Thinking About Hiring a Ghostwriter? Read This First.

Thinking About Hiring a Ghostwriter? Read This First.


Thinking About Hiring a Ghostwriter? Read This First.

The topic was timely. “Hot,” even. Nay, “sexy.” The author had a job that lent credibility to his expertise. More than just holding a title, he had garnered awards and press coverage for special projects and achievements. He launched a small consulting practice, landed solid clients of some repute, and was a popular keynote speaker within the industry.

“You should write a book!” People said. “I’d buy it.”

But he had no idea how to write a book and figured learning how would consume more time than he had to spare. He turned to a ghostwriting firm that advertised online.

The ghostwriting firm advertised it can find a professional writer to produce a 225-page book from content the author supplies in three or four hours of interviews; that the author can use the book as a business calling card; and that the book can be a significant source of revenue. Like so many things that sounds too good to be true … it isn’t true.

Most ghostwriting firms promoting themselves that way earn their money by farming out the writing at low pay to inexperienced writers, and then upselling self-publishing services to the author.

There are really 3 types of legitimate, effective arrangements called “ghostwriting.”

A writer does all of the writing and the author puts their name on it. For example, a company might hire a writer to create the voice of the business and post work to a blog under an executive’s name.

The ghostwriter helps the author generate raw content and articulate ideas, then executes in the chosen format. Many of the best business books are written that way. So are many celebrity autobiographies and memoirs about extraordinary experiences.

The author provides mature content in one format and the ghostwriter shapes it into another. Imagine a psychotherapist wants to create a comprehensive web site about a method of treatment she’s invented. She has hundreds of pages of case notes, monographs published in scientific journals, and a master’s thesis, but neither the time nor the inclination to learn how to write web content.

What differentiates all three of those examples from the wishful thinking of the would-be author I began with? These authors make time and take responsibility.

If you are publishing as the spokesperson for collective wisdom, like many organizational leaders, delegating the entire writing process can make sense. However, if you’re promoting your own ideas, which you use as the basis for your professional practice, it’s up to you to own those ideas.

You’re not a thought leader if you outsource the thinking.

Even if you use a ghostwriter, producing high-quality writing is an intensive process. Find a reputable ghostwriter who will be honest with you about what’s required. Be prepared to articulate your thoughts, review drafts, and field questions. It takes time — from you — to get a writer oriented to a body of knowledge and perspective you formed over decades.

Aside from saving you money, writing it yourself may prove worth your effort. You could team up with a writing partner or coauthor, a colleague who shares your expertise but is a better writer. (Note that in some fields, professional ethics dictate that such contributors be named.) You could also hire a developmental editor to create roadmaps for your project or a writing coach to support your work plan.

Don’t ghost your readers! And don’t cheat yourself out of the opportunity to truly share what you know.

Barbara Ruth Saunders is a writer, editor, and writing coach.
Three Surprising Reasons You Should Write It Yourself

Three Surprising Reasons You Should Write It Yourself

When I was a new writer-for-hire, I was always eager to serve when the phone rang or I received an email from a prospective client. It might surprise you to hear that now, as a developmental editor and writing coach, I often recommend people do not hire a writer at all. I’ve noticed that three of the most common reasons people want to outsource or delegate their writing are the very reasons they should do the writing themselves.

“I know how to write, but I don’t have time.”

Many busy people hire writers to help them with projects. That makes sense if you are a presidential candidate or CEO of a major corporation, and you need to produce a full-length book. But if you are a professional sharing your expertise in a blog post, five-page paper, or your website, you will have the greatest influence on readers if you can reveal how you think. Displaying the workings of your mind can help you win the ideal job or consulting clients, impress colleagues, or build a brand beyond your industry.

The sense that you lack time to write often indicates a deeper problem: lack of time to think. When that’s the case, you will not save time by hiring someone. If you cannot communicate your ideas clearly to the writer you hire, you will waste a lot of time and money in circular conversations and major revisions. Invest time in reflection, and you may find that you don’t need a writer; an editor or proofreader may be enough.

“I don’t know what to say.”

If you have nothing to say, why are you writing? The answer to that question points you to the remedy. I find that my clients have plenty to say, but they have trouble selecting from an abundance of data and information. It is a frustrating exercise to try to write about a topic without an audience to address, a point to make, and a goal. The more knowledgeable you are, the more frustrating it is.

Before attempting to compose a draft, jot down your intentions. They might be as mundane as, “My manager wants every sales engineer in the group to write one blog a quarter to justify the budget to her manager.” Imagine a specific person who will read your piece. What do you want them to think, feel, or do? Then use a mind map, an outline, or just clusters of unrefined sentences to come of with a plan of attack.

“I’m not a writer.”

Published material faces competition from a multitude of sources. You may fear it takes dazzling writing to get the attention of your desired audience. That belief has even created a “grey market.” A former colleague of mine works as a confidential ghostwriter for full-time marketing copywriters! Remember that while those dazzling writers were developing their writing chops, you were studying, practicing, and building relationships in your discipline. What a writer can learn through journalistic research can’t compare with reports from your informed analysis and work experience.

If there’s a critical voice in your head that taunts, “You aren’t a writer,” ask yourself what that means. Some excellent writers discount their talents simply because they are bad spellers. Other professionals are disappointed to find their educational experiences failed to provide the skills to write for business or publication. Maybe you learned to write one way for your high school English teacher and another for your thesis advisor and now you are lost. Once you know what “not a writer” means, you can find a solution. Take a short course in the kind of writing you want to do. Engage a developmental editor. Maybe all you need is to read a few good models and practice, practice, practice.

You are more than a vessel for information who needs a “creative” person to translate what you have to share. Your voice is unique — and it matters.

How to Get Useful Peer Reviews of Your Writing


How to Get Useful Peer Reviews of Your Writing

You’ve taken the time to turn those notes and reflections into writing that might promote a worthwhile idea at work, help your clients, or fit at an upcoming conference. But you’re nervous about sharing it. Maybe you’ve spent so much time in your head that you don’t know if the piece will make sense to anyone else. Maybe you aren’t sure if you’ve covered all the bases and sidestepped any landmines in the office or industry politics. Or you’ve always struggled with grammar and spelling and don’t want to embarrass yourself.

You know you need a review you can trust, but you’re leery because of some bad experiences.

I’ve been there! Every writer has.

You want your friend to scan for typos, and she rips apart your whole argument.

You want your colleague to tell you if the piece strikes the right tone, and he nitpicks about the Oxford comma.

You want your spouse to tell you if you’ve made your point, and she tells you she thinks you should add more humor or suggests an entirely different topic.

Of course, there’s, “That’s great!” which is kind but not particularly helpful.

Every once in a while, you get a reaction that is truly bizarre. A writing group peer once told me that a nonfiction essay I was proud of was “too realistic and therefore dangerous because people might believe what you say without question.”

What do you do with something like that? And what gives?

Consider how you watch your favorite television show. You let yourself get involved in the story without thinking about all that went into it. You may notice a virtuoso performance from a favorite actor, but you don’t pay deliberate attention to the writing, the acting, the direction, the art direction, the sound effects, and the camera work.

Trained editors understand that writing, too, has a lot of moving parts. That’s why they tend to specialize. Some give guidance on overall structure. Others focus on the use of language. Still others dig into the logical flow of a manuscript, such as the order of paragraphs and passages or, in fiction, whether a subplot adds to or distracts from the momentum of the story.

Here are a few tips to get the kind of review you’re looking for:

Identify what you need. Hint: This usually corresponds with your stage in the writing process.

If you have a rough draft, you may need someone who can verify that you’ve chosen a meaningful scope and effectively addressed the intended audience. A later-stage manuscript might benefit from a reviewer who can tell you if the ideas flow and suggest strategic additions or deletions. Still later, you may need a line-by-line edit that ensures your style is consistent, you have defined your terms, and there are no major errors of fact that set off alarms.

Or maybe this baby really is ready for posting to your blog or submitting to a publication as soon as somebody proofreads it!

Select the right reviewer(s) and understand their strengths.

I’ve been in a lot of writing critique groups over the past 20 years. And I’ve observed that even writers, who are familiar with the editing process, will zone in on the things they’re strongest at. When asked broadly for “feedback on my piece,” poets often leap to word choice, journalists to the structure, and creative prose writers to the mood. (The eagle eye for grammatical errors and typos seems randomly distributed!)

If your colleagues aren’t writers, they undoubtedly still have distinct strengths and preferences as readers. That very analytical, detail-oriented project manager you work with may be great at noticing where you made confusing leaps of logic. That theater-addicted friend probably has a good ear. Ask her for help when you’re stumped on awkward sentences. Your wife the voracious reader of anything and everything might be wonderful at pinpointing seemingly tiny fixes that correct deep structural problems.

Communicate exactly what you want.

Explicitly direct the reviewer’s attention to the level of the piece you want them to evaluate.
“Can you give this a second pair of eyes?” is not specific enough. The reviewer won’t know whether you want a copyedit, an overall reaction, or something in between. “I’m not sure if this flows right. What do you think?” is a little better. Now, the reviewer knows you’re looking for something about the sense of the piece.

Even better: “Do those case studies help make the point or, or are they distracting?”
In some cases, you might want to tell them explicitly what not to focus on as well. For example, “Don’t worry about looking for typos. My assistant’s going to proofread this. What I want to know from you is if those case studies work here.” Alternatively, “I need to submit this tomorrow! No time for big changes. Can you take a quick look to make sure I’ve been consistent with those acronyms?”

Finally, recognize the limitations of review.

No reader or editor can completely eliminate your sense of feeling exposed. The more you care about your project, the less anyone can do to reassure you that your work is good enough. If you are a new writer, take a risk! You’ll learn from your readers’ responses.

If you’ve been writing for a while, you may be facing a different challenge: The more advanced a writer you become, the less casual reviewers can do to help achieve your own standards. If you feel like you’ve followed all the rules you know and are stumped at how to make your piece better, seek a partnership, either with a professional (such as a coach or editor) or with a colleague or who shares your dedication to the writing craft.

Barbara Ruth Saunders is a writer, editor, and writing coach.