Today we will be continuing our Ghostwriting 101 series with a discussion about contracts. We will talk why they are important and the basic things that every contract should include.
I cannot stress enough how important it is to have a contract with every client, no matter how small the project is. I don’t know a single ghostwriter who will work without one. Think of the contract as protection. It will shelter you from being taken advantage of. No matter how well you know your client or how trustworthy you think they are, a contract is essential.
I personally have not had to take a client to court, but I have friends in the business who have. If they had not signed a contract before beginning the project, it is likely that they would not have been paid for their services.
There are contract templates that can be purchased online, but many ghostwriters go to a lawyer to have them draft a standardized contract that can be used for each client. Some ghostwriters I know have even written their contracts on their own, but unless you really know what you’re doing I suggest getting a professional involved. The purpose of the contract is to protect you, so you need to make sure that everything is covered.
The contract I use is fairly simple. I have 6 main topics. The first is Deliverables. This is where I write in detail the services I am offering. It of course includes the completed manuscript, but also includes the details of the publishing package I offer to all authors, the number of complimentary meeting hours, and the amount I charge for additional meeting hours. In this section I also make it clear that I am not responsible for publication or the sale of the manuscript in any way.
The second section is entitled Ownership, Rights, and Authorship. This is just a simple statement that says that I as the ghostwriter do not retain any rights to the completed manuscript.
The Confidentiality agreement is in the third section. Here I say that I will not disclose my role in the project or any details of the project to the public or any third party without the written consent of the author.
The fourth section is about Payment. I explain that at the signing of the contract, the payment that is included is simply an estimate. At the end of the project, if the page number is more than the estimate the author is required to pay me for each additional page. Likewise, if the page number ends up being lower than the estimate, I deduct that cost from the final payment due. I also state that at the signing of the contract a payment schedule must be agreed upon and the first payment must be made. Also, I explain that I must be paid in full before the completed project is handed over and that if there comes a time when a payment is past due, I will stop working on the project until the payment is received.
The fifth section is about Termination. It is possible that for whatever reason, either you as the ghostwriter or your client will have to terminate the contract. In my contract, I say that if I have to cancel the agreement I give all the materials I have written and gathered to the author as well as a $200 termination fee. If the author has to cancel the contract, the author pays me the $200 termination fee and the author receives all of the materials I have written and gathered up to the time of the last payment. This is important because it is possible that you will work with an author that waits until he knows you’re almost done with the project and cancels the contract before the final payment is made so that he can get all of the materials without paying you in full. I also explain that if termination is necessary, I retain all of the payments already made.
In the final section, I give the details about the Cost of the project. I state what the cost per page will be, an estimate of the number of pages, and the total amount due. In this section the author and I also determine the payment schedule, payment timetable, and project completion date. As we talked about before, you should offer a few options to your clients concerning the payment schedule. The two standard schedules I accept are ½ in the beginning and ½ at the end or the payments can be split into thirds. However, feel free to be more flexible. I always look at each situation individually and will accept smaller payments. However, I do not recommend that you begin to work on a project without at least 1/10 of the project’s cost. So if you are working on a $20,000 project, do not begin to work until you receive at least $2,000.
A payment timetable simply describes when the author agrees to pay you. If there will only be 2 payments, it will be simple…you will get paid when you sign the contract and when the project is complete. However, if you split the payments into 3 or more, write down the dates that each payment must be made.
The project completion date is obvious. This describes the date when the completed project is due.
I will link to a sample version of the contract I use in the show notes (www.alainaburnett.com/sample_ghostcontract.doc), so feel free to check that out and even use it if you like. I will of course not be held responsible if you use my contract and it doesn’t work for you. Again, I recommend that you seek the assistance of a lawyer to put together your contract. It would be a one-time cost and will ensure that you are protected in the future.
I hope that you have found these thoughts to be useful! Feel free to contact me with your questions or comments at any time. I will answer your questions on air if I think the audience will benefit from hearing about the subject of your e-mail. You can reach me at gwapodcast@aol.com. That link will be included in the show notes at the official page for the Ghostwriters Anonymous podcast, http://www.ghostwriters-anonymous.com/. Click on the tab that says “Ghostwriters Anonymous podcast.” Along with the links, I also include a transcript of every episode, so take the time to check that out. Thank you for listening and make sure to tune in next week for the fourth episode of the Ghostwriting101 series where I will be talking about how to promote yourself and find clients.
Saturday, April 26, 2008
Saturday, April 19, 2008
GWA #3 - Ghostwriting 101 Part 2
Today we will be continuing our Ghostwriting 101 series with a discussion on how much ghostwriters should charge and the things every ghostwriter should know before accepting clients.
One of the first questions that people ask me when they say they are considering becoming a ghostwriter is how much they should charge. It’s especially difficult for people who are just starting out because they don’t want to charge so much that they don’t get clients, but don’t want to charge so little that they are not being properly compensated. There are a few basic ways that you can charge your clients. You can either come up with a set price list, for example $20,000 for a book, regardless of the details of the project or you can charge per page, per hour, or per word.
I personally use the “per page, per hour, per word model.” When writing a book, I charge anywhere from $50 to $100 a page, depending on the project. If a client comes to me with a partially completed manuscript, the price is closer to $50 a page. The reason for this is obvious, part of the writing is already complete! If a client comes to me with an idea and wants me to write it on my own, I charge $100 a page. However, the majority of the projects I have worked on fall into the $75 per page range. I use this price when a client comes to me with an idea but wishes to take part in interviews and is willing to stay involved in the project during the writing process. I charge $75 rather than $100 in this instance because it is easier for me to complete the project when the author gives me direct quotes to include and sort of guides me as a write. This cuts down on editing time and it aids me in taking on the author’s voice as I write. When writing a book I include 20 hours of complimentary meetings. This is usually enough to cover all interviews and editing. If a project demands more than those 20 hours, I charge $50 per hour of additional meetings.
I also charge $50 per hour for smaller projects like personal biographies, marketing materials, etc. I charge this amount both for my writing and any meetings that take place. For smaller projects, the only meeting time that is complimentary is the initial meeting where we discuss the project and the services I offer.
The “per word” charges come into play when I ghostwrite newspaper or magazine articles. The price can range from $2-$4 per word depending on the complexity and length of the article.
As you can probably tell, the price you charge depends on your theory on how to attract clients. Some ghostwriters charge less than I do, believing they will attract more business therefore making up for the smaller pay by working on more projects. Other ghostwriters charge more than I do believing that they are worth the money and will attract quality over quantity as far as clients are concerned. There really are many people out there that believe the more they pay, the better the end result will be. I like to be somewhere in the middle. Granted I am more on the high end than the low end, but I do not charge as much as many of my colleagues because I want to make enough money to make it worth my time, but also keep my costs low enough that my services are not out of reach. So, to put it simply…you have to decide what works for you.
The ghostwriters who have a set price list count on the smaller projects they work on to make up for any lost wages they incurred by not charging enough for a larger project. Charging $20,000 for a 350 page book would be on the low end, however they would make up for it by charging that same $20,000 for a 100 page book. I personally like to look at each project and each client individually and determine the price on a case by case basis. I just think it’s fairer that way.
Remember, I’m a relative newbie just like many of you. I have 1 book that has been published, 1 that is about to go to print, 3 in production, and 5 in negotiation. Personally, I don’t plan on changing my prices as I become more experienced. However, many of my friends in the business have. They charged far less when they were just starting out than they do now. They did this because they wanted to attract clients in order to gain experience and get their foot in the door. As they became well known and more successful, they raised their prices. So, just keep in mind that this is always an option. No matter what you decide now, you can always make changes.
Now on to the next subject in this part of the Ghostwriting 101 series: what every ghostwriter should know before accepting clients. There is an endless amount of information out there about ghostwriting, but here are a few things I think are essential for every ghostwriter to think about or understand before they take on any projects:
(1) Take care of yourself
Once you know what you want to charge, you need to think about standard payment schedules that are acceptable to you. Because you can’t exactly expect people to write you a $20,000 check, you should offer a few options to your clients. I personally tell my clients that I will automatically accept ½ in the beginning and ½ at the end, or I will accept the payments in thirds. If that’s not acceptable to the client, the least I recommend you accept as a down payment is a 1/10 of the project cost. So, for a $20,000 project don’t start working unless you receive at least $2,000. Moreover, if the client ever misses a planned payment, stop working on the project until you are being paid again. Finally, do not hand over the completed manuscript or project of any kind until you are paid in full. No matter how well you know the person or how trustworthy you think they are you must look out for yourself.
In addition I recommend that you stay away from anyone who says they will pay you a portion of the cost as planned but wants to wait to pay you the rest until they receive royalties or payment from a publisher. Your job is to provide a completed manuscript, not to get it sold. The publishing industry can be very fickle and if your paycheck is tied to getting the manuscript published, you will likely get burned.
You must also have a contract with every client, no matter how small the project is. In next week’s episode I will break down the basic things every contract should include, but I wanted to mention it here because you should think of the contract as protection. If the client suddenly backs out or refuses to pay you the agreed amount, you will have something in writing that you can turn to. If you ever get into a situation where you have to take someone to court, you will be grateful that you have that contract!
(2) Confidentiality is key
As a ghostwriter you work behind-the-scenes and should not expect recognition of any kind for your work. It is important for you to stay silent about your involvement in the project unless the author tells you otherwise. Most people who hire a ghostwriter do not want people to know that they have done so. They want to have everyone believe they wrote the piece themselves. It is essential that you are comfortable with that. Moreover, being known as a ghostwriter who is discrete and good at keeping quiet will be beneficial for you. Because so many of your clients will want you to be invisible, letting them know from the beginning that you will sign a confidentiality agreement and keep your role in the project secret will help you gain their trust and their business.
(3) Don’t say yes to everything
Remember that your role as a ghostwriter ends when you hand your client their completed manuscript. This means, that you are not responsible for getting their work published unless you want to be. I have never met a ghostwriter who takes on that task and I don’t recommend that you do so. However, this does come with some responsibilities. Before accepting a project you must take some time and think about whether you believe the idea is sellable. If you don’t think that a publisher will be interested or there is no audience for it, don’t do it! Even though it’s not your job to get the project published, you don’t want an unhappy customer. Explain to each client when your responsibilities as a ghostwriter end and be honest with them about the marketability of their idea. It is possible that some simple changes to the format or subject would make it more attractive. However, if the idea is just not going to work…don’t take it on. Integrity is important and you shouldn’t take someone’s money if you don’t truly believe in their project.
(4) Know your limits
This falls into the “be careful what you wish for” category. Once you get one project completed, it is likely that things will begin to snowball and more clients will flock to you. Therefore, it is essential that you know your limits. The last thing you want to do is take on more projects than you can handle and end up having to cancel out a contract or deliver a product that is poor in quality. I love working on many projects at once, but I have found that 4 books is my limit. I can take on an extra small project with 4 books in production, but that’s it. However, everyone will be different. When you are first starting, I recommend working on 1 big project at a time. Then, once you’re comfortable with that, increase it to 2, and so on. But be careful…it is very easy to over-extend yourself.
(5) Understand that you are not the author
This can be difficult for a ghostwriter, no matter how much experience they have. There will always come a time in every project where you think one thing should happen and your client thinks differently. While you can explain why you want things to go your way, you must understand that the author makes the final decision. At the end of the day, it is their project and they must be the one who is happy with it.
Some ghostwriters I know are concerned that if an author wants to do something that will hurt the project, their reputation will be harmed. I don’t believe this is a problem because people understand that although you are the writer, you are not the author. There is a big difference between the two. As the writer, you are creating the manuscript and putting the author’s thoughts into literary form. As the author, your client is responsible for the end product. All of the decisions are left up to them and they are the ones that have to work to get the project published. Therefore, work to make your client understand your position if you believe that what they want is not the right thing to do, but you must accept the fact that you are not the one in control.
(6) Learn to let go
Once the manuscript is completed, your job is done. Therefore, all of the decisions about illustrations, cover design, and marketing are up to the author and publisher. I know many ghostwriters who cringe when they see a book they wrote on a store shelf because the cover design is completely different than what they would have done. This is of course magnified if a book they have ghostwritten has been turned into a movie or television show. Everyone has a different perspective and different ideas about how things should look. The same goes for the promotion of the book.
As difficult as it may be, you must create a separation between yourself and the end product. Publishers can completely change passages from the book, take things out, rearrange things, insert atrocious looking illustrations, and much more. I like to give my ideas as far as how things should look to the author in writing so they can take them to the publisher if they wish, but do not be surprised if the project looks very different than how you pictured it.
So, to sum things up…take care of yourself. Don’t be too trusting and make sure that you are paid properly. Keep your mouth shut…confidentiality is the backbone of this industry. Be willing to turn down projects you don’t believe in and know your limits as far as the number of projects you can work on at once. Finally, understand that you are the writer and not the author. You have to allow the author to take control of the project and you must learn to let go once the manuscript is complete.
I hope that you have found these thoughts to be useful! Feel free to contact me with your questions or comments at any time. I will answer your questions on air if I think the audience will benefit from hearing about the subject of your e-mail. You can reach me at gwapodcast@aol.com. That link will be included in the show notes at the official page for the Ghostwriters Anonymous podcast, http://www.ghostwriters-anonymous.com/. Click on the tab that says “Ghostwriters Anonymous podcast.” Along with the links, I also include a transcript of every episode, so take the time to check that out. Thank you for listening and make sure to tune in next week for the third episode of the Ghostwriting101 series where I will be talking about contracts. We will discuss why they are important and the basic things that every contract should include.
One of the first questions that people ask me when they say they are considering becoming a ghostwriter is how much they should charge. It’s especially difficult for people who are just starting out because they don’t want to charge so much that they don’t get clients, but don’t want to charge so little that they are not being properly compensated. There are a few basic ways that you can charge your clients. You can either come up with a set price list, for example $20,000 for a book, regardless of the details of the project or you can charge per page, per hour, or per word.
I personally use the “per page, per hour, per word model.” When writing a book, I charge anywhere from $50 to $100 a page, depending on the project. If a client comes to me with a partially completed manuscript, the price is closer to $50 a page. The reason for this is obvious, part of the writing is already complete! If a client comes to me with an idea and wants me to write it on my own, I charge $100 a page. However, the majority of the projects I have worked on fall into the $75 per page range. I use this price when a client comes to me with an idea but wishes to take part in interviews and is willing to stay involved in the project during the writing process. I charge $75 rather than $100 in this instance because it is easier for me to complete the project when the author gives me direct quotes to include and sort of guides me as a write. This cuts down on editing time and it aids me in taking on the author’s voice as I write. When writing a book I include 20 hours of complimentary meetings. This is usually enough to cover all interviews and editing. If a project demands more than those 20 hours, I charge $50 per hour of additional meetings.
I also charge $50 per hour for smaller projects like personal biographies, marketing materials, etc. I charge this amount both for my writing and any meetings that take place. For smaller projects, the only meeting time that is complimentary is the initial meeting where we discuss the project and the services I offer.
The “per word” charges come into play when I ghostwrite newspaper or magazine articles. The price can range from $2-$4 per word depending on the complexity and length of the article.
As you can probably tell, the price you charge depends on your theory on how to attract clients. Some ghostwriters charge less than I do, believing they will attract more business therefore making up for the smaller pay by working on more projects. Other ghostwriters charge more than I do believing that they are worth the money and will attract quality over quantity as far as clients are concerned. There really are many people out there that believe the more they pay, the better the end result will be. I like to be somewhere in the middle. Granted I am more on the high end than the low end, but I do not charge as much as many of my colleagues because I want to make enough money to make it worth my time, but also keep my costs low enough that my services are not out of reach. So, to put it simply…you have to decide what works for you.
The ghostwriters who have a set price list count on the smaller projects they work on to make up for any lost wages they incurred by not charging enough for a larger project. Charging $20,000 for a 350 page book would be on the low end, however they would make up for it by charging that same $20,000 for a 100 page book. I personally like to look at each project and each client individually and determine the price on a case by case basis. I just think it’s fairer that way.
Remember, I’m a relative newbie just like many of you. I have 1 book that has been published, 1 that is about to go to print, 3 in production, and 5 in negotiation. Personally, I don’t plan on changing my prices as I become more experienced. However, many of my friends in the business have. They charged far less when they were just starting out than they do now. They did this because they wanted to attract clients in order to gain experience and get their foot in the door. As they became well known and more successful, they raised their prices. So, just keep in mind that this is always an option. No matter what you decide now, you can always make changes.
Now on to the next subject in this part of the Ghostwriting 101 series: what every ghostwriter should know before accepting clients. There is an endless amount of information out there about ghostwriting, but here are a few things I think are essential for every ghostwriter to think about or understand before they take on any projects:
(1) Take care of yourself
Once you know what you want to charge, you need to think about standard payment schedules that are acceptable to you. Because you can’t exactly expect people to write you a $20,000 check, you should offer a few options to your clients. I personally tell my clients that I will automatically accept ½ in the beginning and ½ at the end, or I will accept the payments in thirds. If that’s not acceptable to the client, the least I recommend you accept as a down payment is a 1/10 of the project cost. So, for a $20,000 project don’t start working unless you receive at least $2,000. Moreover, if the client ever misses a planned payment, stop working on the project until you are being paid again. Finally, do not hand over the completed manuscript or project of any kind until you are paid in full. No matter how well you know the person or how trustworthy you think they are you must look out for yourself.
In addition I recommend that you stay away from anyone who says they will pay you a portion of the cost as planned but wants to wait to pay you the rest until they receive royalties or payment from a publisher. Your job is to provide a completed manuscript, not to get it sold. The publishing industry can be very fickle and if your paycheck is tied to getting the manuscript published, you will likely get burned.
You must also have a contract with every client, no matter how small the project is. In next week’s episode I will break down the basic things every contract should include, but I wanted to mention it here because you should think of the contract as protection. If the client suddenly backs out or refuses to pay you the agreed amount, you will have something in writing that you can turn to. If you ever get into a situation where you have to take someone to court, you will be grateful that you have that contract!
(2) Confidentiality is key
As a ghostwriter you work behind-the-scenes and should not expect recognition of any kind for your work. It is important for you to stay silent about your involvement in the project unless the author tells you otherwise. Most people who hire a ghostwriter do not want people to know that they have done so. They want to have everyone believe they wrote the piece themselves. It is essential that you are comfortable with that. Moreover, being known as a ghostwriter who is discrete and good at keeping quiet will be beneficial for you. Because so many of your clients will want you to be invisible, letting them know from the beginning that you will sign a confidentiality agreement and keep your role in the project secret will help you gain their trust and their business.
(3) Don’t say yes to everything
Remember that your role as a ghostwriter ends when you hand your client their completed manuscript. This means, that you are not responsible for getting their work published unless you want to be. I have never met a ghostwriter who takes on that task and I don’t recommend that you do so. However, this does come with some responsibilities. Before accepting a project you must take some time and think about whether you believe the idea is sellable. If you don’t think that a publisher will be interested or there is no audience for it, don’t do it! Even though it’s not your job to get the project published, you don’t want an unhappy customer. Explain to each client when your responsibilities as a ghostwriter end and be honest with them about the marketability of their idea. It is possible that some simple changes to the format or subject would make it more attractive. However, if the idea is just not going to work…don’t take it on. Integrity is important and you shouldn’t take someone’s money if you don’t truly believe in their project.
(4) Know your limits
This falls into the “be careful what you wish for” category. Once you get one project completed, it is likely that things will begin to snowball and more clients will flock to you. Therefore, it is essential that you know your limits. The last thing you want to do is take on more projects than you can handle and end up having to cancel out a contract or deliver a product that is poor in quality. I love working on many projects at once, but I have found that 4 books is my limit. I can take on an extra small project with 4 books in production, but that’s it. However, everyone will be different. When you are first starting, I recommend working on 1 big project at a time. Then, once you’re comfortable with that, increase it to 2, and so on. But be careful…it is very easy to over-extend yourself.
(5) Understand that you are not the author
This can be difficult for a ghostwriter, no matter how much experience they have. There will always come a time in every project where you think one thing should happen and your client thinks differently. While you can explain why you want things to go your way, you must understand that the author makes the final decision. At the end of the day, it is their project and they must be the one who is happy with it.
Some ghostwriters I know are concerned that if an author wants to do something that will hurt the project, their reputation will be harmed. I don’t believe this is a problem because people understand that although you are the writer, you are not the author. There is a big difference between the two. As the writer, you are creating the manuscript and putting the author’s thoughts into literary form. As the author, your client is responsible for the end product. All of the decisions are left up to them and they are the ones that have to work to get the project published. Therefore, work to make your client understand your position if you believe that what they want is not the right thing to do, but you must accept the fact that you are not the one in control.
(6) Learn to let go
Once the manuscript is completed, your job is done. Therefore, all of the decisions about illustrations, cover design, and marketing are up to the author and publisher. I know many ghostwriters who cringe when they see a book they wrote on a store shelf because the cover design is completely different than what they would have done. This is of course magnified if a book they have ghostwritten has been turned into a movie or television show. Everyone has a different perspective and different ideas about how things should look. The same goes for the promotion of the book.
As difficult as it may be, you must create a separation between yourself and the end product. Publishers can completely change passages from the book, take things out, rearrange things, insert atrocious looking illustrations, and much more. I like to give my ideas as far as how things should look to the author in writing so they can take them to the publisher if they wish, but do not be surprised if the project looks very different than how you pictured it.
So, to sum things up…take care of yourself. Don’t be too trusting and make sure that you are paid properly. Keep your mouth shut…confidentiality is the backbone of this industry. Be willing to turn down projects you don’t believe in and know your limits as far as the number of projects you can work on at once. Finally, understand that you are the writer and not the author. You have to allow the author to take control of the project and you must learn to let go once the manuscript is complete.
I hope that you have found these thoughts to be useful! Feel free to contact me with your questions or comments at any time. I will answer your questions on air if I think the audience will benefit from hearing about the subject of your e-mail. You can reach me at gwapodcast@aol.com. That link will be included in the show notes at the official page for the Ghostwriters Anonymous podcast, http://www.ghostwriters-anonymous.com/. Click on the tab that says “Ghostwriters Anonymous podcast.” Along with the links, I also include a transcript of every episode, so take the time to check that out. Thank you for listening and make sure to tune in next week for the third episode of the Ghostwriting101 series where I will be talking about contracts. We will discuss why they are important and the basic things that every contract should include.
Saturday, April 12, 2008
GWA #2 - Ghostwriting 101 Part 1
In this first episode of the Ghostwriting 101 series I will be discussing what ghostwriters are and what they do. I think the best way to begin is to give you an example of someone who isn’t a ghostwriter. A ghostwriter is not…I repeat…IS NOT…a person who writes about ghosts! Now of course if you become a ghostwriter and are hired by a client who pays you to write a story about ghosts, well, then you would be a ghostwriter writing about ghosts. But I cannot stress enough that ghostwriters are not necessarily fascinated with haunted houses, cemeteries, etc. You have no idea how many times I have had to explain that. If you decide to become a ghostwriter you will inevitably have this conversation pretty much every time you introduce yourself to a group of people. And of course be ready for the jokes. “You’re a ghostwriter…but I can see you!” Or “wow, I’ve never met a ghost before, yet alone one who can write!” Be prepared because it never fails. Whenever I go to a gathering of any kind and tell people what I do for a living, there is always that one guy who thinks that he is the most creative person in the world because of his comment and of course also thinks that I’ve never heard it before. Trust me...I have. The Oxford English Dictionary gives my favorite definition of a ghostwriter. It defines them as “hack writers who do work for which another person takes the credit.” Any time a dictionary uses the word hack in a definition you’ve got to laugh. But, wait…it gets better. When you look up the word hack in the OED it says they are “people whose services may be hired for any kind of work required of them; a common drudge; especially a literary drudge, who hires himself out to do any and every kind of literary work; hence, a poor writer, a mere scribbler.” Well, isn’t that nice. It doesn’t take a rocket scientist to figure out that I disagree with this assessment. Yes, it is true…we generally will write in any genre a client asks us to. And yes it is true that we are paid for our work and rarely get credit for it. However, I personally have more of a philosophical view when it comes to ghostwriting. You may have noticed that when I begin every podcast I use the tag line “for those who give a literary voice to the world.” There are countless people out there with great ideas for books or an amazing story to share but for one reason or another do not feel they can write it themselves. Ghostwriters give them the opportunity to share their thoughts with the world. It is important to note that ghostwriters don’t just write books. As a ghostwriter you can write speeches, newspaper and magazine articles, marketing materials, website content…really anything you can think of. Speech writers are probably the most famous of ghostwriters. That is because when politicians give speeches, it is widely known that they do not write them themselves and many times the speech writer is a known member of the staff. While secrecy is a common thread in most ghostwriting projects, it is not essential. Being a ghostwriter simply means that you are writing on behalf of someone else for a fee. So, how do ghostwriters do what they do? When working on a project of any kind, there are three general options. Most of the time, authors come to the ghostwriter with an idea. If this is the case, there are two ways to approach the project. Either the author can give the ghostwriter the idea, main points, and other general information and let the ghostwriter complete the project on their own and simply meet at the end for editing OR the author can give the ghostwriter the idea, main points, and general information but also sit down for a series of interviews so that the ghostwriter can take their actual words and incorporate them into the work. Most authors I have worked with prefer the second option. By taking part in the interviews the author plays a bigger role in the project and they can ensure from the beginning that their thoughts are being conveyed the way they want them to be. Of course things can always be altered in the editing process, but I know I always appreciate it when an author is willing to be interviewed. The third option arises when an author brings you a partially completed manuscript. This means that the author has part of or even most of the writing already done and just needs you, as the ghostwriter, to finish it. In this case what the ghostwriter does is completely based on how much of the manuscript is completed. If most of it is done, then the ghostwriter simply expands on the author’s thoughts a little and works on rewording and rephrasing. However, if there is still quite a bit to write, the author would choose between options 1 and 2 in order to finish the project. To sum it up, in option 1 a client gives the ghostwriter the idea, some quick thoughts and then just waits for a completed rough draft. In option 2 a client gives the ghostwriter those quick thoughts but also takes part in interviews in order to supply more information. In option 3 the client comes into the project with a partially completed manuscript. In the near future I will be dedicating entire episodes to the writing process, but I hope those quick thoughts were useful. Being a ghostwriter is incredibly fun. You constantly meet new people are always doing something different. Rather than thinking of a ghostwriter as a hack who basically sell himself to the highest bidder, I believe you should think of a ghostwriter as more of a liaison. As a ghostwriter you are the person in the middle who is taking the authors thoughts and putting them together in a way that will draw the attention of their audience. You are the author’s ally in this battle to get their stories out to the public. Maybe I should send these thoughts to the creators of the Oxford English Dictionary. Do you think they will listen? Yeah, you’re right…probably not. Feel free to contact me with your questions or comments at any time. I will answer your questions on air if I think the audience will benefit from hearing about the subject of your e-mail. You can reach me at gwapodcast@aol.com. That link will be included in the show notes at the official page for the Ghostwriters Anonymous podcast, http://www.ghostwriters-anonymous.com/. Click on the tab that says “Ghostwriters Anonymous podcast.” Thank you for listening and make sure to tune in next week for the second episode of the Ghostwriting101 series where I will be discussing how much ghostwriters should charge for their work and the things every ghostwriter should know before accepting clients.
Saturday, April 5, 2008
Introductions
Welcome to Ghostwriters Anonymous, the podcast for those who give a literary voice to the world. I am your host Alaina Burnett. In this inaugural episode of the podcast I will be introducing myself and giving you a rundown of what to expect in future episodes.
So, let’s get to it. I’m sure some of you are thinking, who is this person and why should I listen to what she has to say? Well, this is where things get a bit interesting because I cannot give you the same kind of resume that others can. This is for an obvious reason…I’m a ghostwriter! I lurk behind the scenes, toiling on book after book, while the people who pay me get the credit. I sign confidentiality agreements with all of my authors, so sadly the best I can do is tell you that I have 1 book that has been published, 1 that is about to go to press, 2 in production, and 4 in negotiation. That’s not bad for a relative newbie.
After graduating from college in 2006 I immediately began to make plans for my first novel. You see, when I’m writing in my own voice I focus on historical fiction. However, things changed when I was approached by a friend of mine. He wanted to hear about my post-college plans so we went out for a cup of coffee. I explained how I intended to focus on my writing. When he heard this he excitedly started talking about a book that he had always wanted to write and he asked if I would be interested in writing it for him. The thought of being a ghostwriter had never crossed my mind before, but the idea was intriguing so I gave it a shot. I found that I loved the process and things went so well that projects kept coming in. While I still intend to get my historical fiction published one day, I gladly dedicate most of my time to my clients and their projects. I focus primarily on books, but I also ghostwrite smaller projects like personal biographies, newspaper and magazine articles, website content, and advertising materials.
As a listener of this podcast you can expect to learn about the ins and outs of being a ghostwriter. This means that you’ll discover not only what a ghostwriter does, but also what to anticipate if you decide to become one yourself. Over the next few weeks I will be offering a series called “Ghostwriting 101” where we will cover topics such as what ghostwriters do, how much you should charge for your work, the things every ghostwriter should know before accepting clients, how to find clients, why having a contract with every client is important and what should be included in those contracts. In the future I will also be talking about the writing process, the publishing industry, and a myriad of other things related to ghostwriting.
Feel free to contact me with your questions or comments at any time. I will answer your questions on air if I think the audience will benefit from hearing about the subject of your e-mail. You can reach me at gwapodcast@aol.com. That link will be included in the show notes at the official page for the Ghostwriters Anonymous podcast, http://www.ghostwriters-anonymous.com/. Click on the pretty little tab that says “Ghostwriters Anonymous podcast.” Pretty self-explanatory, hey? Thank you for listening and make sure to tune in next week for the first episode of the Ghostwriting101 series.
So, let’s get to it. I’m sure some of you are thinking, who is this person and why should I listen to what she has to say? Well, this is where things get a bit interesting because I cannot give you the same kind of resume that others can. This is for an obvious reason…I’m a ghostwriter! I lurk behind the scenes, toiling on book after book, while the people who pay me get the credit. I sign confidentiality agreements with all of my authors, so sadly the best I can do is tell you that I have 1 book that has been published, 1 that is about to go to press, 2 in production, and 4 in negotiation. That’s not bad for a relative newbie.
After graduating from college in 2006 I immediately began to make plans for my first novel. You see, when I’m writing in my own voice I focus on historical fiction. However, things changed when I was approached by a friend of mine. He wanted to hear about my post-college plans so we went out for a cup of coffee. I explained how I intended to focus on my writing. When he heard this he excitedly started talking about a book that he had always wanted to write and he asked if I would be interested in writing it for him. The thought of being a ghostwriter had never crossed my mind before, but the idea was intriguing so I gave it a shot. I found that I loved the process and things went so well that projects kept coming in. While I still intend to get my historical fiction published one day, I gladly dedicate most of my time to my clients and their projects. I focus primarily on books, but I also ghostwrite smaller projects like personal biographies, newspaper and magazine articles, website content, and advertising materials.
As a listener of this podcast you can expect to learn about the ins and outs of being a ghostwriter. This means that you’ll discover not only what a ghostwriter does, but also what to anticipate if you decide to become one yourself. Over the next few weeks I will be offering a series called “Ghostwriting 101” where we will cover topics such as what ghostwriters do, how much you should charge for your work, the things every ghostwriter should know before accepting clients, how to find clients, why having a contract with every client is important and what should be included in those contracts. In the future I will also be talking about the writing process, the publishing industry, and a myriad of other things related to ghostwriting.
Feel free to contact me with your questions or comments at any time. I will answer your questions on air if I think the audience will benefit from hearing about the subject of your e-mail. You can reach me at gwapodcast@aol.com. That link will be included in the show notes at the official page for the Ghostwriters Anonymous podcast, http://www.ghostwriters-anonymous.com/. Click on the pretty little tab that says “Ghostwriters Anonymous podcast.” Pretty self-explanatory, hey? Thank you for listening and make sure to tune in next week for the first episode of the Ghostwriting101 series.
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