Guest Post: Why Authors Need to Have Chemistry With Their Ghostwriters

by Tim Sanders
This article originally appeared on NetMinds.

Recently I caught up with my longtime friend Glenn Plaskin to talk about why chemistry was the #1 factor an author should consider when selecting a ghostwriter.  He's both an author himself, a syndicated columnist, and seasoned ghostwriter of several bestselling books. While many authors look for credentials or, sadly, price, Glenn suggests they first seek out a personal connection.  

Tim: How did you get started as a ghostwriter?
Glenn: For me, it all started with magazine writing. After 25 years in that business, one of my interview subjects, a celebrity, had liked an article I'd written about him, and asked me to write a book with him. We would talk on tape, I’d formulate a chapter from our interviews, and then we’d go over that material until it was a fully formed chapter, then a fully formed book.

Tim: Talk to me a little bit about why the author/ghostwriter relationship needs to be collaborative. 
Glenn: It’s like going on a blind date except there won’t be any romance—or at least there shouldn’t be! But it is a little like dating someone: there has to be that indefinable click. And is anything more collaborative than dating? You have to feel a rapport, some kind of emotional connection that allows the author of the book to feel comfortable with a ghostwriter, to feel that the ghostwriter understands them, not just intellectually, but emotionally. An author/ghostwriter relationship needs to be harmonious. You’ll be working together in very tight quarters. So things have to be amiable. And having a great sense of humor is key too! I once met with a prospective author for what was scheduled as a 45-minute meeting, and we ended up talking and laughing for three hours! I knew after that our writing relationship would be a successful pairing. And it was. 

Tim: How do you conceptualize the author/ghostwriter relationship? 
Glenn: The author may have a compelling story but may not have the time, skill, or training to write it. The ghostwriter is the conduit. I compare it having a Mercedes: it’s a great car but when you need it serviced, you don’t try to do it yourself, you take it to the dealer. The ghostwriter is the book mechanic, who is best equipped to make the Mercedes run perfectly. The author has the ideas and the content; the ghostwriter has the technical skills to tell the story in the way in needs to be told.

Tim: Let’s put you in the author’s shoes. What should an author look for in a possible ghostwriter? You indicated humor previously. What other factors should the author be looking for in those first two general meetings with a ghostwriter? 
Glenn: Well, the first thing a prospective author should do is check a ghostwriter’s credits. A simple resume check. Google the name, see what comes up. Go to the ghostwriter’s website and see if it’s professional and well maintained. Make sure they’ve been published. Make an effort to call authors the ghostwriter has worked with in the past and ask them how working with that ghostwriter was. There is quite a lot of pre-prep that can be done. 

Tim: And ghostwriters should have their credentials readily available? 
Glenn: Exactly. Once an author has determined the ghostwriter is professional, step two is the meet and greet. Usually the first interaction is conducted over the phone, then the second meeting in person. The very first thing I look for is simple likeability. Do you get along with the person? Would you be their friend in “real life”? Are you impressed with their intelligence? Do they seem to understand what you’re talking about? Did they come prepared? Nothing will impress someone more than knowing something about them. Everyone likes to talk about themselves. Also, is the ghostwriter a good interviewer? Can the ghostwriter fill in the blanks? Are they a good listener? Do they seem to be grasping the verbal cues that you’re giving them and picking up on them and furthering the conversation?

Tim: Do you always ghostwrite subjects that you are well versed in? 
Glenn: Not at all. I met with a pastor once. I really liked the guy, so he passed the likability test, but I didn’t feel connected with the religious subject matter of his book. I didn’t actually have much interest in it. So I turned the project down. A few months later he came back to me and asked me again, and I said yes. I challenged myself. We ended up having a great collaboration. My lack of knowledge of the Bible didn’t hurt the product in any way. I feel that a good ghostwriter can write about anything, especially if they have great chemistry with the author, as I did with the pastor. 

Tim: Can the author cultivate that chemistry? 
Glenn: The author shouldn’t have to. Remember, the ghostwriter is there to make your life easy. They’re servicing your Mercedes. It’s not up to the Mercedes to do the work! The ghostwriter is the one that has to build the relationship and build the trust. 

Tim: As a ghostwriter, can you improve the chemistry with the author? 
Glenn: If by the second date you’re not crazy about the person, you’re really not going to go on any more dates. So I can’t overemphasize the importance of the first telephone and in-person meetings. If the click doesn’t happen after the first two or three interactions, it’s likely that it may not go any further. And maybe that’s as it should be. You can’t improve what never existed. 

Tim: What do you do to sustain strong chemistry over a long project? 
Glenn: Well, for starters, every working relationship needs boundaries. We can’t work in an unorganized vacuum. So it’s up to the two collaborators to decide things like: When are we going to work? How are we going to work? How often are we going to talk? Once these boundaries have been established, a ghostwriter might need to get creative when making sure the author follows them. I once worked with an author and our schedule was a tight one. We needed to finish a chapter every week. The problem was that he wasn’t giving me the information I needed soon enough. So I gently told him, “The train is leaving the station every Monday, one way or the other.” He heard me, and we had zero problems after that. I got the information I needed first thing Monday morning from then on. Writing a book takes discipline on both sides, and that certainly helps the sustained chemistry stay buoyant. The final thing I’ve learned to help keep the chemistry strong is to never responding when angry. In the book-writing process, there will be moments of great tension. There are going to be times when the author is irritated and not in the mood to do his or her part, and there are also going to be times when the ghostwriter may feel annoyed by the client. That’s normal. One thing I practice is that when I’m upset is always the wrong time to discuss it with the client. Instead, talk to a friend, talk to your sister, talk to anybody else, but don’t talk to the client. By practicing this, I hardly ever have arguments with an author. You want to avoid those at all costs. You’ve got to learn to let annoyances go. It’s almost like you have to take a ghostwriter twelve-step program! In order to keep the chemistry going, it’s very important to keep the relationship as harmonious as you can make it. 

Tim is a bestselling author and former Yahoo! executive with a mission to disrupt the traditional publishing and self-publishing industries and share knowledge with authors looking to publish and market high-quality books. Follow him on Twitter at @sanderssays.

Holiday Gift Ideas: Ten Terrific Books to Give this Season

Jhumpa Lahiri once wrote, “That's the thing about books: they let you travel without moving your feet.”

This holiday season, give your loved ones, your writer friends, and even yourself the gift of experience—the feeling of unwrapping a present only to find it contains your imagination.

 Here’s a list of books we recommend for this holiday season:

1. Hopscotch by Julio Cortázar
Because a little experiment keeps the mind on its toes.

2. Carried Away: A Selection of Stories by Alice Munro
Because we always need to be reminded that the small things are the big things.

3. And the Mountains Echoed by Khaled Hosseini
Because there’s more to Afghanistan than war.

4. Faces of Love: Hafez and the Poets of Shiraz (trans. Dick Davis)
Because a little poetry keeps the blood flowing.

5. The Goldfinch by Donna Tartt
Because we are all searching, and one day it will lead us somewhere.

6. The Cuckoo’s Calling by Robert Galbraith (J.K. Rowling)
Because we all need consoling since Harry Potter grew up.

7. Man’s Search for Meaning by Viktor Frankl
Because learning how to be a better person never goes out of style.

8. Love Is a Dog from Hell by Charles Bukowski
Because there's no lesson quite like one of unrequited love.

9. My Heart Is Broken by Mavis Gallant
Because we are all outsiders in our own way.

10. What I Talk About When I Talk About Running by Haruki Murakami
Because how to live life wasn't taught to us in school.

How to Be an Entrepreneurial Writer

Though writing is an art, it’s vital to combine it with business savvy in order to give yourself a competitive edge. A keen understanding of the business of books and media will enhance your professionalism: you’ll approach clients, agents, and publishers more tactfully; pitch yourself for projects more frequently and sincerely; and learn to protect yourself and your financial interests.

Moreover, by becoming an entrepreneurial writer, you'll learn how to build confidence, be resourceful, take risks, earn more, and convince publishers and agents to invest in YOU.

Here are some ways to adapt an entrepreneurial mindset into your writer’s psyche:

1. Be Opportunity Focused 

Entrepreneurs are always on the lookout for potential business ideas. As a writer,  condition yourself to become curious about the world around you—ask questions, observe people and their environs, pay attention to trends—so you’ll be more likely to find inspiration that’s unique to you and relevant to your audience.

What can you write that could make someone’s life better or easier? How can you create value through your writing? Focus on these questions as you decide what stories to pitch.

2. Prepare Your Resources 

Entrepreneurs have vision. They plan a clear path that will get them from where they are to where they want to be. An entrepreneur is always prepared and knows how to make a spontaneous good first impression.

As a writer, you also have to look ahead. Figure out your skill set, your strengths, and your weaknesses. Determine your USP (unique-selling point). Does your writing fit a niche, or is your strength your versatility? Do you have institutional knowledge about a subject that could be shared to benefit others? Be proactive about the results—if you’re interested in writing in a specific genre or style but don’t have much prior experience, reach out to people who do, or sign up for a class that will teach you the basics.

3. Network, Network, Network 

Entrepreneurs are, by and large, master networkers. The old adage is true: it’s not only what you know that matters, but who you know.

Always look for ways to expand your network. Attend panels, workshops, and cocktail parties. Frequent bookstores, readings, and book launches. Figure out where the people you're writing about—or the audience you're writing for—gather, and make it a habit to spend time in those places. You never know whom you’ll meet.

And always carry business cards with your contact information and website, so you can continue the conversation later. Feel like you hit it off with someone at an event? Send an email expressing how delighted you are to meet them, show an interest in what they do, and ask follow-up questions. If you want to get involved with their organization, set up a meeting.

4. Take Risks 

Entrepreneurs tend to be confident, inspired, and dynamic. They attempt things that are slightly out of reach—and are often rewarded.

Every so often, pitch yourself for a project that seem a little out of your league. With the right combination of talent, timing, and luck, you might be rewarded by landing the gig. And even if you don't, the exercise will refine your pitching skills and could lead to a new connection. You might even receive feedback that will improve your profile as a candidate in the future. 

Tips and Tricks for an Effective Blog

(Don't let this be you.)

You invest your time and creative energy in it, your readers enjoy it, and your potential employers/clients require it.

Just as e-books are changing the way we read, blogging is changing the way we write—to some extent. As a freelance writer today, having a well-nourished, well-manicured, well-maintained blog is the key to standing out from the cyber crowd.

But with an influx of content creators all across the Internet, how do you know if you’re getting the words you write right?

Here are some quick tips to make sure your input maximizes your output, so you end up with a blog that’s not only successful in positioning you well, but also effective in terms of generating clientele.

1. Cleanliness, Clarity, and Consistency
Your reader is not going to stay on your site for more than a few seconds unless you keep them there.

 • All posts should be neat and well formatted
 • Avoid too many colors, distracting fonts, and pictures
 • Always include a title—titles are the first thing a reader will notice, and probably the only thing they'll retain
 • Break up large chunks of text, and use lots of white space
 • Offer your contact details clearly—if someone wants to speak to you, they should know how to get in touch

 • If you’re using your blog as a portfolio, organize different writing samples under headers, tabs, or tags

 2. Establish Your Brand and Quality Control
Whether you’re writing for the general public or are hoping your website will impress potential clients, your blog is a part of your brand. Make sure it represents who you are. 

 • Know your subject matter, your voice, and your structural style—and be consistent with it
 • Always (always, always) edit what you write before you post it
 • Be conversational and casual, but make sure you don’t sound inarticulate or unrefined

3. Frequency and Variety
Posting regularly is a great way to establish reader loyalty. If someone likes your blog, but sees no new posts when she checks in back next week, you will probably lose her. 

 • Set weekly goals for how many new posts you'll write—and stick to them
 • Plan for a series of posts or come up with themes for different weeks
 • Be creative with the ways you present or curate content

 4. Call to Action
Pushy salespeople are often instantly disregarded, so don’t demand interaction from your readers. Try to generate responses in other ways.

 • Do include a comments feature, but don’t pressure your readers to participate
 • Create easy-to-answer polls or comment and request feedback on other people’s blogs

5. Further Reading
For more tips and tricks on blog writing:
 • "10 Secrets of Professional Writers Every Blogger Should Know" by Jeff Bullas
 • "The 10 Commandments of Blogging" by Stanford Smith
 • "Blogging Statistics Per the Wall Street Journal" by Mark Penn
 • "How to Avoid Common Beginner Blogger Mistakes" on WikiHow

Guest Post: Why I Like Being a "Content Provider"

by Minda Zetlin

If you spend a lot of time around longtime journalists, you may have heard the term “content provider” used with something like a sneer—generally from what I think of as the old guard: venerable writers who built their careers writing great news stories for great news organizations and are aghast at the changes the Internet has wrought upon the world they thought they knew.

But “content provider” is a term many of us are embracing, because that old world of journalism is gone for good. I spent part of last week at a forward-looking conference where respected media guru Steve Rubel, executive vice president of global strategy and insights at PR giant Edelman, laid out, in a few minutes and a few slides, the forces that have changed media forever.

Content is infinite; time and attention are finite. We all know this as readers. I’ve often thought that I would like to read the New Yorker—if only it came out monthly instead of weekly. The days when people eagerly checked their mailboxes for that long-awaited magazine are over. These days, the magazine has a website where it publishes new articles or blog posts 20 times a day. All your friends have blogs they hope you’ll follow, and now that there are so many publishing venues, most have books out, too, that they’re waiting for you to get around to reading. Not to mention Facebook, Twitter, Reddit, Digg, Flipboard, and StumbleUpon. There’s just too much good stuff out there for any of us to read everything we might like to.

Publishers can’t depend on subscription revenue. Right or wrong, most people assume that content on the Internet should be free, and very few companies have found a successful way to charge people for reading material online. As we’ve just seen, there’s enough good reading out there for free to make anyone wonder why they’d bother paying to read a website. As more and more people are turning away from paper, subscriptions just aren’t a great way for most publications to make money anymore.

Online ad revenues don’t amount to much. Advertising was supposed to be a viable business model for online publications, just as it’s always provided much of the revenue for print publications. Rubel notes that most online advertising is sold using automated networks rather than person-to-person, and at very low prices. Late least year, Forrester Research estimated the average cost per thousand page views of an online ad at just $2.66. The Atlantic reported that newspapers lost $16 in print ad revenue for every $1 they had gained in digital ad revenue in 2012, one reason why total newspaper employment in the United States fell below 40,000 for the first time since 1978.

This is all terrible news for traditional media, for the state of American journalism in general, and for writers determined to make their livings from pure journalism. When some of the biggest names in media are faltering, and all of them are scrambling to compete in an increasingly overloaded market for readers’ attention—well, that’s not a good thing.

I wish I could say that pay for good writing is going up, but it isn’t. I wish I could say that all the writing I do is meticulously researched and fact-checked, but it isn’t. I wish real news and media outlets were still willing and able to pay for serious investigative journalism, but they aren’t, which is why we need nonprofits like Pro Publica to support it instead.

Amid these grim developments, Rubel sees a big silver lining for public relations, because struggling media outlets are desperate for other revenue, and that’s created an opportunity for companies like Edelman to place “sponsored content” on their websites. Meantime, companies are more comfortable than ever creating their own content, because most have been doing it already, aiming for the content-rich, frequently updated websites that Google’s ranking algorithms favor.

That’s where we come in, those of us who make our livings writing—if we’re willing to be content providers as well as journalists. There’s an immense hunger for fresh material to be posted on traditional media sites, corporate sites, and hybrids of both. If you’re already full up with work or committed to never writing anything but purely journalistic stories, that may not much matter to you. But if you’re looking for ways to create easy revenue and gain regular clients, then the Web’s endless appetite for content is definitely a good thing.

Rubel stressed in his talk that effective custom content must be high quality and journalistic. This is one way custom content can offer an advantage over some of the low-rent Web-writing opportunities out there. Content mills may offer laughably low payments for laughably bad articles and have little to lose if what they publish is poorly researched or written. A company trying to build up its brand, however, will think twice about putting its name on pieces like those. It’s the brand-conscious companies that are more likely to hire professional writers and offer pay professionals will accept.

How do you get into the custom content market? One place to start is ASJA’s Content Connections conference taking place November 7 and 8 at Columbia College in Chicago. We’re bringing writers together with experts in content creation and also hosting an event called Client Connections. It’s similar to Personal Pitch (meetings with agents) that is a regular feature of our annual conference in April, with two big differences: the short meetings are with content buyers who may represent corporations, advertising, or PR agencies. And it’s open to all writers, not just ASJA members.

I, myself, have included sponsored or custom content in the mix of how I make my living for the past dozen years. Most (but not all) of the time, the material I write for these corporate clients is highly similar to what I’d be writing as a journalist. It’s always some of the easiest and best-paid work I do and usually provides regular income. And in the uncertain world of a freelance writer, regular, steady, easy, well-paid work is a very nice thing.

Minda Zetlin is president of ASJA, a columnist for the Inc. magazine website and author of several books, including The Geek Gap: Why Business and Technology Professionals Don’t Understand Each Other and Why They Need Each Other to Survive (Prometheus Books, 2006), co-authored with her husband, Bill Pfleging. Connect with her on twitter at @MindaZetlin.

This article original appeared in the November 2013 issue of the ASJA magazine, and online here.

Around the Word: Major Publishing Trends for 2013

With explosive developments in technology, readers and writers are struggling to re-construct an understanding of how to “be” readers and writers as the industry moves away from traditional publishing formats.

Here are some snapshots of major publishing industry trends of 2013 that are forecasted to continue:

 • The Multimedia Wave. Book publishers are investing more time, energy, and resources in designing applications for e-books, given the dramatically increased use of tablets for reading. Conventional publishing protocols—designing book covers, re-printing new editions, choosing bookstores and other channels of distribution—have been neglected in favor of making online readability more interactive with music, pictures, search features, and other multimedia tools.

In a Guardian article, Victoria Barnsley of HarperCollins UK says, “We can’t think of ourselves as book publishers anymore. We have to see ourselves as multimedia content producers.”

 • The Return of the Subscription Model. With growth in piracy arising from free-floating creative content in the Internet universe, many magazine publications are looking to protect their content by reviving the subscription model. Readers will have to subscribe to the magazine and select an option for "digital issues"—at an additional cost—before they can access content on their tablet or smartphone.

In May 2011, the New York Times published an article about the digital birth of the New Yorker on the iPad. New Yorker editor David Remnick excitedly explained, “If you are going to get thousands of readers that you didn’t have before, or maybe even hundreds of thousands of readers, you’d be foolish to complain about the work that went into coming up with something they found compelling on the iPad. It is a very big opportunity for a magazine like the New Yorker to find whole new audiences.”

 • The Rise of Self-Powered Curation. Social media presence and prowess is one of the key features of the modern man’s (and modern company's) identity. The integration of Instagram, Tumblr, Pinterest, and Twitter into our digital behavior suggests that users are interested in personalizing the presentation and experience of content online.

Many apps (like Pocket, InstaPaper, Readability, Read It Later, etc.) allow users to find, download, and save online content to read later, offline. While such online-bookmarking tools, the idea of self-powered curation is sure to change reading habits and expectations.

Happy Halloween: Trick or Tweeting

Halloween is a great holiday for creativity! There are crazy costumes, creepy stories, and lots of strange decorations to come up with.

But here at GG, we have an extra-special Halloween trump card: GHOSTS! What better time is there to recognize the art of ghostwriting?

So here's a fun, ghostly Halloween challenge:

Come up with a creative hashtag for what being a ghost(writer) means to you, and tweet it to us at @GothamGhosts by Thursday, October 31st.         

We’ll round up the wittiest, funniest, cleverest ghostly tweets in a BloGG post next week.

And have a happy and safe Halloween!