editing

What IS Editorial Accountability?

December 6, 2022

I mentioned “Editorial Accountability” in a previous post, so I figured I oughta explain what that actually means. These days, digital publishers use algorithms to detect many of these issues and either reject or downgrade work accordingly.

So Just What is Editorial Accountability?

One of the most frequent complaints I’ve fielded from literary agents, acquisition editors, and general-trade reviewers over the thirty-plus years I’ve been in the book industry is that authors don’t know anything about the book business. And being mono-focused on their book, they’re don’t have the time or wherewithal to figure it out.

Let’s rectify that right now.

Editorial Accountability is an umbrella term that essentially refers to the objective quality of a book’s content, writing, editing, and presentation. Realize, that has nothing to do with the subjective take on whether a title is a “good book” or not. Rather, it’s all about whether a manuscript — or even published book — conforms to industry standards of professional work, both creatively and mechanically.

Does editorial accountability matter if you’re looking for a literary agent or traditional publisher? Yes, absatively. It demonstrates that you understand the difference between an author-vision first draft and a reader-satisfying second draft. Going by my experiences with and observations about hundreds of successful and missed-potential titles, I have to say that difference is one of, if not the most, important elements of a top-selling title.

Does editorial accountability matter if you’re going to self-publish? Once again, absatively yes. Amazon’s database contains literally billions — billions! — of titles. Why do some get read and most don’t? Editorial accountability.

Creative Accountability

The first part of creative accountability is about full development, whether the book is nonfiction, a memoir, or a novel. The information, personal recollections, or story not only needs to be dynamic, it needs to have purpose. Every chapter, section, scene, paragraph, and sentence must be there for a reason.
Part two is about Slinky® flow, i.e., “the sequence of information or story in which one idea logically and smoothly follows another throughout a paragraph, section, chapter, and manuscript.” Slinky flow encourages auto-read, “the brain’s ability to understand quickly and effortlessly and absorb easily.”
Part three refers to content disruptions (“issues that make a cold reader hesitate or say, “Huh?”) and deal breakers (“issues that make a cold reader stop reading and thus reduce or ruin a manuscript or book’s chances of success”).
The final piece of creative accountability has to do with the work’s prose. Describing how awful or wonderful or surprising or inspiring something/someone/some situation or circumstance is/was/will be comes across as emotionally laden Demonstrating how awful or wonderful or surprising or inspiring something/someone/some situation or circumstance is/was/will be is emotionally provoking prose.

If that sounds an awful lot like the difference between “Show” and “Tell,” that’s only because it’s exactly the same thing. But those terms are so trite at this point, they’ve become meaningless to most aspiring writers.

Mechanical Accountability

Mechanical accountability comes down to making sure the manuscript is:

Clean of extraneous coding and styled correctly in Microsoft Word, which is still the standard of the industry,
Gramatically aligned with Chicago Manual of Style (CMS) guidelines, another standard of the industry,
Copy edited and proofread by at least two different cold eyes, and
Formatted with standard margins, font type and size, and section breaks. Oh, and it doesn’t SHOUT AT THE READER. That gets old real fast.

Acquire Editorial Accountability

This part is simple: work with a pro or two. Or three.

Third-party oversight is key to transforming an author-vision first draft into a reader-satisfying second draft. In my firm, we start with thesis/premise, structure, and market placement. If you’re willing to put in the time and can sufficiently distance yourself from your work, you can learn to do that on your own. It ain’t easy, but it’s doable.

A developmental editor can help develop that all-important first draft. Look for someone who understands nonfiction/memoir templates, fiction architecture, and BISAC spread, and who knows how to keep their eye on the content and structure of the manuscript rather than get sidetracked by copy editing/proofing issues.

Once the first draft is finished to your complete satisfaction, find a musical line editor. MLEditors differentiate between narration and editorial, know how to manipulate mechanical and content impact, recognize flavor changes, and can both spot and rectify liability issues. They’ll review the manuscript with you line by line to ensure it has drive, punch, Slinky flow, and auto read.

Once you’re happy with the MLE, pay for a cold-eye copy editor, i.e., “someone sufficiently unfamiliar with the author that they do not ‘hear’ the author’s voice, cadence, accent, or flavor in the back of their head as they read.” Make sure they edit to CMS, not APA, MLA, BlueBook, or AP. Review their corrections carefully — you have the option to reject or discuss anything you don’t agree with or are unsure of.

Finally, pay for a cold-eye proofreader. At that point, your manuscript will have Editorial Accountability.

Claudia Suzanne is a ghostwriting expert, bestselling author, writing coach, teacher, and SMB owner. Her Ghostwriting Professional Designation Program (CPIE, CSULB) is the only book-ghostwriting Master Class in existence. Her ™ innovations include Creative Analysis, A&Rs, ghostwriting tools, Musical Line Editing, and Bestseller Strategy Plans.

claudiasuzanne@gmail.com | https://wambtac.com | https://ghostwritertraining.com | https://live.vcita.com/site/wambtac/online-scheduling

Comprehensive but Concise

February 18, 2020

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!).

https://youtu.be/Msx3l-6a1oc

We’re Making It Easier to Become A Certified Ghostwriter

June 11, 2018

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.

Free 30-minute pre-registration consultation available

Topics include:

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

If you’re serious about finally making more money as a writer, register today for the next Introduction to Ghostwriting (http://bit.ly/gpdpreg)

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!

Call for Submissions

July 11, 2016

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:

Memoir
Blog to book
Relationships
Self-help
History/politics/current events

We need the following types of fiction manuscripts:

Romance
Fantasy
Sci-fi
Mystery
Action/Adventure

SUBMISSION GUIDELINES

Email to: wambtac@wambtac.com.

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.

November Line Editing Workshop

October 28, 2015

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/

Don’t Forget to Line Edit!

September 29, 2015

“Too wordy.”

“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.”

“Booorrrrring.”

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.

Happy editing!

Your Fast Track to a Bestseller

September 14, 2015

(with apologies and thanks to Steve Harrison)

If you’d like your title to be a bestseller — maybe even a New York Times Bestseller — then this post is for you.

An author emailed me after one of my recent panels on ghostwriting. She said, “Claudia, you know so much about the book business. What do I have to do to make my book into a bestseller?”

She had been writing all her life and had a Creative Writing degree from an impressive school. Her teachers loved her book. Her friends and family raved about it. She got 4 and 5-star reviews on Amazon.

But when it came to actual sales — those just trickled in.

I suspected the reason her book wasn’t selling well had nothing to do with her ability to spin a tale, create wonderful characters, or bounce nouns off verbs.

She obviously had good writing skills.

What she didn’t have was a formula for taking her ideas from concept to bestseller status.

So I sent her the seven simple questions below.

(If you’d also like your book to be a bestseller, ask yourself these questions and see if you can answer “YES” to each one.)

Question #1 — Do you have a strong first draft, AND a well-structured second draft, punchy lined-edited third draft, and carefully copy-edited fourth draft?

Question #2 — Do you have the three strongest, most diverse BISAC Subject Headings attached to your nonfiction ISBN? Do you have the best-niche BISAC Subject Heading attached to your fiction ISBN? Do you have the three best Amazon.com categories and 10 top keywords to position your book as a bestseller?

Question #3 — Do you have honest reviews from total strangers who you haveNOT paid but who have actually read your entire book?

Question #4 — Do you have a list of high-volume buyers AND a one-sheet that gets them to say, “Wow, this is great! We need your title”?

Question #5 — Do you have a marketing kit that connects your title to a current, hot, or “sexy” news topic?

Question #6 — Do you have a business plan for online AND offline marketing and promotion? Do you have a list of organizations and groups that need to hear about your book AND a one-sheet that gets them to call you to speak?

Question #7 — Do you have a ready supply of physical books to sign and sell at the back of the room?

My new pen pal responded “NO” to most of the questions. (She had written a strong first draft and she had a supply — a large supply, in fact — of physical books to sell.)

So I wrote back, “That’s wonderful–now you know the missing pieces you need.”

This is the Point Where I’m Supposed to Pitch My Services-

…but I really meant to write more of a post than an advertorial, so let’s leave it here:

If you answered “NO” to any of the questions and would like my help filling in the gaps of your “bestseller plan,” email me at claudiasuzanne@gmail.com or call me at 1-800-641-3936 (USA) or 1-714-954-0580 (International).

If you want to do the heavy lifting yourself and need a coach or a guide, I’m here for you.

If you want referrals to other great people who can help you, here’s my short list:

Flo Selfman’s copy editing
Devon Blaine’s book publicity
Penny Sansevieri’s online marketing
And (of course) Steve Harrison’s publicity and speaking programs

I look forward to seeing your bestseller!

Today’s “Old School” Editors are Ghostwriters

August 31, 2015

I constantly field questions about ghostwriting, the book industry, and the Ghostwriting Professional Designation Program. I’m happy to provide as much information as I can in short phone and email queries, but I always seem to forget something important. Ergo, the info below, while it may seem promo-y, is really just my way of addressing the most common issues as succinctly as possible.

Why Would Anyone Need a Ghostwriter

In the Introduction to Shawn Coyne’s The Story Grid: What Good Editors Know, Steven Pressfield wrote:

“Do you know what an editor does? I don’t either. All I know is it’s make-or-break, do-or-die, indispensable, can’t-do-without, gotta-have-it.

“But there’s one problem:

“Editors don’t exist any more, at least not in the grand Old School sense.”

Steven is absolutely right: publishers can no longer afford to employ the kind of editors that can advise, rewrite, restructure, line edit, and hand-hold/ encourage/ listen/ guide/ and cultivate new authors.

But authors still need all that attention and encouragement, which is why “Old School” editors now provide their services as independent contractors.

They’re called ghostwriters.

A ghostwriter is, at once, a creative artist, a project manager, a best friend and confidante, a therapist, an industry insider, a publishing guide, a writing-and-life coach, a mentor, and a business person.

And we need more of them.

Why Ghostwriting Professional Designation Program

GPDP is the only program that trains students in the specific skills, theory, and politics of ghostwriting before teaching them how to find clients and close deals.

While most Americans seek training to fill corporate jobs, a substantial and growing segment of the population opt to provide independent or freelance services to those “regular folk.” Ergo, with the number of people looking to write and publish a book continuing on an upward surge—industry estimates number in the hundreds of millions—qualified editorial-service providers are in constant and increasing demand.

Professional ghostwriting is a recession-proof and lucrative career if one has the specific skills, theory, and political savvy to:

Understand the job
Do the job
Bid on and contract the job
Extract referrals from the job

A one-of-a-kind online course, GPDP is intense, hands-on, and serious fun. It not only prepares students for a career change, it changes the way they read and write for the rest of their lives.

Who Should Attend

Career editorial-service professionals who want to augment their expertise
Freelance editors, journalists, and writers interested in pursuing a ghostwriting career
Writers who want to upgrade their skill sets
Aspiring authors who want to improve their chances of success in the marketplace
Anyone who wants to know the truth about today’s publishing landscape

Prerequisites

Although this is a Master’s level course of study, a college degree is not necessary. The class is open to anyone with a writing, journalism, or editorial-service background. Students must be able to:

Accept new concepts that challenge or contradict their current knowledge base
Spend 4 to 12 hours a week on assignments
Sign and adhere to a Nondisclosure Agreement (NDA) prior to receiving the workbook
Ask for help rather than fall behind

Advantages of Certification

Certified Ghostwriters command higher ghostwriting fees. Graduates typically earn $35,000 or more on their first project and are able to handle three to five projects per year.

They have more confidence
They understand the realities of the book industry
They are skilled in the apex of editorial skills
They can find and exploit the strengths in any manuscript
They understand the full scope—and limitations—of being a ghostwriter
They present as top professionals
They know how to avoid or troubleshoot any problem
They have a growing support system of Certified Ghosts to back them up

The Program

Part 1 Modules (3 hours/Week)

Introduction to Ghostwriting (2 weeks)
The Book Industry (3 weeks)
MS Word for Writers (3 weeks)
Nonfiction A&Rs (4 weeks)
Nonfiction Structural Edit/Rewrite (3 weeks)
Nonfiction Ghostwriting (4 weeks)
Nonfiction Line Edit/Rewrite (4 weeks)
Nonfiction Book Proposals (3 weeks)

Part 2 Modules (3 hours/Week)

Introduction to Fiction (2 weeks)
Fiction A&Rs (4 weeks)
Fiction Structural Edit/Rewrite (3 weeks)
Fiction Ghostwriting (4 weeks)
Fiction Line Edit/Rewrite (4 weeks)
Fiction Synopses / Proposals (2 weeks)

Final Module (3 hours/Week)

Politics of Professional Ghostwriting (2 weeks)

Total: 47 weeks, 141 hours

What to Expect from the Program

This course will initially overwhelm, then challenge, and finally guide the student to change the way they view and manipulate the written word. Those already providing editorial services will discover fresh perspectives and approaches to their work. Those new to the field will break through the limitations of their traditional education.

Modules are concentrated with real-time deadlines. Materials will be beyond most students’ knowledge base and may be outside some’s comfort zone. Students must sign nondisclosure agreements before receiving their workbooks.

Class size is kept small so everyone can receive individual attention. Sessions are recorded, and students are encouraged to review them as often as necessary. The instructor and teaching assistant(s) are available via email and pre-scheduled phone calls.

Every assignment will be reviewed with comments and given a number grade based on the individual’s demonstrated grasp of the material.

100 = full
90 = strong
80 = adequate
Below 80 = insufficient

What the Program Expects from Students

Notify the instructor prior to missing any class session, and review the appropriate recording as soon as possible
Be prepared with all readings and research for each class session
Participate in all class discussions
Complete and submit all assignments before the week’s grading day
Revise and resubmit all assignments graded below 80 by the following grading day

What Students Say

GCT is the best investment I’ve made in my business and education. I spent six years in higher education earning a bachelor’s and then a master’s degree; for two-and-a-half years, I ran my own business. Hands down, GCT provided more practical information and training than any other class, course, seminar, etc. I’ve taken. Derek Lewis, Certified Ghostwriter

Your contract and all the work you did with us on presentation in the last two weeks of class help me avoid my typical bad business situation—working for less than I’m worth and doing way more than I ever agreed to do. I stood calm and strong—she would have signed for $25,000 and my shopping the book for her. Then she offered to pay me $15,000 to write part of the book. I said NO (though I could really use the money). The conversation started off very emotional on her part. By the end, she was calm, thoughtful and thanking me. Beth Brand, Certified Ghostwriter

I‘m enjoying the class, and learning a lot (though I still wish you could hear us laugh). You really are an excellent teacher. I am determined to complete the course and get my certification. I was disappointed, however, to learn that for nine weeks this summer I won’t get to learn anything about ghostwriting!Stephen Cobb, GPDP student

I had no idea what to expect from this class, so it would be impossible for me to say it was what I expected. But it was much, much more than I could have possibly imagined. Here’s an analogy that you’d have to be at least a certain age to identify with: When Star Wars came out in theaters for the very first time, they would show trailers on T.V. for it, and you would have no idea what this crazy movie could possibly be about. But I remember that after seeing the movie and then seeing the trailer on T.V., my brothers and I would point to the T.V. and say to our mom, “Look – this is amazing! You have no idea how amazing this movie is!” and we’d get very excited. So, that’s what I would say about this course to someone looking in from the outside: “You have no idea how amazing this course is!”
Thank you, thank you, thank you! I am so grateful for having had the opportunity to share this amazing journey! I enjoyed every minute, challenged myself beyond what I thought I could do, and came out feeling truly transformed. Sue Briggs, Certified Ghostwriter

Claudia, you really launched me. Every one of your “Rules” has been absolutely essential. I finished that book on PTSD I wrote for the 94-year-old survivor of the Bataan Death March. Just hooked another client (97-years-old, and sharp as can be). He didn’t balk at the price, and I was sure to include the “death clause” in the contract! God, this is so fun. What can I say? You are a genius. Jane Ploetz, Certified Ghostwriter

Thanks so very much, Claudia, for an excellent class, your warmth and encouragement, and for jump starting my new career about which I’m very hopeful and excited. I’ll just echo you in saying, ‘It’s been a delight working with you.’ A grand stroke of luck, in my opinion…. I love your humor; think I laughed through 1/2 the class last night 🙂 Sabriga Turgon, Certified Ghostwriter

For the love of god, I am glad I took your course. I am not sure if your new students would find an after-action review useful coming from a fellow noob, but I will share my notes when I finish with this client. Short version: needy and a minefield of emotions that will explode under the pressure of unicorn tears. But, because of your tough love on my A&Rs, I am able to handle it–so far. Alan Hester, GPDP Student

The range and depth of information satisfied my need for professional development and enrichment. I now have a much greater understanding of ghostwriting protocols and the ghostwriting business. Plus, the course has given me more confidence and clarity about how to pursue ghostwriting as a lucrative and viable career. Karen Propp, Certified Ghostwriter

The most unexpected thing about the class was how much I enjoyed the fiction section. I remember originally wishing I could have just taken non-fiction a-la carte (even as a lover of fiction). In fact, I recall asking a somewhat snarky question about getting clients at the end of the non-fiction section hoping I could just get the keys to the kingdom and weigh the option of taking the second half of the course this spring or saving it for a time when I had a little more disposable income. The split appeared to me to be impractical as I thought so much of what we would be doing would be nonfiction. I’m sure our careers will show whether or not that’s true, but the fiction section is essential to understanding what it really means to ghost. If ghostwriting is, as Claudia says, the Apex of writing, then ghosting fiction is the apex of ghostwriting. I never would have expected I would have liked/been helped by the fiction portion of the certification as much as I was. Emphasize that to students that both halves are necessary to getting it! The idea of saving the $ for the second half of class now seems absurd, as I think Derek Lewis said in his intro the textbook, how can I afford not to take the (fiction part of the) course? Alex Dwyer, Certified Ghostwriter

Claudia, I don’t know if I’ve thanked you enough for the value of your course. I’ve learned a lot and have a strong sense of confidence that I can now tackle projects I would have been afraid of doing before. You’ve opened up my eyes to a whole new world of opportunity and knowledge. There have been times when I felt like my head was going to explode with all the new knowledge you were exposing me to. I’ve gained enormous self-confidence. As Michael Levin said, you are the ‘real thing.’ I believe that sincerely. You know your stuff and thank you for sharing some of it with me. Thank you very much! Victory Crayne, Certified Ghostwriter, Editor

I’ve been telling all my writing friends about this course [Ghostwriter Certification Training]. I’d been ghosting (or trying to) for years. I now see where I went wrong in the past and what to do right for the future. It’s intense, it’s fun, and I’ve learned so much. If you’re going to do anything to advance your career, take this course. It’s one rollicking ride. Roxanne King, Certified Ghostwriter, novelist, writing instructor

Thank you for the wonderful experience. I’ve learned so much and grown so much throughout this course, and I look forward to starting my career in ghostwriting. Ruhallah Dharsi, Certified Ghostwriter

GCT is an information-packed course taught by an expert writer/editor/ghost who has finely tuned teaching skills. The material is not available elsewhere, and this course is not just a marketing tool for a freelance writer who needs revenue streams. Claudia Suzanne offers a masters level class that will move the writer into a lucrative ghosting career or any number of other niches. Be prepared to work your butt off. Maryan K. Pelland, Certified Ghostwriter, Journalist, Blogger

FAQ

I’m already a developmental editor. Will I really learn anything new in this class?

Yes. Ghostwriting’s broad skill set encompasses some aspects of developmental editing but approaches the manuscript from a different perspective with a distinct approach.

Will I learn how to help clients publish their books?

Absolutely. The course examines the pros and cons of today’s publishing options.

I only want to do nonfiction. Do I really need the second part?

Yes. Understanding fiction will help you with your nonfiction clients. Furthermore, the final module, Politics of Professional Ghostwriting, which covers finding and assessing clients, setting fees, bidding on projects, writing equitable contracts, and project troubleshooting, is only available to those who have successfully completed both parts.

Do I have to take the modules in order?

Yes. Each module builds on the knowledge base and skill set of the previous modules.

How many hours will I have to spend on homework?

Students typically spend 4-12 hours per week, depending on the module and their individual learning pace.

Will I learn how to collaborate or coauthor?

Yes—and no. You will learn the pros, cons, and differences between ghostwriting, collaborating, and co-authoring, which will allow you to determine your own career path.

Will I learn about how to find clients?

Yes. Please see above.

Will I learn how to write contracts?

Yes. Please see above.

I only want to work on memoirs/fiction/business titles. Do I need the whole class?

To receive certification, yes.

How much will I be able to earn after taking this class?

Students typically earn upwards of $35,000 on initial projects and increase their fees as their confidence and credit list grows.

Is “Certified Ghostwriter” recognized in the marketplace?

Not yet, but graduates report potential clients find the designation impressive and a deal closer.

Will this class help me get a corporate writing job?

Probably no, unless the job you want includes writing in the boss’ voice. One graduate credits the certification with why they beat out 179 other candidates for a job writing judicial opinions.

What are the technical requirements?

Reliable Internet access via a Broadband connection (DSL or faster)
The latest Microsoft Internet Explorer, Google Chrome, or Mozilla Firefox browser
A soundcard, microphone and speakers, preferably in a headset
The latest Flash Player (available free from Adobe web site)
Microsoft Word 7 or later

Can I take the class using a Mac/MacBook/tablet?

Technically, yes, provided your device meets the above requirements. However, as we do a great deal of screen sharing, a mobile device’s small screen may impede your ability to keep up with class discussions.

History of the Program

Claudia Suzanne created the first version of ghostwriter training in the late 1990s to provide her clients with a replacement in the event of what appeared to be her imminent death.

Once she conquered her health problems, the program grew from 5 off-the-cuff discussions to a 7-week seminar series.

When Claudia earned her Master Trainer Certificate from Performance Solution, she lengthened the tutorial to 15 weeks. After writing the “seminal textbook” on ghostwriting, Secrets of a Ghostwriter, she expanded the course to a 15-week hands-on workshop, then to a 30-week college-extension certificate program, and finally to its current 47-week module-based professional-designation curriculum.

About the Instructor

The founder/chair of Ghostwriters Unite, Inc., a nonprofit dedicated to the professionalization and proliferation of ghostwriting via education and community, Claudia Suzanne spearheads the movement to transform ghostwriting. Her Ghostwriting Certificate Program, invited into California State University, Long Beach in 2013, remains the only ghostwriter training program in the world and has upgraded “Certified Ghostwriter” to an academically recognized Professional Designation.

A generalist ghostwriter, Claudia has ghosted approximately 140 nonfiction and fiction titles in myriad subjects. She has also penned five titles under her own name, including the internationally popular This Business of Books, considered a standard of the industry by college professors and librarians across the English and Chinese-speaking world, and Secrets of a Ghostwriter, the only textbook that deconstructs the theory, skills, and politics of how ghostwriters do what they do.

Claudia is the Founder/Creative Partner of Wambtac Communications LLC, a literary organization dedicated to providing editorial-service excellence. Her dual missions are to launch new ghostwriting careers and to raise the literacy level of the book industry, one author at a time.

Claudia knows more about publishing than most people ever will. She is the consummate ghostwriter/teacher, understanding what authors need in order to successfully complete their book dream, and she has a finely honed talent for communicating what she knows to her students and clients. One of the most savvy business people I have known. Trustworthy and supportive. Awesome dry sense of humor and spontaneous wit. I recommend her without qualification.M.K. Pelland, Certified Ghostwriter

Statistics

Students: 79

Graduates: 62 (78%)

Typical post-grad first project fee: $25-40,000

Proprietary Techniques and Tools

A&Rs (Analysis & Recommendations)
Charting (Nonfiction Structural Edit/Rewrite)
Action Maps (Fiction Structural Edit/Rewrite)
Author “Tells” (Nonfiction/Fiction Ghostwriting
Line Edit/Rewrite Process (Nonfiction/Fiction)

More Information

To register for the current Part 1 session, Click here.

To reserve a seat in the next Part 1 session, contact Penni Wells, Program Developer, CCPE/CSULB at 562-985-4486 or penni.wells@csulb.edu.

To speak with Claudia Suzanne, email claudiasuzanne@gmail.com or call 1-800-641-3936.

For module descriptions, Click here.

Become a Certified Ghostwriter

January 16, 2015

The only Ghostwriter Training Program in the world is expanding again. We’re switching to modules so students have more time to work with each new tool and technique. Since the CSULB web site hasn’t caught up with us yet, here’s the lowdown about this Spring’s Ghostwriting Professional Designation Program

[Read more…]

Wow!

May 7, 2013

What a blast. What an amazing sensation–to be in a banquet hall full of people who do the same thing I do, who have the same passions and issues I have, who enjoy the same process and skill-level I possess.

I wanted Ghostwriters Unite to be a success, but it was more than that. It was a phenomenon, a glorious dream-come-true, a life-changing gathering of like-minded, like-focused people who could not stop connecting, talking, hugging, swapping cards, and helping helping helping each other in this exploding industry.

Ghostwriters rock!

Ya shoulda been there. Ya just shoulda been there!