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… over 171,000 Americans consider themselves writers or authors. They make an average of $63,607 per year and have -2.29 job-growth potential.
According to book-industry insiders, less than 200 of those writers are considered top professional ghostwriters. They average $35,000 to $120,000 per book, do three to five books per year —averaging $105,000 to $350,000 annually—and have enormous, albeit uncalculated growth potential.
Overall, my mind (and heart) are being blown open by the curriculum. To think if I weren’t be exposed to all you are teaching, I’d be walking around, a “ghostwriter” in total ignorance. I’m digesting all this at a very deep level.
Gail Harris, Co-author, Finding Zoe; author, Your Heart Knows the Answer, Award-Winning Copywriter
The first step toward leveling up from the crowd to that second class of elite, highly paid professionals is Introduction to Ghostwriting—the one-of-a-kind gateway into the captivating, challenging, satisfying, lucrative world of ghostwriting books.
Introduction to Ghostwriting is not merely the prerequisite to the only comprehensive, university-certified ghostwriter-training program in existence.
It’s also jam-packed with essential information, skills, and insights that every writer, author, editor, self-publisher, or even traditionally published author needs to put the power of knowledge behind their writing, their career, or their title.
If you’re ready to boost your potential and expand your mindset, you need Introduction to Ghostwriting.
Take advantage of our Holiday Special to get 10% off when you purchase a seat in the Jan 9 – Feb 13, 2023 class. That’s a savings of $57.50 for the best gift you could possibly give yourself! (Offer good through December 31, 2022)
I know, I know–I keep answering questions instead of posting about stuff. But since people want to know why I ghostwrite, here’s my answer:
Ghostwriting is a lucrative business for those who know the difference between putting someone else’s name on a manuscript they’ve written and actually ghostwriting another person’s book. I’ve ghosted more than 200 titles and mentored/coached countless writers over the last thirty-plus years to support the people in my life. It’s been a good run.
But I don’t do it for the money.
Ghostwriting is also an educational pursuit. I’ve acquired more knowledge about history, business, healthcare, psychology, addiction, neurodivergence, gender, marketing, religion, science, and just plain human nature from the books I’ve ghosted than I ever learned—our could have learned—in college.
But I don’t do it for the learning.
Ghostwriting is an intimate endeavor. I’ve been privy to the confidences of people along every spectrum: economic, political, gender, sexual-orientation, race, creed, religion, mental health, career, job, disability. Sharing slivers of so many people’s lives has been an extraordinary privilege and a remarkable journey.
But I don’t do it for the human connection.
I do it for the book.
I love books. How they smell when they’re new. How they open my eyes to ideas I never considered before. How they make me laugh, cry, cringe, gasp, or have to walk away. Books, even more than film or music, chronicle the slice of what the author was experiencing right then—a slice already gone, never to return. They preserve those miniscule, already past but cherished, rewarding, and instructional dots in the human experience we call life.
That’s why I ghostwrite. Because ghostwriting is, above all else, about the book.
I realize the impulse to write-it-all-out in analyses, proposals, query letters, and BSP is strong—oh, so so strong. But you must realize no author, agent, publisher, booker, host, etc. wants to have to read through all your verbiage.
Ghostwriting Psych 101: be concise but comprehensive. Just another reason why ghostwriting is the simplest, most complex endeavor a writer can undertake (and why we make the big bucks!).
Why I Can’t Write QuickBooks
I can add and subtract, multiply and divide. I can balance a checkbook. I can keep track of income and expenses on a spreadsheet. I can determine sales tax and apply seller discounts. I can figure out what percentage of my gasoline costs is deductible. I can even fill out my own partnership tax forms if I have enough time.
Lots of time.
I’m talking serious clumps of uninterrupted hours.
Basic bookkeeping. Profit and loss. Cash flow. Retained earnings. All the accounting doo-dads and business jargon those QuickBooks magicians need to make business financials run smoothly. Accounting, as someone once explained, is a specialty profession; one that’s essential for all manner of banking, business, investments, and taxes. People go to college to learn its myriad aspects and intricacies. No business can expect to be successful without proper accounting.
Just as no book can expect to be successful without proper writerly skills.
An accountant’s math skills are to my abilities to write, edit, and comprehend intricate prose. Those spreadsheets and percentages? Outlining, character studies, and basic plot architecture. An accountant’s Schedule K is on the same level of concentrated effort as applying APA style guides to a 425-page master’s thesis.
Just like accounting is a specialty profession, so, too, is ghostwriting.
Sure, any aspiring author can open whatever word processor strikes their fancy and clickity-clack type out enough words to rival War and Peace, but it likely won’t have the same finesse as it would if they had access to my kind of expertise. Just like a CEO absolutely can open QuickBooks and navigate the truly brain-folding double-entry system but come tax time there likely will be some missed deductions.
Luckily for those aspiring authors, ghostwriters like me love creative analysis and musical line editing. We relish literary intricacies as much as the math-heads who take delight in their accounting tasks. Not only are ghostwriting’s myriad tasks more fun than trying to figure out QuickBooks, they’re far less mind-bending, that’s for sure.
More power to those accountants. Hats off to them! I’ll just be over here with my manuscript structure and plot/character integration.
And M&Ms. Can’t forget the M&Ms.
It’s been quite some time since my last post and, of course, this one is about the same topic I always talk about: ghostwriting. Because I know that most writers want to make more money as writers… but they just don’t know how. So let me tell you how: become a Certified Ghostwriter.
FACT: Experienced and trained ghostwriters make between $35,000 and $150,000 per book
FACT: Over 250 million Americans and 5 billion people around the world want to write a book
FACT: Ghostwriting Professional Designation Program trains writers, journalists, and published authors to be book-industry experts proficient in ghostwriting theory, skill sets, unique tools, and mindset transitions
“Practical application is the name of the game now, and I feel this course gave me the tools to get started. It was literally everything I needed…. The course was challenging but rewarding. Totally worth the investment.”
Monique Abioye, Certified Ghostwriter
Introduction to Ghostwriting is the 6-week GPDP prerequisite class that will let you decide for yourself if professional ghostwriting is a good fit for you.
- Overview of the full program and career potential
- Book-industry manuscript standards (coding, style guide, formatting)
- Publishing options and supply-chain realities
- Ghostwriting parameters and limitations
- Ghost vs. freelancer/journalist interview techniques
“The curriculum is phenomenal—intense, generous, brilliant, and complete… After a decades-long career in journalism and books that includes marvelous educational high points, including the hallowed halls of the Ivy League, I’d choose this program any day of the week and twice on Sunday.”
Lorraine Ash, Certified Ghostwriter
- Dates: June 20 – July 25, 2018
- Live/recorded sessions: Wednesdays, noon-1:30pm Pacific
- Use Promo Code NAIWE2018 to get a 10% discount
I look forward to helping your make more money!
Ghostwriting Professional Designation Program, the only academically supported ghostwriter training in the world (CCPE/CSULB), is seeking authors willing to participate in a unique, free ghostwriting experience. Here’s how it works:
Our students will analyze, restructure, rewrite, and edit your first draft or work-in-progress. You will periodically interact with them via a live computer interface and provide written feedback upon request. At the end of the 10-month course, you will receive one or more marketable versions of your project—all at no cost to you.
We need the following types of nonfiction manuscripts:
- Blog to book
- History/politics/current events
We need the following types of fiction manuscripts:
Email to: firstname.lastname@example.org.
Subject line: GPDP SUBMISSION
Attach: your project’s first 50 pages and a Table of Contents (nonfiction) or synopsis (fiction). Send materials as a docx or doc.
Include: your brief bio in the body of the email.
Submission deadline: July 18, 2016
Selected authors will be notified of acceptance on or before August 1, 2016.
All submissions will be regarded as proprietary and confidential. All students sign nondisclosure agreements.
Note: DO NOT send a PDF. DO NOT send multiple submissions.
We just finished this month’s nonfiction workshop, and everyone had a blast. It’s an online, group effort to tighten, brighten, and bring out the rhythm and music in any manuscript, be it web content, nonfiction book, a novel, back-cover material, an article, a white paper, or any other literary work.
Join us for November starting on the 3rd, and submit your material for the group to line edit. Info and registration: http://wambtac.com/home/line_edit/
“Paragraphs too long.”
“Sentences too long.”
These are the kinds of things I hear from agents and publishers at writers conferences and behind authors’ backs.
“Can’t figure out what it says.”
“Style/tone is too flat.”
No, you don’t need to rewrite or go back to school for more creative-writing or composition techniques.
You need to line edit.
Line editing is the vital but often overlooked pass that adds music, drive, energy, and rhythm to a finished manuscript.
It’s an intermediate edit, between your last rewrite and sending the manuscript to a copy editor. Line editing is all about internal-paragraph Slinky Flow.
- It challenges every passive-voice line for power, invisibility, and convertibility.
- It revises static and awkward phrasings.
- It punches up the drives, smoothes out the pacing, and adds impact to the words already on the page.
- It brings out the hidden rhythm and music in your writing.
Psst! Don’t Tell Anyone, but-
…you already have the editing skills you need to make this happen — you just never thought to apply them! So here’s a fast tutorial for doing this essential tweak:
- Convert passive voice to active prose unless it’s powerful, invisible, or unavoidable.
- Eliminate static phrasings and extraneous articles whenever possible.
- Use one set of descriptors per incident. This may mean having to choose which is the most vibrant or effective modifer, but good writing is, after all, about making decisions.
- Break up long paragraph blocks for easier reading and visual esthetics.
- Brighten or “punch” important points with the judicious use of stand-alone non-sentences. I can’t emphasize this enough. Avoid diluting the impact of your ideas by burying it in excessive verbiage–like I just did!
- Let every speaker have their own paragraph.
- Reduce extraneous editorial wherever possible by “showing” or demonstrating what you want to say–but not so much that it obscures your point, confuses the reader, or disrupts the pacing.
Try it. It’s fun, it’s easy, and it’ll boost your book’s appeal to both the industry and your reading audience.
Line editing can flip a “Nice Read” into “Wow! What a page turner!”
FYI, I’m holding two 4-week line-editing workshops this October, one for nonfiction and one for fiction. Check them out at http://goo.gl/0amDX3.