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.
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!
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
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.
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…
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.
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
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.
One of the first questions I get when someone enquires about my book writing services is, understandably, 'How much will it cost?' To which I respond, 'How long is a piece of string?' Well, not really. At least not in those words, though the sentiment is the same.
While I completely understand that a potential buyer needs to have some idea of cost, the challenge for a ghostwriter is that we can't afford to lock in a price that is unrealistic, and there are *a lot* of variables that determine how much work will be needed to write a book.
There's been some interesting debate in the ghostwriting community over the last few weeks since The New Yorker published an interview with Tony Schwartz, co-author of The Art of the Deal with Donald Trump in 1987.
In the interview, Schwartz pulls back the curtains on his time with Trump, essentially to make a case that the Trump he worked with is manifestly unsuitable to be president of the USA.
Debate has arisen from a perception by many who feel that Schwartz has broken a golden rule of ghostwriting by speaking out.
There's a reason why ghostwriters are so-called. We are 'ghosts' in the sense of being invisible.
Inept. Unfathomable. Hopeless. I’m not sure my thesaurus has enough words to describe the complete and utter shemozzle that was last week’s Border Force debacle, aka #BorderFarce, in Melbourne. The coals of this event-that-wasn’t have been well scraped over by now but there is one aspect of the story that deserves a little more fanning.
It has to do with writing or, more specifically, writers writing on behalf of other people.
The fuel of this issue was a media release issued by the Australian Border Force on the morning of Friday, August 28. Australian Border Force is the new militaristic name of what used to be Customs and Immigration – the people who work in airports and ports making sure that people entering Australia have permission to do so via their passport and/or visa and don’t carry potential nasties in their luggage. Presumably the name change is designed to make visitors to this country that little bit more wary of trying to enter without having their paperwork in order, lest they incur the wrath of the Force.
But I digress.
I’ve just finished watching the excellent television drama House of Cards – the US version starring Kevin Spacey as Frank Underwood. If you’re into politics, it’s a must see.
During the third and final season, one of the subplots involves a writer, Thomas Yates, who is commissioned by Underwood to write a biography of him. In many ways it’s a poisoned chalice for Yates. The book is always intended as a puff piece.
Nevertheless, there are some interesting interactions between subject and writer across a number of episodes – interactions I think many ghostwriters and biographers could relate to.
A theme that ran particularly true for me was Yates’s challenge in getting any level of detail out of Underwood.
Earlier this month we spent a fantastic weekend at the iconic Port Fairy Folk Festival (which, by the way, is much more than banjos and tin whistles). Once again I found myself in awe of the songwriter’s ability. Never mind the music: how do these people come up with such clever lyrics? I could never do that.
Or could I?
I don’t know if I’ve shared this before, but when I was at school (when telephones still had dials and were definitely not ‘smart’) writing was not my thing. I struggled with creative writing and writing analysis and never seemed to be able to find the right formula to keep my English teachers happy. In my last few years at school, English was the subject in which I achieved my lowest grades.
These days I’m a professional writer so I’m probably not meant to tell you that.
Some years ago I stumbled upon a piece of software designed to help writers of books to, well, get the job done. That application is now central to everything I do as a writer and ghostwriter: books, blogs, articles and speeches. I cannot imagine being able to do what I do without it.
Sound like a big rap? I can confidently say that Scrivener, the software in question, deserves it.
Scrivener is difficult to describe until you’ve used it. A good way to think of it is like having a separate desk for every project you are working on.
After Melbourne author Anh Do won a few prizes recently for his book The Happiest Refugee, there was a bit of media eyebrow-raising when it came to light that Do had had the assistance of a ghostwriter in putting together his book. The unspoken implication seemed to be that perhaps Do’s award-winning credentials should be questioned for his having had this assistance. There is something odd about writing. Perhaps because we all learnt to write at school, and because there is no special equipment required, it is common for people to feel guilty about seeking help – or even a second opinion – on their writing. It’s a guilt few would feel about getting help with a computer problem or a presentation.
But writing is not easy.
