Sure, it’s nice to have your name in the spotlight—but some of the more lucrative writing gigs are behind the scenes in ghostwriting books, blogs, and even tweets. Alisa Bowman, the author of the widely acclaimed nonfiction book Project: Happily Ever After and ghostwriter or co-author of seven New York Times bestsellers, shares some of the secrets of the trade.
How did you get into the ghostwriting field?
It was accidental. No kid ever says, “I want to be a ghost writer when I grow up.” And when I went into the writing field, I certainly didn’t think I would ever write words that carried other people’s bylines. But in the mid 90s, when I worked as an editor, one of my columnists was offered a book deal. She didn’t have time to write a book, so she was talking about turning it down. At a swag party (it was the 90s, when companies still had money to throw parties), my husband was talking to her husband. Next thing I knew, he had pimped me out to write her book for her.
The editor for that book referred me to two other editors. Later that year those two editors offered me book ghosting projects. My second book became an international bestseller and sold well over a million copies. It’s pretty much been word of mouth ever since.
What’s your usual work process? For instance, do your clients generally have detailed notes and outlines prepared for you in advance, or do you typically conduct interviews to get all the information you need?
Every job is a little different. I’ve worked with some celebrity authors who don’t have many (if any) ideas and just want me to create something that they can put their names on. For people like that, I often interview them extensively, send them a proposal of what I plan to write, have them approve it, and then create what I proposed.
On the other end of the spectrum is the author who can write and who has an idea but who doesn’t know how to write long form. A book is a very specific product, one that is unlike any other form of writing. So I serve as a heavy handed consultant who helps them to organize their thoughts, strengthen their voice, and add shape to their initial idea.
And of course, there’s a lot that falls between those two extremes. Mostly I try to download the author’s brain into mine through extensive interviews. Then I send the author various outlines and treatments until we get close to something the author likes.
How are payment terms generally structured for these types of gigs? Do your clients already have publishing contracts and share proceeds with you, or do they pay you out of pocket themselves? What sort of split is customary?
Nothing is truly customary or standard. Terms depend on many factors that include what the writer brings to the table, as well as what the author brings. A writer with more experience and a proven track record will be able to charge more than a writer who is just starting out. Celebrity authors can often pay a writer less because so many writers want to be able to say that they worked on this or that celeb’s book. An inexperienced writer who is paired with a non-famous author might negotiate a split, anywhere from 25 to 50 percent of the advance and half the royalties. A more experienced writer with a somewhat well known author might get a proposal fee (ranging anywhere from $2,500 to $20,000 or more) and up to 50 percent of the advance and royalties. Other writers might get a flat proposal fee and a flat book fee of anywhere from $10,000 for an inexperienced writer to well over $100,000 for a writer with a proven track record of success.
There are also many other types of ghosting — with fees that also range wildly. One of the fastest growing markets for writers is happening online — ghosting tweets, Facebook updates, blog posts and other types of online media for corporations, entrepreneurs and others. There are people with little experience, education or negotiating smarts doing some of this work for sweatshop wages — $5 a blog post, for instance. Then there are more experienced writers doing similar jobs for roughly $300 a post or a monthly fee of $1000 on up.
What types of contract terms are common? Are you allowed to disclose that you’ve ghostwritten work for your clients?
It depends. Sometimes authors will require a NDA (non disclosure agreement). If I sign one of those, I don’t talk to anyone about the book except for my agent (because he already knows about it) and occasionally my husband. The vast majority of my authors do not ask me to sign NDAs. Still I don’t talk about them publicly or mention them on my website. I do this out of respect for the authors. Plus it’s fun to say, “I could tell you, but then I’d have to kill you,” whenever someone asks me who I’m working with.
I also collaborate on books. When I do this, I get a “with” or an “and” line. In those cases, I actively promote the book after publication. I pitch the media, accompany the author to television appearances, and help promote the book online. In those cases I am very front and center and there’s no doubt in anyone’s mind about my role.
What would you recommend as first steps for writers who are interested in pursuing ghostwriting opportunities?
In this market, I would look into ghosting blog posts for corporate clients. Traditional ghosting markets are shrinking, but the online markets are growing. It’s really tough to break into ghosting books right now, especially traditionally published ones. But many companies and entrepreneurs are desperately trying to build an online presence and need help doing so. A content writer who can craft blog posts and also handle social media (Twitter and Facebook) will be able to find work. These types of jobs can get your foot in the door and eventually lead to e-books and even traditional book deals.
