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”
Though less common than non-fiction ghostwriting, fiction ghostwriting goes on a lot more than people realize. When I say “goes on” instead of “occurs”, yes, I do mean to imply that it’s not such a good thing. At this point in my post, I find the practice despicable. I could change my mind by the time I reach the end of this post. That often happens when I think through something more thoroughly than usual. It’ll be interesting to see where I end up on this subject. Continue reading “Ghostwriting Fiction”
New York writer Nancy Shulins was introduced to me recently by a mutual friend. She’s one of those people you just automatically click with. I feel as if we’ve known each other for years, even though we’ve never met in person. I asked her to share some of the lessons she’s learned from ghosting a non-fiction bestseller and an as yet unpublished novel.
Here’s her advice:
There’s an interesting post by Evan Maloney over at the Guardian Books Blog on “The unreal art of realistic dialogue.” Many writers find the task of writing dialogue to be daunting. And Maloney hits the nail on the head by pointing out the reason why: It’s hard to write dialogue that sounds realistic—but that also filters out the “dull” parts of reality.
Here’s a quick snippet of the post:
Writers of fiction are told to “listen” to how people speak in order to create realistic dialogue but, like all our perceptions, our hearing is unreliable. We unconsciously filter out the crap in people’s speech to refine sense and meaning. What we’re left with is a type of distilled speech far removed from the realism of what we hear and, crucially, we rarely notice this until we see it with our own eyes, while reading a transcript of what someone said.
Maloney goes on to give three primary ways that writers approach dialogue.