There are some major misconceptions about what ghostwriting is and what it looks like. Some people assume that ghostwriters are given an assignment, they go away and work behind the scenes, and then someone else slaps their name on whatever is created.
That’s not at all how ghostwriting works.
Table of contents:
- The Initial Client Consultation
- Structuring the Finished Product
- The Writing Process
- Matching the Author’s Voice
- Collaboration and Communication
- Successful Partnerships
In fact, after many years in the field, I’ve learned that successful ghostwriting projects consist of partnership, collaboration, information-sharing, vulnerability, therapy, detective work, and writing skills all blended into one new relationship.
Nonfiction ghostwriting requires that authors and ghostwriters work closely to make decisions about how topics will be addressed, how much detail will be provided, where the information will come from, who else can confirm details, and more. It is not a solitary process. (Fiction ghostwriting may be different, however, since stories are being made up.)
Here’s what a typical nonfiction book ghostwriting project may look like behind the scenes:
The Initial Client Consultation
Even before we decide we want to work together, I meet with potential clients to better understand who they are, what they want their book to be about, where the information will come from, and why they’re writing a book — what do they want to happen as a result of becoming an author?
We talk through project scope, book length, need for outside research, deadline, and publisher. I try hard to set realistic expectations and timelines from the outset.
In many cases, the decision comes down to chemistry. Are we a good match personality-wise? Do we have similar communication styles? Is the subject something I want to learn more about?
If we decide that we’re a good fit, we start by talking through what the book will cover. This initial step is much like designing a house. How large do we want the building to be, how many rooms will it have, what’s the style, and how quickly does it need to be built? Those are the big-picture questions we address up front.
Structuring the Finished Product
The first step in my process, which may be different from others’, is to craft a rough outline. This later becomes the book’s table of contents.
The outline is our roadmap. It helps us determine in what order information should be shared and how detailed we need to get. We talk about relevant stories and takeaways, as well as other people who should be interviewed.
When we have a draft roadmap, we review it to make sure that there are somewhere in the neighborhood of 10 to 15 chapters. Most business books are in that range, though some authors prefer to have many short chapters, which is fine. We just need to decide that up front.
Making sure that each chapter will be approximately the same length is also part of the exercise, which may lead us to condense or split chapters. Having chapters that are, say, 5,000 words followed by a 500-word chapter is choppy and confusing for readers, so I try to keep them similar in length. However, that takes planning.
Once we’re both happy with the outline, we start talking through each chapter.
I prefer to start with Chapter 1 and then work through the outline sequentially, tackling the introduction last, once we’re clear about what the book looks like.
The Writing Process
Most nonfiction subjects have some type of chronological element to them. That’s what often drives the stories in the book.
For example, if we’re telling a company’s history, we’re going to start at the beginning. If we’re writing a memoir or biography, we’re going to start with the author’s childhood, or maybe even their parents’ or grandparents’ childhood, depending on what’s relevant to the subsequent tale. Or if we’re explaining the origins of a particular methodology or strategy, we need to go back to where the idea came from.
Using the outline as our guide, I draft questions related to Chapter 1 and send them in advance of our scheduled input session, so that my author has time to reflect on their experiences and what they most want to share.
When we get on Zoom, I record the discussion so as not to miss any pithy quotes or detailed stories. I also take notes about my impressions and ideas for how to approach the topics mentioned.
After a 60 to 90-minute interview, I typically have enough to start drafting the chapter. But if not, we will schedule another discussion.
As I start writing, I refer back to all background materials the client has provided, as well, to inform the content in Chapter 1.
When my chapter draft is ready, I send it to my client for their review. At this stage, I ask for feedback on the content, the information flow, the use of research citations and stories, and general style. Is everything there that they wanted? Does the structure work? Is anything missing?
With their feedback, I then make revisions to get it closer to perfect. I do caution clients from getting too caught up in editing then, because we’re not yet at that stage. We’re still in the creation phase. We’re also not worrying about voice yet. We’ll get there once all of the material is there and in the right place.
With approval of Chapter 1, we move on to Chapter 2, with the same process.
When all chapters are drafted, we circle back and work on the introduction.
Then the editing starts. I include two rounds of edits with each project. The first round is to consider the manuscript as a whole, again asking whether everything is there and if it’s in the right order. If not, we restructure, take some material out, and add other details in.
I make those changes, and then we move on to a second round, where we’re checking for flow and for voice. At this stage, I’m looking carefully at whether the writing sounds like the author.
Matching the Author’s Voice
From the start of the project, I pay attention to how the author communicates. Does he use long, winding sentences or short, snappy phrases? Does she tell involved stories and anecdotes or are they more one-sentence reflections? Do they ask questions and then answer them?
All of these are clues to how they may sound on the page.
As part of my early research, I also watch videos the author has recorded, such as of them presenting at a conference or speaking to their employees. I read articles and reports they’ve authored — asking first if they had a ghostwriter — so that I can get a better sense of their natural style of communicating on paper.
I listen for their favorite words and phrases. (My favorite college Sociology professor relied heavily on the word “impinge,” so I learned quickly to sprinkle that throughout my papers for extra points.)
This final round of manuscript edits is mainly focused on ensuring the text sounds like the author.
When my client is happy with what we’ve created, we hand it off to their publisher for production.
Collaboration and Communication
Throughout the ghostwriting process, I’m in regular contact with my client. “Regular” generally means a few times a week via email, phone, or Zoom.
I may send emails asking for background material or for the names of outside sources I should turn to, for example.
I’m also thinking constantly about the best way to position my authors for success when their book is released, so I watch for marketing and publicity opportunities that will help position them as experts in their field.
We talk regularly about suggestions for how to make the most of their book, such as by recording an audiobook, creating a bonus guide, or even a workbook. I suggest ways to get their target audience routinely returning to their website for more information and connection with them.
Successful Partnerships
Ghostwriting truly is a creative partnership more than anything.
It’s the ghostwriter’s job to help authors organize and express their ideas and experiences more clearly and powerfully than they could on their own. Most authors could have written their books themselves, but with a ghostwriter as a thought partner, the resulting book is often richer and clearer.
Ghostwriters help clarify and amplify an author’s thoughts. The result is a book that sounds like the best version of an author, because it is.