It’s scary how consistently there are three books written with the help of credited ghostwriters on the New York Times Hardcover Nonfiction Bestseller list. Here are this month’s:
So, I bought an iPad last week. To be honest I’m still trying to figure out if that was a good idea. Unlike most blogs I’ve seen examining the iPad for a writer, I’m not writing this post on my iPad. In fact, I can think of nothing more maddening than writing long form documents on an iPad.
Though the iPad will never replace my laptop as my primary writing instrument, I’ve been finding some pretty useful ways to use it to make me a better writer. Here are a few I’ve discovered over the last couple days. Continue reading “How My iPad (Maybe) Makes Me a Better Writer”
I’m still digesting Joey’s post from last week, “The Ghost Materializes“. Thankfully, on Friday morning, I was able to get together to hang out with both Joey and Ed over a cup of coffee. It was a great time to catch up on what’s going on in each other’s lives and work, and to discuss writing and ghostwriting.
Joey’s post, as I told the guys, was poignant for me as I’ve been feeling the itch to begin writing a novel of my own. I was great to talk about how we might balance careers as ghostwriters and vocations as writers. Continue reading “Building Your Business…and Pursuing Your Passions”
The review begins:
Once asked to write a full story in six words, legend has it that novelist Ernest Hemingway responded: “For Sale: baby shoes, never worn.”
In this spirit of simple yet profound brevity, the online magazine Smith asked readers to write the story of their own lives in a single sentence. The result is Not Quite What I Was Planning, a collection of six-word memoirs by famous and not-so-famous writers, artists and musicians.
Their stories are sometimes sad, often funny — and always concise.
The book is full of well-known names — from writer Dave Eggers (Fifteen years since last professional haircut), to singer Aimee Mann (Couldn’t cope so I wrote songs), to comedian Stephen Colbert (Well, I thought it was funny).
While this project has taken a life of its own and has become a cottage industry where you can publish your own six-word memoir (Mine is: Aware of life’s futility, remains optimistic) and even turn it into a T-shirt, it got me thinking how important it is, as a ghostwriter, to boil a book down to its essence before you even begin it, whether it’s a celebrity tell-all, business-success title, spiritual handbook, or whatever else you are helping your author create.
Screenplay writers do this all the time before they write movies: They create what’s known as a logline, which gives the essence of the cinematic experience in a single sentence.
My favorite book about screenwriting, Blake Snyder’s Save the Cat!: The Last Book on Screenwriting You’ll Ever Need, offers lots of advice about how to write effective loglines, and includes some great examples:
A newly-married couple must spend Christmas Day at each of their four divorced parents’ homes — 4 Christmases
A just-hired employee goes on a company weekend and soon discovers someone’s trying to kill him — The Retreat
A risk-averse teacher plans on marrying his dream girl but must first accompany his overprotective future brother-in-law — a cop — on a ride along from hell! — Ride Along
According to Snyder, all of these loglines contain four components necessary for any movie sale: irony, a compelling mental picture, a built-in sense of budget and audience, and a killer title.
The same thing applies to songs. While considerably shorter than movies, songs still benefit from killer titles and the ability to get what the song is about in just a few words.
In my favorite book about songwriting, The Craft and Business of Songwriting: A Practical Guide to Creating and Marketing Artistically and Commercially Successful Songs, author John Braheney says that good lyricists are “able to describe in one word the emotion or mental state that a song expresses,” and can “describe in a short phrase what the song is about.”
In chapter two, pages 31–32, I listed several subject areas as they relate to love relationships. Phrases such as “I think I’ve just found her (or him),” Remembering how it used to be,” and “Cheating” succinctly describe the subject of a song.
As ghostwriters, we can learn from the best practices of songwriters, screenwriters, and the participants in Smith Magazine’s Six Word Memoir project by getting the essence of our books down on paper with a one-line description and killer title before we start writing. This will guide our words and help ensure that the end result is tight, focused, and compelling.
In a nutshell, it’ll make us—and our authors—look good.
[Photo by: cbertel]
This month, four of our fellow ghostwriters have made the New York Times Bestseller List for Hardcover Nonfiction with full cover credit:
When I first started out as a freelance ghostwriter I was terrified of quoting pricing. The field was new to me, I had no track record to back up my desired pay, and I had no clue what other writers were charging. So, after I’d put in the hard work to find a potential client and then got the opportunity to pitch him or her, when asked how much I charged, I’d freeze, hem and haw, and then say I’ll get back to you.
By then, the client could smell blood and the battle was essentially lost.
We’ve spent some time talking about pricing here at Ghostwritepro.com over the last couple months. For instance, I mentioned that I only do flat fee pricing in my post “A Modest Proposal…On Crafting Winning Proposals“, and Joey wrote a great post entitled “Should I List My Fees on My Website“. Both arguments made the assumption that you would know exactly what you’d charge—within a range—for a particular type of project.
But what if you have no idea what you’d charge? And if so, how do you figure it out? Continue reading “Taking the Mystery Out of Pricing”
Something happened to me about a week ago that totally turned what I thought I knew about ghostwriting on its ear.
My dad showed me an article a couple of weeks ago about Dean Smith, the University of North Carolina’s most decorated basketball coach. The article was about his struggle with memory loss, and it mentioned the fact his health problems forced John Feinstein to cancel a book project they were collaborating on.
Mr. Feinstein wrote about the situation in a blog post:
At this moment, you either have your fees on your website or you don’t. If you don’t, it’s probably because you follow the line of reasoning I’ve always used: If I tell people what I charge, or even give them a range, they might see it – balk – and walk away. ‘Course, the flip side is you meet with them, talk on the phone, email back and forth, educate them and get all those questions you need answered first and then give them your project fee. Their typical reaction?