Ghostwriting (Writing Handbooks) by Andrew Crofts

By Andrew Crofts

Ghostwriting is a thriving, secretive undefined. As a ghostwriter you could create best-selling books for movie stars, footballers, pop singers, presidents, company tycoons, gangsters, specialists, spies, mercenaries, courtesans, four-star generals, royals and somebody else with an engaging tale to inform. This e-book unearths all of the crucial secrets and techniques of ways to show ghostwriting right into a winning and profitable profession. Andrew Crofts has ghosted greater than 40 books, lots of them foreign bestsellers, together with bought via Zana Muhsen (nearly four million copies sold), the child by way of Kevin Lewis, Heroine of the wasteland by means of Donya Al-Nahi, Kathy and Me through Gillian Taylforth and Crocodile footwear through Jimmy Nail.

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It was quite early in the morning and at one of them, the Kingstree Group, the telephone staff weren’t yet in and the managing director, Lee 35 01Ghostwriting 11/12/03 1:31 pm Page 36 How to Get Started Bowman, picked up the phone. Used to dealing with big corporations more often than individuals, he asked what I did for a living and I explained. He suggested that I come on the course for free and then ghost a book on High Impact Business Presentations in his name for a share of the royalties. I was happy to accept, took the course, found a publisher and the book was in the shops about a year later.

It will also give you a chance to impress them with the professionalism of your approach and the dexterity of your writing. If you do a good job they will be extremely grateful to you for getting them out of a hole and will be much more open to any suggestions you might later bring to them for other projects. It will also give you another book to put on your CV, which is particularly valuable when you are just starting out. In these situations there probably won’t be much room for negotiation. The publishers will suggest a price that they are willing to pay and, although you may be able to edge them up a little, the given sum is probably more or less all that is available.

I hate dealing with contracts and lawyers, which is why I usually work through literary agents and let them handle all the details (see pp. 61–7). I tend to believe that if you trust someone enough, you don’t need to tie them up with contracts – but I know that in some cases that is unrealistic. Sometimes you need to have something in writing that you can refer back to, should anyone forget what the original deal was; and you do need to be covered against some of the things that might go wrong.

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