Dollars and Deadlines is Back! And is Ghostwriting for You?

Hello, readers, and welcome back...after more than a year on hiatus, I've decided to reboot the blog for several reasons. First and foremost, while the majority of my work these days is ghostwriting books for a variety of clients (with some content marketing, articles, and public speaking thrown in), I have several popular books on freelancing that continue to sell well. All are earning royalties! And that's great--so why not jump back into blogging and continue to rev those book sales? 

Just as important, this blog has been one way of giving back to the freelance community. If you're read my blog in the past, you know I opt for transparency. (Hence my honesty about my first reason for rebooting the blog.) I talk about money, share actual freelance rates for different types of work, discuss how to address freelancing issues (like getting paid!), and am always happy to answer readers' questions. I love helping other freelancers--both new and experienced--reach new levels of success in their careers. It just feels good! 

So please comment with any topics you'd like to see me cover, or questions you have, and I'll be happy to help! 

In the meantime, today's post is about how to determine whether ghostwriting is a good fit for you. You may be a stellar writer, but not every freelancer is cut out to ghostwrite. To succeed as a ghostwriter (or even a coauthor), you must have:

• The ability to set your ego aside. I confess that the first time I learned about ghostwriting (at a panel at the awesome ASJA conference), I thought, "I don't want to write someone else's book! I only want to write my own!" If you're addicted to seeing your byline, ghosting may not be for you.  It's all what your client wants, not what you want. If you can’t set your own ego aside, your career will be short-lived.

• Organizational skills. Forget the idea of scatterbrained writer. Writing a book requires focus and organization. It's even more important when you're writing someone else's. You're expected to stay on top of your own research, organize information you receive from your client, track various drafts (in progress or approved), and manage a schedule that may be ever-changing depending on your client’s needs. If your desk typically looks like a bomb went off, ghosting may not be a good fit for you.

• Creativity. Ghostwriting isn’t as simple as filling in an outline or connecting the dots. If you’re writing a memoir, a novel, or “creative nonfiction,” you’ll need a narrative arc and an overall theme or message for the book. Even a relatively straightforward how-to manuscript requires an ability to organize material, structure the overall manuscript (unless your client has determined this already), and to identify and maintain your client’s voice—in addition to writing 50,000 to 75,000 words or more. And that takes creative skills.

• Stress management skills. If you work for what I call a “PIA” client (think Pain In the A…) occasionally, your contact with the person is limited. But when you ghost or collaborate, you’re stuck with that person for months. Some clients will decide on a plan of action, then follow it to the letter. (I love those people!) Others will second-guess their decisions, change the scope of the book as you’re nearly completion, or need continual handholding. And that takes patience, deep breathing, goblets of sauvignon blanc, you name it.

• Knowledge of the publishing industry. Have you published your own books? Written and sold book proposals? Worked with an agent? Do you know the difference between traditional publishing, self-publishing, and print-on-demand ("POD"), and what the advantages and drawbacks are? The more experience you have with books, the more valuable you are to a client, and the more potential you have as a ghostwriter.

**Have questions about ghosting? Comment below and I'll be sure to answer them! And thanks for reading. 

New to freelancing and have questions? If you want the "big picture" about freelancing and are serious about making your freelance writing business a money-maker, I suggest my freelance classic, Six-Figure Freelancing: The Writer's Guide to Making More Money, Second Edition. 

**If you're more interested in getting into ghostwriting and content marketing, I suggest Goodbye Byline, Hello Big Bucks: Make Money Ghostwriting Books, Articles, Blogs and More, Second Edition. 

**If you're brand-new to freelancing, Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets walks you through the process of launching your freelance career. 

**Finally, if you like your books full of shorter pieces, check out a different format--Writer for Hire: 101 Secrets to Freelance Success is divided into five broad sections to help you make more money regardless of what kind of nonfiction writing you do. 

Post Roundup: 8 Great Ghostwriting Posts

According to my 2011 income survey results, a mere 3 percent of freelancers make money from ghostwriting. Ghostwriting and coauthoring have been producing the majority of my freelance income for the last four years, and it's not as hard to break into the field as you might think. (While I primarily ghost books, I know other freelancers who are ghosting articles and blog posts--one freelancer is currently ghostwriting for six different blogs!)

So ghosting is the subject of this post roundup:

• Why add ghostwriting to your freelance repertoire? (And fees for some recent projects.)
• Five more reasons to ghostwrite--including bigger advances.
• Sure, we think of celebs and "big names" as hiring ghosts, but your clients are more likely to be average folks who want to write books or professionals who want to become book authors; here's how to work with the latter.
• What attributes do you need to successfully ghost?
• Not all potential clients are worth your while. Here are ten red flags to run away, fast.
• Here are five simple ways to find ghosting clients.
• Book packagers often hire ghosts; here's what you should know about them.

What's that? You want to know even more about ghostwriting and how to succeed in this lucrative niche? Then you'll want to read Goodbye Byline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books (Kindle version). From sample contracts to marketing advice to tips on setting fees and working with clients, you'll find everything you need to know to get started.

A Month of Templates: A Coauthoring Contract

Last post, I gave you a simple contract/letter of agreement. But what about when you need a more formal contract--like when you work as a ghostwriter or coauthor?

Here's the kind of agreement I like to use; I made a few comments in green:

Coauthoring Collaboration Agreement

THIS AGREEMENT is made on the _____ day of __________, 2010, by and among CLIENT of CITY, STATE (hereinafter referred to as CLIENT) and Kelly James-Enger of Downers Grove, Illinois (hereinafter referred to as James-Enger). The parties agree as follows:

1. Subject to the terms and conditions herein, CLIENT and James-Enger agree to collaborate exclusively with each other in the preparation of a book proposal based on CLIENT's book idea. [You can be more specific here if you like, and describe more about the project you're taking on.]

2. The fee for the proposal will be $7,000, payable to James-Enger in the following amounts:
• $2,000.00 to James-Enger upon signing of the agreement;
• $2,500.00 to James-Enger upon delivery of the draft of the proposal;
• $2,500.00 to James-Enger upon delivery of the final proposal, including one sample chapter. [I suggest you always get a retainer for a big project like this.]

3. CLIENT and James-Enger will work together to create the proposal, and determine mutually-agreeable deadlines at the outset for the delivery of the draft and final proposals. James-Enger will provide one revision of the proposal for the stated fee; other changes requested by CLIENT will be billed at a rate of $100/hour. [This last sentence is to protect me from a client who wants to make change after change after change after change...you get the idea.]

4. Copyright in the book proposal, in all forms and languages throughout the world, shall be held in the name of CLIENT. [Typically my ghosting/coauthoring clients want to retain copyright to their work.]

5. CLIENT agrees to indemnify James-Enger and hold her harmless against any claim, demand, suit, action, proceeding, or expense of any kind arising from or based upon language, information, advice, citations, anecdotal matter, resource materials, or other content of the work that was provided by CLIENT. [My standard indemnification language though I'm willing to tweak it upon request.]l

6. Either party can terminate this agreement by giving the other party written notice; if the agreement is terminated before completion, CLIENT agrees to pay James-Enger for work already performed under the agreement.

7. This agreement sets forth the entire understanding of the parties hereto and may not be changed except by written consent of both parties. If CLIENT acquires a book publishing contract, she can choose to work with James-Enger or with another writer on the book manuscript.

8. The terms and conditions of this agreement shall be binding upon, and the benefits thereof shall inure to, the respective heirs, executors, administrators, successors, and assigns of the parties hereto.

9. Both parties to this agreement warrant that they have no other contractual commitment which will or might conflict with this agreement or interfere with, or otherwise affect, the performance of any obligations hereunder.

10. This agreement shall be construed in accordance with the laws of the State of Illinois.

11. Should any controversy, claim, or dispute arise out of or in connection with this agreement, such controversy, claim, or dispute shall be submitted to arbitration before the American Arbitration Association in accordance with its rules, and judgment confirming the arbitrator's award may be entered in any court of competent jurisdiction.

IN WITNESS WHEREOF, the parties hereto have set their hands on the date first above specified.

_______________________________________
CLIENT

_______________________________________
Kelly James-Enger

***

Want to know more about coauthoring/ghostwriting, or add to your collection of templates? My book, Goodbye Deadline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books (Kindle version), has all of the templates you need to get started, plus plenty of practical advice about breaking into the field from successful ghosts.

If you're more interested in the templates you'll need for general freelancing, check out Six-Figure Freelancing: The Writer's Guide to Making More Money or its Kindle version. It's helped both new and experienced writers work more efficiently and increase their income.

And if you're just getting started freelancing, I recommend Ready, Aim, Specialize! Create your own Writing Specialty and Make More Money (Kindle version). It's aimed at newer writers and includes 20 queries that sold along with hundreds of resources

The Big Reason Writers Don't Ghost--and A Way Around It

I want to address a problem many writers have with the concept of ghostwriting—they don’t want to work “in the dark.” In other words, the idea of spending months laboring over a book and having no one ever know about it rubs them the wrong way. And I can understand that—because I felt the same way for years. (Plus, I only wanted to write my own books. The idea of penning someone else’s held no appeal for me. An epiphany changed my mind.)

If being recognized for your work is important to you, you may not be interested in abandoning your byline. Fair enough. But have you considered working as a coauthor on book projects? Coauthoring, where you collaborate with another person and share credit, gives you an opportunity to expand your platform, and command bigger advances than you would on your own—and be recognized for it.

I approach coauthoring and ghosting projects the same way—the only difference is that in the former cases, I get a byline and in the latter, I don’t. (If that’s the case, I’ll try to negotiate more money for giving up my byline.) But many clients are willing to share their byline—provided their name is first, and in bigger type on the cover.

The advantages to coauthoring are the same as ghosting, too. You can make more money as you’re typically not responsible for actually marketing the book when it comes out, so you spend less time on each book. You’re able to command a bigger advance with a well-known expert than you could on your own. And you’re not responsible for coming up with a book from scratch—your client provides you with ideas and, if you’re lucky, research and other material you use as a starting point.

I once said, “I would never want to write someone else’s book.”

Well, guess what? I was wrong. Today I enjoy writing other people’s books. Part of the reason is that I take on clients who are smart; who have interesting ideas; who pay well (and promptly); and who respect me and my work. Is that worth trading my byline? To me, yes…but I realize that other writers may not feel the same way. I’d suggest that you consider alternatives before insisting that any kind of collaborating isn’t a good fit for you.

Want to know more about coauthoring and ghosting--even if the latter isn't of interest? Check out Goodbye Byline, Hello Big Bucks: The Writer's Guide to Ghostwriting and Coauthoring Books, and as always, let me know if you have any questions about the field.

Five Good Reasons to Go POD

Since I segued into writing books (my first, Ready, Aim, Specialize was published in 2003), I’ve been a traditional girl. Meaning, I’ve only worked with traditional publishers (think Random House) which pay an advance against royalties to acquire the rights to publish a book. To my mind, no money up front=no deal.

Of course I’d heard of POD, or print-on-demand, publishing but knew little about it. It sounded like the “lesser-than” option to me. I'd seen a lot of POD (often called self-published) books that frankly looked terrible. I didn't like the idea of being wholly responsible for selling a book (even though that's the case for pretty much any midlist author today). And I couldn't justify devoting my limited, precious work time to a book that I would have to pay to get in print (as opposed to being paid by a publisher to get it in print). Not for me, I thought.

Well, I was wrong. This year, I published my first POD book, Goodbye Byline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books. But this wasn't a random act. Rather, it was a calculated decision which included weeks of research and thought to ensure that POD was the right choice. I had five compelling reasons to make the leap:

1. There was no competition for my book. When I looked for books on ghostwriting, there were only a couple—and they weren’t particularly helpful. The authors claimed to be making good money ghostwriting, but didn’t say how much. I hate that. I want specifics! I want details! The authors told you to make sure you had a written contract, but didn't give any examples. They didn't discuss how to negotiate fees, how to successfully market yourself to different kinds of clients, or how to address common problems that arise. I knew my book would include all that, and be the only one that gave readers everything they needed to know to break into this lucrative field.

2. The book fit into my platform. While I cover health, fitness, nutrition and wellness, I also have developed a "successful-freelancing-expert" platform over the past 14 years. I’m a contributing editor at The Writer magazine. I’ve written more than 80 features and columns about writing for markets ranging from Writer's Digest to Writing for Dollars and published two books on successful freelancing. Six-Figure Freelancing continues to sell well, even on a crowded bookshelf. (Seems like every writer wants to author a book about writing and I’m competing against names like Stephen King and Anne Lamott, so this is significant.)

3. I had much of the book already written. Here's the back story. I found a traditional publisher that decided to purchase the book. The advance was fair, and I immediately started researching, conducted a dozen interviews, and started writing to make a tight deadline. When higher-ups decided the book didn’t have enough of an audience, my editor had to pull the plug. Yet I already had a third of the book in the can--and I hated to abandon the time and work I'd already put it.

4. I knew I could sell it. And this is a big reason. Remember my "successful-freelancing-expert" platform? Well, that means my name is fairly well-known among freelancers. I do a lot of public speaking. I appear at writer’s conferences. I teach classes and workshops. I author this blog. I write lots of articles about freelancing. I’m responsive when readers contact me with questions. All of that helps me sell my writing-related books, including this one.

5. The book will attract new clients. Sure, I've got a platform already, but more than 50 percent of my work and income these days comes from ghostwriting/coauthoring--and that percentage continues to climb. I'm continuing to establish myself as a successful ghostwriter, and to do that, I need clients, especially those that pay well. Many of my ghosting clients author books to establish themselves as experts. I wanted to do the same.

And you know what? I wanted to write this book. A lot. I didn't realize how much until the publisher walked. This isn't a solid business reason to go POD. But remember that I'm ghostwriting most of the books I write. That means I’m always writing in someone else’s voice (I’m not complaining—that’s what I get paid to do!) Here, I had an opportunity to just "be me" for an entire whole book, which sounded really fun. (And it was, actually.)

I'll talk more about POD in future posts, including reasons *not* to go POD. And if you have specific questions about POD, comment here and I'll answer those as well.

***
I'll be interviewed by the smart and charming Ed Robertson about ghostwriting tonight, Monday, November 15, at 8:25pm central time (9:25 Eastern time, 6:25 Pacific time) on ShokusRadio.com. (Can't listen? It will also be broadcast at various times throughout the week on Shokus; check the site for details. After Sunday, November 21, the show will be archived on Ed's website, http://www.tvconfidential.net/.

More Good News for Would-Be Ghostwriters and Coauthors

Hey, readers!

I'm thrilled to announce that the Kindle version of Goodbye Byline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books is now available on amazon.com. Yay!

And if you're interested in my six-week e-class on breaking into this lucrative market, I'll be starting another session on Monday, November 1, 2010. Let me know here or via email (kelly at becomebodywise.com) if you have any questions about it.

Commercial over...we'll return to our regular programming (practical tips about making more money in less time as a freelancer) next post, promise.

Want to Add Ghostwriter/Coauthor to your Resume? Here's How

Are you a book author who wants to make more money, sell more books, or work more efficiently? Or are you a freelancer who wants to branch into a lucrative niche? Consider getting into ghostwriting. (I decided to start ghosting and coauthoring when I realized I could make more money as an author in less time by collaborating with experts on their books--but there are other compelling reasons as well.)

Not sure what you need to succeed in this field, how to attract and qualify clients, or set your fees? Need advice about marketing yourself, negotiating contracts, and working efficiently with clients? Then you'll want to check out my new book, Goodbye Byline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books. (While you can get the print version now, I'll let readers know when the Kindle version is available.)

Just as with my earlier books on writing, Six-Figure Freelancing and Ready, Aim, Specialize, I don't rely only on my own experience--I want to know how others have succeeded as well. So, for Goodbye Byline, I interviewed twenty experienced ghostwriters, coauthors, and publishing experts to include their experiences and advice. Plus you'll find templates for letters of introduction, bids, contracts, and other essential documents you need to succeed in this growing field.

If you want to start ghostwriting--or simply want more information about the field--I hope you'll check out my new book. And please let me know what you think!

Big News for Would-Be Ghostwriters, Coauthors and Collaborators

It's time to announce my big news, at last!

What do Hillary Rodham Clinton, David Beckham, Donald Trump, Naomi Campbell, and Clay Aiken have in common? They’re all well-known, and they’re also all book authors—authors who used ghostwriters. In addition to the estimated 80% of celebrity-authored books which are ghostwritten, the market for ghosts and collaborators is broad and growing. Publishers, agents, book packagers, individuals, subject matter experts, and corporations all hire ghostwriters.

Yet often even experienced writers know little about this lucrative area of freelancing—ghostwriting and collaborating on books. Typical book projects start at about $10,000, with many paying in the mid-five-figures, and once you’ve established yourself as a ghost, it’s easy to market yourself to potential clients. (Three out of four of my last projects all came through word-of-mouth referrals.)

Intrigued? Want to know more about this lucrative field? Then you'll want to read my new book, Goodbye Byline, Hello Big Bucks! The Writer's Guide to Making Money Ghostwriting and Coauthoring Books, which will be in print October 15, 2010. Just as Six-Figure Freelancing: The Writer's Guide to Making More Money shows readers how to suceed as self-employed writers, Goodbye will help you launch a thriving ghostwriting business. You'll learn what skills are essential, what kinds of clients hire ghostwriters, how to find clients, negotiate fees, work efficiently, and address problems that can arise in the ghostwriting/coauthoring process. If you're a book author who wants to make more money, or you want to expand into a lucrative area, you'll want to read this book.

I'll remind readers when the book is available. Can't wait until then, or want one-on-one advice from me? I'm teaching a ghostwriting class starting September 13, 2010, through RenegadeWriter; check out http://www.therenegadewriter.com/new-renegade-writer-classes/#kelly for more info about the class and the other excellent courses RW offers.

There's Still Time to Learn about Ghostwriting...

If you missed today's Write Now! Mastermind call on ghostwriting and coauthoring, you can still listen to it...at your convenience! Sign up with Write Now! Mastermind by Monday, August 2, and Rochelle will send you a link to the recording: http://www.writenowmastermind.com/

Can *You* Disappear? (Determining your Ghostwriting Potential)

I didn’t get into ghostwriting and coauthoring until about six years ago, after I’d published both nonfiction and fiction books. Now ghosting and collaborating bring in the lion’s share of my income, but I can tell you that not every writer can ghost. It’s not a question of writing skills per se, but of personality.

To succeed as a ghostwriter (or even a coauthor), you must have:

• The ability to set your ego aside. My mom had one complaint about my first coauthored book, (Small Changes, Big results: A 12-Week Action Plan to a Better Life). “Your name is too small on the cover!” she said. "It should be larger!" I had to explain that I had no say in the cover design, and that I was happy my name even made it on there. But as a ghost, it’s not about you. It’s about your client and what your client wants. If you can’t set your own ego aside, your career will be short-lived.

• Organizational skills. When you’re ghostwriting, you must stay on top of your own research, organize information you receive from your client, track various drafts (in progress or approved), and manage a schedule that may be ever-changing depending on your client’s needs. If your desk typically looks like a bomb went off, ghosting may not be a good fit for you.

• Creativity. Ghostwriting isn’t as simple as filling in an outline or connecting the dots. If you’re writing a memoir, a novel, or “creative nonfiction,” you’ll need a narrative arc and an overall theme or message for the book. Even a relatively straightforward how-to manuscript requires an ability to organize material, structure the overall manuscript (unless your client has determined this already), and to identify and maintain your client’s voice—in addition to writing 50,000 to 75,000 words or more. And that takes creative skills.

• Stress management skills. If you work for what I call a “PIA” client (think Pain In the A…) occasionally, your contact with the person is limited. But when you ghost or collaborate, you’re stuck with that person for months. Some clients will decide on a plan of action, then follow it to the letter. (I love those people!) Others will second-guess their decisions, change the scope of the book as you’re nearly completion, or need continual handholding. And that takes patience, deep breathing, goblets of pinot grigio, you name it.

• Knowledge of the publishing industry. Have you published your own books? Written and sold book proposals? Worked with an agent? Do you know the difference between traditional publishing, self-publishing, and print-on-demand, and what the advantages and drawbacks are? The more experience you have with books, the more valuable you are to a client, and the more potential you have as a ghostwriter.

Want to learn more about the field of ghostwriting? Sign up for a free hour-long Mastermind tele-class hosted by Write Now! Coach Rochelle Melander on July 28, 2010 at http://www.writenowmastermind.com/