There are frequent discussions in the Association of Ghostwriters private Facebook group about how many projects ghostwriters take on at any one time and how they manage their workload. I always find it interesting to hear how members schedule their assignments and organize their tasks, so as not to be overwhelmed by taking on too much at one time.

Because, the truth is, building a steady workflow is nearly impossible as a freelancer (which is what ghostwriters are, unless they’re employed full-time at an agency).

At times, you may feel you have everything under control: you’re caught up on all your deadlines, and are waiting for clients to respond before you can proceed. That’s the time to take breath and relax while you can—unless you’re underworked and need to find more paying gigs to fill your time.

In that case, that caught up moment should be used to explore new opportunities and to find more paying work.

At other times, you may feel as if you’re watching a massive impending wave of work about to crash down on top of you, as deadlines emerge and you wonder how you’ll cram 50 hours of work into the coming week.

Whether you’re looking to fill your schedule with more paying work or have said “yes” to too many projects already, here are some tactics that may help to reduce your anxiety and get more done, efficiently.

Make a Master List

It’s always helpful to take a look at what you really need to get done and by when. Creating a master list, which can simply be a lined piece of paper with notes on it, or a snazzy Excel spreadsheet, is an important starting point.

List everything you know you need to get done at some point in the future. Clear your mind by putting it all down in front of you, either writing by hand or by typing.

I tend to break down larger projects down into smaller tasks, so instead of writing, “Finish chapter 5,” I’ll identify all of the steps I need to finish for that to happen. Those steps might include scheduling interviews, gathering background facts about people, places, or events, and then writing chunks of, say, 500 words. A project becomes less overwhelming when you see how you can make progress on pieces of the whole (at least that’s been my experience).

Sort by Date

Next, take that list and rearrange it in order of due date. Whatever is the next thing you need to deliver to clients should be at the top, followed by all of the rest of those deliverables in descending chronological order.

Estimate Time Required

Once you’ve organized your master list, go through each action item and estimate as best you can how much time each task will take. For example, emailing to schedule an interview might take 5-10 minutes, researching background statistics might take 45 minutes (depending on how obscure the topic), and drafting 500 words of a chapter might take 2 to 4 hours.

Give yourself some leeway by building in extra time if you’re not sure how long something is likely to take. If you’ve scheduled an hour-long phone interview, you know to block off 1 hour, but when writing or editing, the task can expand or contract depending on how focused you are and how complex the writing.

Assign Your Work to a Specific Day and Time

Now that you have your list of to-do’s organized by due date and a general idea of how long each task will take, you can start to add them to your schedule. I use a week-at-a-time calendar I created myself and tend to work in 30-minute blocks, so I might batch several emails into a 30-minute block, and then work for 2 hours drafting something else, followed by an hour of editing, and then 30 minutes of background research or reading.

Slot tasks according to due date, with the tasks due today or tomorrow on the schedule for today.

Try to gauge what is reasonable to complete in a day. If you have assignments to get done in the next week that total 30 hours, don’t plan to get 10 hours’ worth of work done tomorrow. Spread it out more, unless you can’t because of due dates. Try to limit your work to 6 to 8 hours in a day, mainly because some tasks will take longer than you expect. Be realistic, and don’t berate yourself if you fall a little behind.

Reassess at the End of the Day

To keep yourself on task and to ensure you’re working on the most important project for the moment, keep your list in front of you. As you finish tasks, cross them off. Then move on to the next most important item to complete.

If you can’t move ahead until you hear back from someone or receive needed information or resources, I tend to check that item off, rather than crossing it off entirely, to remind myself that there is still something I have to do once I receive what I need.

Then move on to the next task. Keep checking your daily list to confirm you’re focused on the most important item on your schedule. Try not to be distracted by other items that are scheduled for later in the week. Stick to today’s action items.

At the end of the day, review what you needed to get done, what you did get done, and then move anything you didn’t complete to the next day.

Communicate with Clients Often

If one of the tasks you needed to get done today hasn’t been completed, you need to let your client know. Likewise, if you’re having trouble reaching someone you need to talk to in order to deliver a project in the next week, tell your client that you’ve reached an impasse; they may be able to step in to clear the bottleneck.

If you don’t tell them that your progress has been stalled, they will be expecting you to deliver what you promised, on time. So as soon as you know that your schedule will need to shift, tell them.

That includes falling behind because you got sick, were suddenly called out of town, receive notice of jury duty, had a tree fall on your house and knock out electricity for several days, or any other unexpected event that is getting in your way of delivering your project on time. Keep in touch with your client—more communication is always preferred to too little.

Determining How Much Availability You Have

After you’ve slotted all of the work you currently have onto your schedule, you can add up how much time you’re expecting to spend on that work. That tells you how much availability you have, on a daily and weekly basis.

So if you see that next Thursday you’ve only scheduled 3 hours of work, you know you have time you could spend on another project. You can pursue other opportunities with that hole in your schedule in mind.

Likewise, if a client asks if you can take on a rush project, to be done in the next 5 days, you can look at your schedule to see where you could possibly fit this work in. And if you see that you’re already overloaded, with 8 hours of solid work already scheduled every day for the next week, you can either choose to work extra long to get the work done, or you can ask if there is any flexibility with the schedule, so that you can put it on your schedule for the following week. Depending on your client’s response, you can decide whether to take the work or not.

Successful ghostwriters manage multiple projects at once, to ensure they’re maximizing their available time, but without overbooking themselves to the point of losing sleep. It’s a fine line and most ghostwriters have faced situations from time to time where they had to put in extra hours, or work weekends, in order to get the work done they committed to. I hope this process can help you multitask and avoid overwhelm.

The post How Ghostwriters Multitask appeared first on Association of Ghostwriters.

My Summer Reading List

Yes, I know summer is more than half over, but as I look ahead to my upcoming vacation, I’ve set aside a few books to read or finish during my getaway that I’m excited about. In case you’re looking for ideas for books to read during your spare time, I thought I’d share my pile.

These books are not specifically for ghostwriters, or even freelance writers, but will probably be most useful for people who run their own businesses.

We Should All Be Millionaires

This debut book by my coach Rachel Rodgers at Hello Seven is an important read for anyone who feels like their income has stagnated. I’ve actually already listened to this book through Audible a couple of months ago, when it first came out, but I want to go back through it to savor the key points when I’m able to slow down.

One of Rodgers’ biggest points is differentiating between Million-Dollar Decisions and Broke Ass Decisions. Meaning, there are decisions we’re making that are holding us back from earning what we could be. She’s right, and reading this has helped me start to identify things I do that take too much of my time unnecessarily.

Doesn’t Hurt to Ask

My friends have undoubtedly heard me talk about the power of questions, and how I’m working on a book on the topic. Granted, I’ve been “working on” it for years, so no surprise that someone else beat me to the punch. Anyway, I had to pick up this title to see what the author has to say about questions.

The two things I believe have helped me the most in life and in business have been my love of reading and my willingness to ask questions. I’ll ask questions to improve my comprehension of something, to explore a potential solution to a problem, or to inquire about new opportunities. In many cases, I don’t think we recognize opportunities to ask questions, and we end up not obtaining the best possible resolution or situation.

I’m excited to pick up some new question-related skills.

Built to Sell

One of the challenges that professional writers have is that since their income is based on their personal skills, it can be hard to build a sellable business—an asset. In most cases, they can’t separate themselves from the business without a negative impact. Those types of companies are considered “lifestyle businesses” and they aren’t worth much.

Establishing a writing business that can sustain itself without the founding writer is the challenge, and I’m curious to learn if it’s possible to do that without setting up an editorial agency.

Maybe this book has the answer?

Art for Money: Up Your Freelance Game and Get Paid What You’re Worth

Once of the most popular topics among members of the Association of Ghostwriters is figuring out what to charge. What’s a fair rate? What’s the market rate? What are clients expecting to pay? These are all discussions we’ve had many, many times.

What to charge comes up so frequently because there’s really no right or wrong answer. Each ghostwriter has to consider for themselves what their time is worth. However, I frequently see that writers are charging less than they could.

So I’m intrigued to see what the author advises about improving business practices and charging what you’re worth. First, I want to know how to assess that.

The Practice: Shipping Creative Work

If you’re like me, you’re a Seth Godin fan. His books are always thought-provoking and easy to read, often because they’re short and consist of tips. I think this book is likely to follow in that same pattern and won’t take much time to finish.

I’m frequently asked about my creative process as a ghostwriter, so I was drawn to this title in the hopes of learning how to tap into my creativity more easily when my clients need it most.

In addition to these books, I also have a couple of works of fiction, including Kate White’s The Fiancée and TJ Newman’s Falling.

I’d love to hear what you’re reading and which books I should add to my Fall reading pile.

The post My Summer Reading List appeared first on Association of Ghostwriters.

Bob Bly’s latest email to his Direct Response Letter subscribers about how to stand out in a crowded market reinforced something I needed to remind myself. It’s a message I also try to articulate to other writers.

That is, we shouldn’t be so worried about competition. We all have competitors. No matter what your writing focus, whether it’s business books, YA fiction, ghostblogging, content creation, speechwriting, Wikipedia editing – whatever – there are almost always other people offering the same service.

Don’t be Afraid of Competitors

This fact makes some writers downright anxious. The concept of competition puts them on edge. They worry that they’ll have to fight it out with others in order to win business. They get nervous when they hear that others are specializing in the same niche or writing on similar topics.

And they shouldn’t be. Because competition isn’t scary.

The truth is, no one can do what you do exactly the way that you do it. You are unique, and that can be a source of competitive advantage – what helps you come out on top in the hunt for clients.

Be Generous with Your Expertise

Now, while Bly presents nine ways to stand out, I offer my own list of three ways to gain a competitive advantage:

1. Have an abundance mindset. That is, believe and accept that there is enough work for everyone. Refer work to others when opportunities that come your way aren’t a perfect fit or aren’t of interest, secure in the knowledge that in doing so, you’re attracting work that makes better use of your skillset. This is in contrast to grabbing every single assignment that lands in your inbox, for fear that you’ll never get another one. That’s a scarcity mindset, which can lead you to jump at every potential project, thereby filling your schedule with work you don’t love, so that when the perfect gig comes along, you’re too busy to take it.
2. Share what you know. Similar, or related, to Bly’s recommendation to establish yourself as an authority, by sharing your expertise you position yourself as a leader in the field. You may develop a reputation for your knowledge, which can attract clients. Being generous with your advice and sharing what you know will endear yourself to other writers, many of whom will want to return the favor in some way. That can lead to new connections and new work.
3. Focus on one or two niches. As Bly also advises, developing specialized expertise in 1-2 topics can serve you well. By becoming well-informed about a couple of topics, you can research and write about them faster than generalist writers. You are also able to generate pitches that are timely and relevant, because you stay active in the subject area. And the assignments are more profitable for you because you don’t need to do much background research to get up-to-speed. You have a running start when you get an assignment in your area of expertise. Earning a reputation for being an expert in an area will attract clients in need of content in that same area, and will encourage colleagues to refer related work to you when they hear about it.

To gain a natural advantage over your competitors, simply put a stake in the ground, so to speak, to claim your niche – the topic that you’re going to know more about than any other writer.

Then, pass along leads that aren’t a good fit for you. That might be due to the subject matter, the pay, or the project scope. If it’s not a good fit, give it to someone for whom it is.

Know that there is work out there and other writers can’t deliver the same quality product that you can. What makes you different makes you better.

Make sure the market understands that and you’ll have a bulletproof competitive advantage.

Hallmark holiday movies are sappy and formulaic, and we love them anyway. On Sunday, November 10, 2019 Hallmark premiered a new addition to the Hallmark Christmas movie line-up, titled “The Mistletoe Secret.” (If you don’t want any spoilers, you may want to stop reading right now.)

In this story, the protagonist, Aria, runs a diner in Midway, Utah, which has been struggling because tourists increasingly decide to spend time at the bigger ski resorts nearby. A hunk who quietly comes to town is Alex, long-time ghostwriter for Sterling Masters, the star of a TV travel show, “Masters of Travel.”

Chaos ensues when Sterling decides to experience first-hand all the charm that Midway has to offer.

It’s a fun movie and Hallmark fans will certainly enjoy it.

However, the movie’s producers seem to have a number of misconceptions about ghostwriters and ghostwriting that I feel compelled to point out and correct.

1. Ghostwriters don’t usually write whatever they want, without client input.

A true professional ghostwriter relies on input and direction from their client when creating content in the client’s voice. They don’t go off on their own and craft material without the client’s involvement or approval, as Alex does in the movie.

For example, the fact that Sterling has no knowledge of what Alex wrote in an article about Midway he published under Sterling’s byline would be practically unheard of in real life, since a ghostwriter delivers a draft to the client and then the client, in this case Sterling, would choose what to do with it.

In most cases, the client indicates what they want the ghostwriter to write, or the client and ghostwriter brainstorm together what content would be most appropriate for the client to publish.

There are very few opportunities for a ghostwriter to go rogue and just start publishing pieces in their client’s name online without someone first approving it. That’s just not how the client-ghostwriter relationship works.

2. If there’s a confidentiality agreement, the ghostwriter can’t reveal their role – ever.

When Alex arrives, he doesn’t tell anyone his role in “Masters of Travel” because he is prohibited from doing so. He’d be sued, as is mentioned early on. So he keeps quiet. However, when Sterling shows up unannounced, their professional relationship becomes harder to keep under wraps.

Alex makes up several stories to explain why he’s in Midway, what he’s writing, and how he knows Sterling (initially claiming he doesn’t), going to great lengths to hide his ghostwriter role. And that’s how it should be.

At the end, when he tells Aria that he should have told her up front that he was Sterling’s ghostwriter is where Hallmark gets it wrong.

Until and unless his client notifies him in writing that he is permitted to tell anyone his role, Alex can’t. Ever. Sure, Sterling may decide he doesn’t mind if others realize he has a ghostwriter, but the truth is that Alex needs that in writing. What if Sterling’s TV producers tell him Alex needs to stay behind the scenes? They could be the ones to sue Alex, even if Sterling thinks it’s no big deal.

3. Ghostwriters spend most of their days working on client assignments, not going on sleigh rides.

Looking at how Alex spends his time, you would think that ghostwriting is 99 percent inspiration and 1 percent writing. And that’s where Hallmark gets it wrong.

Few professional ghostwriters that I know have time to sit all day drinking hot cocoa or eating pie or going on sleigh rides. I have to believe that even travel writers, who go on-site to check out a destination, spend time experiencing the area and then go back to their hotel rooms to create an article or craft a chapter of a travel guide.

Sure, ghostwriters take breaks, but during the work week, many of my colleagues are seated at their desks, or in front of their laptops at a table somewhere, writing.

And then in the evening, they are more likely to take a break, grab a hot beverage, and sit in a comfy chair to enjoy a Hallmark holiday classic.

Any writer registered on Upwork to search for freelance ghostwriting projects should be thrilled to know that, as of July 9, skill tests will not be part of your record.

Upwork was one of the few job sites that offered online skill tests as a way for registered writers to demonstrate familiarity with common writing rules. The idea was that the more tests you took, the more you could reassure potential clients that you were a good writer.

Tests ranged from editing to proofreading to basic spelling and grammar, including U.S. English Basic Skills, U.S. Word Usage, Content Writing, Online Article Writing and Blogging, and several others. You could even become certified in Business Writing or Technical Writing.

Of course, most professional writers will tell you that a multiple-choice test is unlikely to predict writing or editing skills. Knowing the rules and applying them are two completely different skill sets.

Upwork explained, “Skill tests were launched as a way to measure expertise in a skill against a common standard so freelancers could better market their services. However, we’ve heard from our community that these tests aren’t an accurate measure of their talents.”

Part of the problem was that answers were regularly shared in online forums, Upwork reports. Or you could also pay someone to take the tests for you if you were nervous you wouldn’t do well on your own.

Perhaps more importantly, however, the site reported that “We’ve also heard from clients that multiple choice tests do not help them reliably predict future job success.”

According to Upwork, “Beginning July 9, we will be retiring all skill tests and removing the option to take them on Upwork. As part of this change, results from previous tests you’ve taken will no longer display on your profile.”

This is good news for professional writers, who would presumably prefer to be judged on the quality of their work, their track record and client list, or even educational background than timed online tests.

Many ghostwriters aren’t sure exactly what to do after a promising phone discussion or email exchange with a ghostwriting client.

Should they send an email expressing thanks for the prospect’s time? Would mailing a handwritten note be more effective to keep them in the running for the work? Should they check back by phone after a few days? What’s the best approach?

There seems to be a lot of anxiety and doubt about the ideal follow-up process. Probably, because the frequency and timing of follow-up message varies by writer and by client.

However, in general, I would recommend following up at least three times.

First Follow Up

Within 24 hours of a phone discussion, video conference, or in-person meeting with a prospective client, you should send a note of thanks. It’s considered common courtesy, though today so few people send thank you notes that, if for no other reason, you should do this to set yourself apart.

If you had a phone call or video chat, a short email the next day reiterating your interest in the work, restating why you’re intrigued, throwing in an idea you may have had about the project, and saying that you’ll check in next week (unless the prospect has shared their timeline for a decision already) is a smart idea.

If you met in person, a handwritten note mailed to their office or home is a nice touch. Take two minutes to drop it in the mail.

Second Follow Up

If during your conversation the potential client shared when they expected to be making a decision about their chosen writer or agency, make note of that and follow up by email the day after you thought you would hear back. For example, if you’re told that you’ll hear something by next Friday, send a follow-up email the Monday after.

Your message can be as simple as, “Dear Mary, thanks again for the opportunity to be considered for the ghostblogger role at your firm. I know you were considering several candidates for the work and I wondered if you’d made a decision yet. Sincerely, Robert.”

If no set date was mentioned as the deadline for choosing a ghostwriter, wait a week or two and then send a follow-up email to inquire about the status of the project.

Third Follow Up

If you don’t receive a response, or if you hear back that no decision has been made, I’d wait another week or two and send a similar follow-up email inquiring about the status of the project.

Some people may have taken a vacation, been out of the office at a trade show, or had a deadline to contend with that interfered with the process of selecting a ghostwriter. You probably have no idea what’s going on behind the scenes at your client’s business or home.

Meaning, don’t assume the worst. Sometimes, no news simply means there is no news.

Whether you follow up a fourth, fifth, or sixth time should depend on what you know about the project.

For example, if you were being considered for some time-sensitive article-writing that needed to be done by the end of the month, you could follow-up after the end of the month to see if there were any upcoming writing projects for which you could be considered. But once that date passes, you can probably safely assume you didn’t get the work.

On the other hand, if you were speaking with an aspiring author who had no particular deadline for the release of his or her book, you might follow up once a month until the client told you they have given up on the idea or chosen to work with someone else.

Case-in-point: I spoke with an aspiring author more than a year ago and I check in about once a month to see if he’s ready to get started on his book. I’m fairly confident at some point he’ll want to move ahead, so I don’t want to stop checking in with him.

In some respects, follow up should be a cycle. Check in a minimum of three times, or until you learn whether you’ve been selected or not. Whether you decide to check in more than that will depend on how interested you are in the work and how likely you think it is that you may be selected.

Sometimes the issue really is timing and not uncertainty about choosing a particular writer. That is, the client may have a full schedule for several months and won’t be available to get started on a new project until the fall.

If you continue to follow up, to remind the prospect that you’re available, when they’re ready to get started on their white paper, article series, blog posts, speech, or book, you should be top-of-mind and more likely to get the work.

How often do you typically follow up?