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…
I feel the need for a note on the publishing industry. In particular I feel the need to set things straight about what it shouldmean to get your book published. Unfortunately it is not as straightforward as it seems, as more than one of my ghostwriting clients has discovered.
What every author needs to understand is that there are essentially two types of publisher out there: mainstream ‘trade’ publishers and ‘vanity’ publishers. Put simply: one is good, and one isn’t. Here’s how they compare:
