to my ghosting activities. And some ghosts are also building our own body of work. I thought it would be fun to talk to some of my nebulous comrades to answer some questions: how do we balance the two types of writing?
Daniel Paisner @DanielPaisner – you might recognise Dan from his recent Undercover Soundtrack. He has ghosted more than 50 books for the great, good, notorious or extraordinary – including tennis champion Serena Williams, Ohio governor and Republican Presidential candidate John Kasich, and Academy Award winners Whoopi Goldberg, Denzel Washington and Anthony Quinn. He is the author of three novels: Obit, Mourning Wood and A Single Happened Thing.
Joni Rodgers @JoniRodgers – another Undercover Soundtrack veteran. Joni had a few novels published, then her cancer memoir Bald in the Land of Big Hair brought her offers from celebrities and other extraordinary people who wanted her to help them tell their life stories. Since then she has worked as a ghost-writer, book doctor and story strategist. Her own books include Crazy for Trying, First You Write, and Sugarland.
Deborah Ager @deborahager1 is the founder of Radiant Media Labs, a consultancy to help experts turn their big ideas into books. Behind the scenes, she has an MFA in creative writing, writes poetry, co-edited the Bloomsbury Anthology of Contemporary Jewish American Poetry (2013) and Old Flame: Ten Years of 32 Poems Magazine (2012) and is working on a novel set during the Great Depression.
The big question is this: how different is their own work from their usual ghostwriting milieu? Do the two complement each other in any way?
Joni says she finds there’s considerable synergy and overlap.
Joni: ‘As myself, I write quirky, character-driven fiction informed by politics and travel. Right now I’m working on a screenplay to showcase five actresses over 40 in a story about strong, smart women. My little yop against Hollywood sex/age inequity.
‘My ghost-writing projects are all over the map, but there’s a lot of crossover in the big picture. Every ghost book I’ve written has taught me something that made me a better novelist. Some ghost projects are craft skill boot camp; others take me to places I never could have seen as a casual observer.’
‘I’ve seen things…’
I find this too. Here’s a post about the things I’ve learned to fake … But that trivialises the true nature of the ghost-client dynamic. The ghost-writer does more than write about derring-do they’ve never done. We climb inside the client’s inner life. We truly walk the miles in their shoes. It’s a privileged, trusted position.
Joni also found that ghost-writing opened unexpected doors for her own writing. ‘While I was working on a memoir with Kristin Chenoweth, I got to know Aaron Sorkin, who was incredibly generous with his time. Hanging out with him was like a personal masterclass in storytelling. He looked at an early draft of my novel The Hurricane Lover, gave me valuable feedback and encouraged me to explore the possibility of screenwriting. He gave me a stack of scripts and a long reading list, and the final draft of The Hurricane Lover was exponentially better because of that. A few years later, I got a call from a well-known director who was considering hiring me to do his memoir. As part of the vetting process, he read The Hurricane Lover. Though he ultimately decided not to go forward with the memoir, he was so impressed with the dialogue and story structure, he hired me to thrash out a story strategy and doctor some dialogue for a screenplay he was working on.’
While Joni finds her two writing worlds run in parallel tracks, Dan realises his fiction might be an antidote to his commercial milieu.
Dan: ‘The stories and characters I’m drawn to in my fiction tend to be small, out-of-the-way, under-the-radar. I look for moments where we live and work, quietly, where not a whole lot happens. What interests me are the ways we connect with each other, the ways we don’t, and the choices we make in the spaces in-between. What genre is that exactly? I don’t know, but judging from my sales history this is not the stuff of page-turning, best-selling fiction. Oh, well…
‘I’ve never really thought about this in just this way, but I suppose there is a connection. The ‘celebrities’ I work with in my day job tend to be larger than life. They live loudly, purposefully. Meanwhile, the characters I choose to spend time with in my novels are somewhat smaller-than-life. They live quietly, sometimes aimlessly. I guess without even realizing it, this is how I balance the scales.’
One for them, one for me
One for them, one for me: in theory that’s how it goes. But ghost-writing isn’t nine-to-five. Commissions often come at short notice, and clients, agents and publishers are all clamouring for a book they can sell as soon as possible. How do my friends here manage this balance? Do they have a routine to keep their own books alive while meeting their ghost-writing deadlines? Or do they clear a few months to retreat and create?
Dan: ‘There is no such thing as routine. The idea is to have two books going at once — one of theirs and one of mine. But the reality is that almost never happens. Deadlines extend, mutate, turn in on themselves. Projects overlap. I find that when I’m working on my own novel, I need to clear the decks — shut out all social media and other outside distractions. Very often, I’ll trade off by weeks. I’ll go hard on a celebrity collaboration for a week, eclipsing my goals, just to have a free week to work on my novel. Last summer, I went away for three weeks to our house in the mountains, just to have that uninterrupted chunk of time.
‘But I find I have to work to create those free moments. I don’t have the luxury of waiting around for inspiration to strike. I have to schedule its appearance, and if it doesn’t show up in quite the form I was hoping, I just have to work with what I’ve got.’
Let’s hear from Deborah Ager, who spends much of her energy on her Radiant Media clients. Meanwhile, she is persevering with her own poetry, her editing and her novel:
Deborah: ‘Writing is a lot like exercise. My brain will become flabby if I don’t keep chipping away at the writing on a consistent schedule. Even if I only have a short time, I aim to write on a regular basis. It’s too painful to do it the other way.’
‘A good life vs a good living’
And sometimes, a good ghost can be a victim of their own success. Although it’s tempting to take every gig that comes along, Joni Rodgers established early on that she needed to pull back sometimes, for a more fulfilling balance.
Joni: ‘When I was debating whether to take my first ghost gig, my editor at HarperCollins said, ‘Joni, with your skillset and temperament, you could make a better than good living as a ghost-writer’. Ten years and more than a dozen books later, I’ve realized a good life is more important than a good living. I’ve gotten very selective. For me, carving out time to write my own novels and screenplays is key both to my own happiness and to the sanity and balance I need to serve my clients.
‘As a ghost, you have to bring on all the craft skills and industry knowledge of a successful writer, but you have to set aside all the ego stroking, histrionics and other pseudo-luxuries that might be afforded a pampered author. You have to be the grown-up in the relationship, putting someone else’s needs before your own, listening instead of talking, and keeping to a task schedule so you can deliver the goods on time. You have to be willing/able to subsume your own creative voice and choices in order to stay true to the creative voice and choices of the client. In the publishing process, which is invariably fraught for one reason or another, you are now the Sherpa instead of the mountain climber. You do the heavy lifting and trailblazing; your client gets to plant the flag and ski down to the base camp for champagne. If you’re not genuinely cool with all that, you’re not going to be happy as a ghost-writer, and it’s unlikely you’d be successful — because you wouldn’t be able to serve your clients at the level they’re paying for. But I’m a creative tyrant when it comes to my own soul projects.’
Accept no imitations
Let’s pause on that phrase: the creative tyrant. Amen to that.
As a ghost-writer, I am at the service of another person’s vision. I serve their audience and their publisher or agent. It’s fun to be the missing piece that pulls a book into the daylight. I thought I was easy with the commercial demands of publishing and the inevitable compromises of fitting a market. Until the moment I finished my first novel as myself.
At that moment, I discovered a deep-seated streak of stubbornness. I would take any amount of advice on what didn’t work, but I wouldn’t make the book fit a copycat sales agenda. I think I see that in Dan too, with his quiet explorations, which he publishes through small imprints.
And of course, some of us have embraced self-publishing. We can keep control, nurture and discipline a book for as long as we need to until it’s ready, and make sure it’s true to our hopes. Let’s hear again from Joni:
Joni: ‘I love serving my clients, but ghost-writing can be spiritually and creatively exhausting. I don’t see how truly top-drawer ghost work is sustainable if we fail to stay firmly connected to our mightiest artistic selves. I end up losing ground because I prefer (for creative and financial reasons) to publish my own work, but I won’t compromise on the publishing process, which is time-consuming. Net result: I have three novels and a memoirella collection in my self-publishing queue, waiting for the TLC they need before launch. I keep waiting for a lull on the ghost front, but it doesn’t seem to happen. But I’m not in this to half-bake the books I care about most.
Might ghost-writing be a good career move for you? I’ll be exploring this tomorrow in a post at Jane Friedman’s site. Or if you’re already seriously toying with the idea, you can hop over to her domain right now and read about my course. Early birds get a substantial discount – you pay US$149 instead of US$199.
Any questions? Even if you don’t ghost-write, you might find yourself balancing passion projects and artistic vision with more commercial work. If so, I’d love to hear your thoughts.
A Single Happened Thing, Aaron Sorkin, Bald In The Land of Big Hair, Become a Ghost-writer, Crazy For Trying, Daniel Paisner, Deborah Ager, Denzel Washington, First You Write, ghostwriting, John Kasich, Joni Rodgers, Kristin Chenoweth, Mourning Wood, Obit, Radiant Media Labs, Serena Williams, Whoopi Goldberg
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…
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First there’s a swift guide to becoming a ghostwriter. Debbie Young, chief blogatrix at the Alliance of Independent Authors, asked me for a starter piece for writers who might be interested in ghostwriting as a career move. It’s something I’m forever asked about, and if you’ve hung around this blog for a while the advice won’t be new to you. But otherwise, step this way.
Secondly, I was contacted by Warren Adler, author of Wars of The Roses (yes, THAT Wars of the Roses), who’d seen me loitering on Twitter and wanted to include me in a showcase on his website, called Writers of the World. The brief was exacting – 150ish words on why I write. Of course, I could give him a complete dossier, and while I tried to super-condense my million-or-so favourite reasons, I ended up with a post about the power of why in storytelling. But I eventually completed my assignment and it’s here.
So I’ll be back in a couple of weeks, with posts and Undercover Soundtracks. In the meantime I’ve cued up a selection of useful tweets to keep your writing at a healthy bubble. See you soon.
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I’d completely forgotten I’d written this interview until it popped up on Twitter today. Whitefox publishing services wanted to quiz me about ghostwriting, my first writing gig and any tips I’d give to writers who were thinking of self-publishing. If you’ve known me for a while the answers will be old hat, but if you’re one of the recent subscribers (thank you!) and are still curious, here it is. If you’re wondering about your publishing options, you’ll find some useful tips here. And if you want advice on weighing up publishing services companies, these posts should help you make sensible decisions. And thank you, Whitefox, for inviting me to your blog.
PS Interested in becoming a ghostwriter? Take my professional course
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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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‘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!
Interested in learning more? Professional course in ghostwriting
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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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- ‘Things fall apart … hearts rip open’ – The Undercover Soundtrack, Caroline Leavitt August 16, 2017
- The end of exploration – on writing a book where you can’t make things up August 13, 2017
- ‘Choices, mistakes, consequences and childhood’ – The Undercover Soundtrack, Leonora Meriel August 2, 2017
- On publishing another book when there are already so many July 30, 2017
- ‘Music is as crucial as the ramblings in my notebook app’ – The Undercover Soundtrack, Andrew Lowe July 18, 2017
- Suspense: storytelling’s big tease – guest post at Writers Helping Writers July 15, 2017
- ‘Dance gave me the rhythm of my novel’ – The Undercover Soundtrack, Claire Scobie July 9, 2017