Technology
David Brewster
My book ghostwriting tools in 2021

Every now and then I’m asked about the various resources I use when I’m working on ghostwriting a book. These things change occasionally, so I thought it would be a good idea to share what I am using as my main book writing tools in 2021. So here they are: from recording interviews to organising to drafting to (almost) collaborating.

My book ghostwriting tools in 2021
Work Life
David Brewster
When to avoid showing your vulnerable side

Being willing to reveal a bit of yourself, especially through a bit of self-effacing humour, will lighten your text and give your readers something to connect to.

But this blog post is not about that sort of vulnerability.

No, this time I want to remind you of two of the less inspiring but just-as-important vulnerabilities every writer faces. Those vulnerabilities are backup and data security.

I was reminded recently about this by a rare computer crash that led to me losing a small amount of work. It wasn’t important and was easily recovered, but it could have been so much worse. Imagine losing a whole book to a hard drive crash!

When to avoid showing your vulnerable side
Write a book
David Brewster
No time, money or skill? You can still get your ...

If there’s one thing you learn from spending a chunk of your career in the world of books and writing, it’s that there are a lot of great stories out there. Personal stories of remarkable success against the odds. Business stories of risk taking and growth. Political stories of intrigue and persistence.

It would be great if all these stories could be told. As Spanish philosopher George Santayana famously wrote, ‘Those who cannot remember the past are condemned to repeat it’. Ideally, the stories would be recorded in books because books last. They go onto shelves and into libraries. They won’t disappear or become unreadable with new technologies.

Unfortunately, many terrific stories are never written down. Sometimes that’s because their owners don’t want to share them. Often

No time, money or skill? You can still get your book written
Reviews
David Brewster
The ghostwriter's nightmare scenario

Ghostwriter characters don't make it into fiction very often, but when they do they always seem to find themselves in jeopardy. 

In the 2010 Roman Polanski film The Ghost Writer, Ewan McGregor plays a ghostwriter working for a former British prime minister. In the end he knows too much and ... it doesn't end well. 

In the Netflix series House of Cards, Paul Sparks plays ghostwriter Thomas Yates who, after struggling to extract a decent memoir out of the president, fails to keep his professional distance, you might say. It takes a while – three seasons in fact – but it doesn't end well for him either.

And now we have Australian writer Richard Flanagan's latest novel, First Person, in which the narrator is a ghostwriter hired to author the memoir of a notorious conman. The story was inspired by Flanagan's own experience, very early in his career, of ghostwriting the autobiography of fraudster John Friedrich in 1991.

The ghostwriter's nightmare scenario
Writing
David Brewster
The joy of a good yarn

I love that my work as a ghostwriter gives me the opportunity to help people get their stories told. What I love even more is the fact that working on other people's stories gives me a front-row seat to those yarns.

Take Around the Grounds, for instance – a book that will be released by Finch Publishing on August 1. 

For this book I've been working with former ABC radio broadcaster Peter Newlinds. Peter's story is a celebration of sport, but from the spectator's side of the fence. This perspective gives the story a level of accessibility that most sporting memoirs, written as they are by former players, can't have. Few of us have the ability to play elite sport, but all of us are more than capable of joining in from the relative safety of the stands.

Of course we don't all have access to the commentary box as Peter did…

The joy of a good yarn

editing

The economics of self-publishing a book

The economics of self-publishing a book

In my last blog post I explored the myth that writing and publishing a book is guaranteed to make you rich. A couple of posts before that I wrote about how self-publishing a paper book is easier, and less expensive than ever.

This time I thought it might be worthwhile bringing these two posts together and doing some number crunching. What do the economics of self-publishing look like in Australia in 2017? A warning: what follows may be a bit dry (unless you're an accountant and into such things).

To make these numbers real, I'm going to focus on a typical example. We're going to publish a 200-page non-fiction paperback book of about 30,000 words.

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Don't undermine your message by disregarding the small things

Don't undermine your message by disregarding the small things

Over the weekend I was reading an extract from a new independently published book by two photographers. The subject of the book is largely irrelevant to the point I want to make, however I do want to discuss its extent. The finished book is a tome: over 400 pages covering everything from the philosophy of the authors’ approach to highly detailed discussion of their techniques.

It is obvious that this book has been a labour of love and that an immense amount of work has been involved in pulling it together.

However, the book falls down in one critical area. Despite all the time and effort invested in its creation, it is clear that the authors have not had their book edited nor the final layout proofread. As such, they have undermined their whole project and, more importantly, undermined their expertise.

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The four stages of editing

The four stages of editing

My colleague Ann Bolch, one of our editors, recently wrote a post on her own blog about a common misunderstanding of what ‘editing’ means. Unless you’ve suffered under the point of an editor’s red pen, you may not realise that editing ain’t editing – that there are various stages of editing between a draft and its final form. Ann is here to explain in this very lightly edited version of her original.

Many people come to me asking to have their work edited.

Fair enough. I’m an editor. But the first question, ‘What sort of editing are you after?’ often stumps them.

Simple requests like, ‘Can you edit my 82,000-word novel?’ or ‘I have a website that needs updating – is this something you would do?’ soon become complicated because, actually, there are four stages of editing. And we need to know which stage the project is at before we can write a proposal outlining timeframe, costs and approach.

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Write and publish your book in a year – Step 10: Proofreading

Receiving your fully laid out book back from the designer is often the first time it feels like a ‘real thing’. Even though all you get is an electronic file – usually a PDF – it looks like a real book for the first time.

But the job’s not done yet. From the outset I have talked about the fact that a book is different from most other writing projects. It needs to be done right. More than right. It needs to be done as perfectly as possible. So the next step – proofreading – is as important as any other.

Proofreading is not copyediting. Yes, there are similarities of course. But where copyediting is like the final quality control check on a car (checking that nothing is missing, and that everything is in the right place), proofreading is like the final detailing before delivery – making sure your book really shines.

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Write and publish your book in a year – Step 7: Copyedit

Write and publish your book in a year – Step 7: Copyedit

By the time you’ve drafted your book, rewritten it once or twice and then given it a good polish, it would seem reasonable to think that you are just about done with it. And you are … sort of.

The good news is that once your manuscript has reached this point you are getting very close to the end. However, there is a very important step to undertake: the copyedit. This means going over of your text with a fine-toothed comb to correct ‘typos’ – like spelling mistakes and grammatical errors – and to ensure consistency of presentation.

Without exception I recommend that this task is given to a professional editor who has the skills, knowledge and experience, including an incredible eye for detail, needed for the job. Don’t give it to a well-meaning friend (unless they have that qualification) and never, ever try to copyedit your own work.

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Write and publish your book in a year – Step 6: Polish

Write and publish your book in a year – Step 6: Polish

In the context of this monthly series, this post is less of a ‘how to’ and more of a call to arms.
In season five of the brilliant television drama The Wire much of the action is set inside the newsroom of a fictional version of The Baltimore Sun. On a number of occasions we see journalists and editors debating nuances of argument, word choice and grammatical accuracy. It’s a nod to the seemingly old-fashioned idea that getting the words right actually matters.

Sadly, if many of today’s newspapers are anything to go by, the pace and pressure associated with survival in the modern media environment have put paid to this dedication to accuracy. Hardly a day goes by where I don’t find at least one blatant typo in our paper – usually more – along with a missing or duplicated line or an obvious hole in an argument.

However, there is one area of writing in which ‘getting it right’ still matters: the book.

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Overcoming writer's block – Part one

Overcoming writer's block – Part one

Recently I was helping one of my daughters with an English essay she was writing. She’s a terrific creative writer, but can get stuck from time to time – as we all do. As it turned out, I was a fairly stuck myself on one of my own pieces of ghostwriting work. And, as so often happens, helping someone else was just what I needed to help me realise the error of my own ways.

Between the two of us, my daughter and I had become bogged down in two of the most common quagmires a writer can find themselves in.

I’ll deal with one of these forms of block this week, and the other next time.

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How broken English led to rhythm in writing

My English broke early in the Solomon Islands. I was surprised and slightly alarmed – I earn my living from knowing about these things. I realised I was in trouble when writing in my journal (lying in the hammock, a breeze keeping the heat at bay …) I wrote ‘siteseeing’ and could not work out if I should’ve written sightseeing. With many custom sites – significant ancestral places – in the Solomons, ‘site’ seemed like the right word to me. I turned to my husband – known for his skills as a firefighter not as a speller – to ask him about site and sight. He looked at me with great pity.

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