Tag: GhostwritingProofreading

The Art of Technical Ghostwriting

Posted on by The Writers For Hire, Inc.

One of the most challenging aspects of technical writing is communicating effectively with a subject matter expert (or SME, commonly pronounced as one word “smee”).

SMEs have the knowledge that the technical writer must extract and translate into useful publications, such as documents, videos, webinars, classroom courses, and marketing collateral.

In some cases, the technical writer conducts interviews with a SME to gather the appropriate information. In many other cases, the technical writer proofreads, edits and restructures documents that a SME has authored.

This process is similar to a writer who converts the rough draft of a celebrity’s autobiography into a publishable book. In this regard, we can think of a technical writer as a technical ghostwriter.

To succeed in this process, the technical writer must be able to understand and assimilate what is often highly complex subject matter.

However, a more important prerequisite for success might be the ability to manage interpersonal communications.

According to Sandra Williams, a long-time senior technical writer and instructional designer with Hewlett-Packard Inc., “effective communications with SMEs is more about managing the relationships than about procuring the material.”

So for the purpose of eliciting information from SMEs, technical ghostwriting may be considered more of an art than a science.

The following are methods that some of my colleagues and I have found useful in our many years of practicing the art of technical ghostwriting.

Managing Communications with SMEs

You may be wondering how a technical ghostwriter can improve your chances of obtaining highly effective marketing and training deliverables from your SMEs. Here are a few tips and tricks, my colleagues and I have found useful:

  • Timing is everything. I once worked with a SME who was very busy throughout the day until about 4 P.M. By then the SME was so tired, he would need a Mountain Dew (his favorite soft drink) for refreshment. So, I would schedule our meetings for 4 P.M., and I would bring two cans of Mountain Dew along. It might sound a little corny, but we had much more effective information exchanges thereafter, than we had before I knew the SME’s routine and preferences.
  • There is no ‘one size fits all’ when it comes to SME communication. The writer should determine the SME’s preferred form of communication and use it as the first option when contacting the SME. Some people respond more readily to e-mails, some to text messages, some to phone calls, and some to in-person visits. Of course, at times SMEs will be unresponsive, especially when they are busy or under deadline pressure. Many technical writers have experienced a SME avoiding them, so writers should be persistent and resourceful. Sandy Rogers, a Principal Technical Writer with Hewlett-Packard Inc., likes to tag a SME on Skype so she is most likely to make contact at a mutually convenient time.
  • SMEs are more likely to help the writer, if they like the writer. It’s human nature.  An effective writer uses people skills to foster personal relationships, so that SMEs are more likely to prioritize their mutual projects. Sandy Rogers puts it like this: “I like to personalize my interactions with SMEs. They are people too, and they have interesting lives, both in and out of work. I usually begin an interview by asking how they’re doing in general, and also how they think the project is going. This provides an opportunity for them to vent any frustrations they may have, or to take a moment and reflect on a personal story. I find that this approach tends to improve rapport and makes it easier to elicit the project information that I need.”  Sandra Williams agrees: “No matter how much I need a review done, I try not to open a conversation by asking if anyone has looked at the material yet. I always ask how everyone is doing first.”
  • A little bragging goes a long way. Many SMEs have had poor relationships with unqualified writers in the past.  Especially when working on a new project, a writer should consider providing the SMEs with a summary of their qualifications and competencies. For example, Sandy Rogers started her career as a Call Center technician. She has detailed technical knowledge to the circuit board level, as well as first-hand knowledge of typical customer service issues. Sandy finds that this experience sets a comfort level with fellow technical professionals. She is able to speak the SMEs’ language in addition to translating their specifications into effective documentation.
  • There is no substitute for proper preparation. The writer should be fully prepared before a meeting with a SME. The writer should know exactly what to obtain from that meeting. The preparation should include a meeting agenda and objectives. The writer should mark up any manuscript drafts to notate those areas that require further discussion.
  • SMEs have feelings too. Good technical writers must have tact in their tool bags. With diverse multicultural work forces, English is very often not a SME’s primary language. It might not be their secondary language either. In these cases, avoid being overly critical of the SME’s grammar or wording. The writer can function as a coach and as a mentor to help those SMEs become more conversant in English. It will be appreciated, it will make the writer’s job easier, and it will result in more effective content.
  • Focus on mutual goals. Another important attribute for an effective ghostwriter is to be positive and encouraging. Even those of us for whom English is our primary language know how discouraging it can be to work long and hard on an assignment without any positive feedback. A positive attitude encourages the SME to persist in what can be a lengthy and sometimes tedious writing process. A good writer constantly reminds a SME that the finished product is more of a credit to the SME than to the writer.
  • Templates are tools, not substitutes for SME-writer communication. Many of our clients use standardized templates to encourage SMEs to provide all of the required information, especially for technical specifications. A template works well to focus a SME on furnishing all of the significant details. It can also relieve the writer of some of the restructuring and reformatting that might be necessary in the absence of any such turnkey solution. Very often, however, due to time constraints and deadline pressure, a SME will not prioritize the writing function. In these cases, rather than adding more pressure for a SME, Sandra Williams might offer to complete the template herself. “I’ll schedule a convenient time for us to sit down for an interview, and I’ll use the template as a guide to get the right information. This saves time in the document conversion process too, as I’ve already asked many of the questions that I would have had if I was reading a spec the SME wrote.”
  • Consider mini reviews. While it is a constant temptation for writers to try to secure lengthy blocks of uninterrupted writing time, it can be more efficient for some SMEs to write and review smaller pieces of content at a time. Otherwise, reviewers can get bogged down or discouraged reviewing longer tracts. Moreover, it is often difficult for reviewers to set aside a solid block of review time, so “chunking” the content into smaller review cycles can encourage more effective feedback.
  • It’s all about the SME. Rather than trying to push all SMEs into providing large amounts of information upfront, a considerate writer will take each SME’s personal circumstances into consideration. For example, years ago I wrote a detailed, somewhat verbose message to introduce myself to a far-flung SME whom I had never met.

I received the following verbatim response from the SME:

That was the very succinct response, and that’s what we did. I wrote and the SME read.

Over time, we were able to overcome the geographic, linguistic and cultural differences between us to create a useful set of documents that contributed to the successful release of the product.

The role of the technical writer

At the end of the day, the technical ghostwriter is an advocate for your customers and end users.

Technical SMEs are highly skilled professionals who are motivated to develop the best possible products, but that is their priority: product development.

Without the role of the technical writer, the end user experience can easily get lost in the development process.

The celebrity ghostwriter translates a subject’s life experiences into an enjoyable story.

The technical ghostwriter translates complex technical content into cogent and effective instructions that make technical products easier to learn and easier to use, while enhancing the user’s ability to integrate those products into their own work and life experiences.

In sum, the technical ghostwriter is telling the story of the fabulous products the SMEs are developing.

Technical ghostwriting is the art of procuring SME source material, in its myriad forms, and transforming it into highly readable and effective documentation, marketing collateral, and training guides.

That’s it in a nutshell.  That’s what we do.

The 108 Most Persuasive Words In The English Language

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It’s a long known fact that the secret to persuasive writing isn’t in the adjectives, it’s in the verbs.

Copywriters know power verbs sell and convince.

Internally, we have a list of 108 verbs that we’ve been using for a good decade, and we recently thought we should share it with proper credit to the original author.

We found that although the list is being recirculated (and in many cases claimed as original by several different authors!), the original author is, in fact, nowhere to be found.

So, if anyone knows who wrote this, we’d love to know!

With or without the original author, it’s still a great list…here it is!

The 108 Most Persuasive Words In The English Language

According to legendary advertising man, Leo Burnet, “Dull and exaggerated ad copy is due to the excess use of adjectives.”

To prove it, he asked his staff to compare the number of adjectives in 62 ads that failed to the number of adjectives in Lincoln’s Gettysburg Address, and other age-old classics.

Here’s what he discovered:

Of the 12,758 words in the 62 failed ads, 24.1% were adjectives.

By direct comparison, Lincoln’s Gettysburg Address contains only 35 adjectives out of 268 immortal words – only 13.1% adjective-to-total-word ratio.

Winston Churchill’s famous “Blood, Sweat and Tears” speech rates even lower and has a 12.1% adjective ratio (81 adjectives from 667 words).

Burnett found that similar ratios applied to great works such as The Lord’s Prayer, the Ten Commandments, and the Preamble to the U.S. Constitution. Conclusion: Use more verbs, not adjectives.

Verbs increase the pulling-power and believability of ad copy.

That’s why it makes sense to keep this 108-VERB “CHEAT-SHEET” close-by whenever you begin to draft your next space ad, sales letter, Website, or email campaign.

Still unsure how to incorporate these verbs into your marketing campaign? Or, perhaps, you just don’t have the time?

Then consider hiring a team of professional copywriters to do it for you! Talented advertising and marketing writers can take mediocre content and use power verbs to turn it into engaging copy that meets goals and produces results.

What is the Difference Between a Nonfiction Ghostwriter and an Editor?

Posted on by The Writers For Hire, Inc.

With so many different terms used in the process of writing a book, it’s easy to see how someone might get confused.

In our previous blog, we explored what a ghostwriter is and what they do. But, how does their job differ from that of an editor? And can a ghostwriter and an editor be one in the same?

First, let’s definite exactly what an editor is.

An editor is the person who prepares a manuscript for publication by polishing, refining, and enhancing it. An editor:

  • Helps organize the manuscript so that it flows
  • Makes suggestions to improve clarity and readability
  • Makes sure that style and tone are consistent throughout the manuscript
  • Corrects spelling and punctuation errors
  • Helps verify facts

Unlike a ghostwriter, who generally does the bulk of the writing, an editor does not actually write a manuscript. An editor’s job is to take work that is already written, and improve it.

Another difference is that an editor will not generally do any research for a manuscript. Research, as well as story development, is something that is done by the ghostwriter. 

Both an editor and a ghostwriter must have the ability to look at the rough beginnings of a manuscript and understand the author’s vision and what they are hoping to ultimately achieve with their book. They also both have to have a keen understanding of the author’s voice, so that the final product will sound like the author (and not the ghostwriter or the editor). And, ultimately, both and editor and a ghostwriter are responsible for turning the author’s book into the very best it can be.

There are vast differences, though, in what an editor and a ghostwriter do.

If you are looking for someone to essentially turn your thoughts and ideas into a well-crafted manuscript, it is a ghostwriter you want. However, if you have already written your manuscript and just need someone to polish it and make it better, you are probably looking for an editor.

And though there are ghostwriters who also occasionally moonlight as editors, it is highly encouraged that you do not use a ghostwriter to write AND edit your manuscript. Having a fresh pair of eyes to look over and refine your completed piece is an important step to getting your book publish-ready.

5 Reasons Nonfiction is Important for Children

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We all know that learning to read is an important step in brain development and language acquisition. Whether it be a novel or a fashion magazine, reading of any kind helps us to understand the world we live in and learn how to function in everyday life.

Unfortunately, though, there are many countries in the world where learning to read is a luxury, reserved for only those with money. In fact, according to learntoread.org, more than 750 million people worldwide are illiterate—with two-thirds of those people being women and girls.

In an effort to transform education in low-income countries, learntoread.org has launched a program to create more accessible nonfiction books for kids in Tanzania and Zanzibar—two countries with very low literacy rates.

In this great article, learntoread.org tells a little bit about their Nonfiction Project, and explains why it is important for children to read more nonfiction books.

Lost in a thicket: How to avoid overwriting

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In 1964, Supreme Court Justice Potter Stewart acknowledged that certain words and concepts – in this case, pornography – were difficult to define in a precise manner. He hastened to add, though, that he could rely on his gut feeling, declaring: “I know it when I see it.”

Likewise, defining overwriting is not simple. It’s a phenomenon that readers encounter often enough that they know it when they see it, but they may not be able to identify the exact points at which the writer has gone off the rails. As a result, they may not always be able to help authors figure out how to avoid overwriting.

A good editor, on the other hand, can help freelance writers escape this trap and do a better job of keeping clients happy. At the very least, an editor should be able to tell them when they’ve spent too much time at the keyboard, and give them an idea of how to check themselves as they work.

And if you don’t have a good editor yet, you’re in luck. We’re here to offer some advice, starting with a few different tips on how to identify overwriting.

(Don’t) take it to the limit: word counts and deadlines

When freelance authors receive assignments, they typically receive a set of instructions defining the parameters of the job. These instructions cover basic points such as length, deadlines, style, and target audiences.

With respect to length, clients usually come to the table with an idea of how much they want. Most will give writers limits, in the form of word counts or page counts.

These limits are often formulated in a way that offers some wiggle room. For example, you might be asked to write a blog post that’s 750-950 words long. Even if you have some leeway, though, you should respect those limits. If you find yourself in (or above) the upper reaches of the desired word count or page count and you’re only halfway through the task, you’re probably overwriting. If so, it’s time to start thinking about where you can trim.

As for deadlines, clients typically have an idea of when they want certain milestones met such as seeing the first draft or receiving the finished product. You should take those deadlines seriously. Remember them. Put them in your calendar – both electronically and in paper form, if necessary. Abide by them.

But what if you’ve been managing your time well, doing a piece of the job each day and meeting your own expectations with respect to word count, and you still find yourself needing to ask for an extension of the deadline because you haven’t finished making all of your points? Once again, you’re probably overwriting – and that means it’s time to think about how you can separate the wheat from the chaff.

Know your audience

Style is also a point to consider. Most clients will be able to tell you what kind of audience they’re hoping to reach, whether it’s university professors, company shareholders, industry experts, or general readers. In turn, their expectations ought to drive the work you produce. If you’re writing for an academic audience, maybe you don’t need to worry about complex sentences and obscure references. If it’s for shareholders, focus on explaining the numbers. If you’re targeting industry experts, don’t be afraid to use jargon. If you’re writing for general readers, find a balance between describing the basic facts and offering deep background.

This is important because if you don’t match the style to the audience, you may slip up. For example, if you’re asked to write a social media post for general readers and you churn out a 2,500-word treatise with an exhaustive set of footnotes and sentences that average 75 words apiece, it’s safe to say that you’re overwriting.

Meanwhile, there’s another reason to know your audience: You will need to have an idea of whether your readers will be familiar with the topic you’re covering. If they are – as in a highly technical piece that will be read by industry experts – you can jump right into your topic and use jargon freely. But if they’re not, you may run into trouble.

What kind of trouble? Over-explaining. If you’re writing for a general audience that may not know much about your topic, you’ll need to devote some time to setting the stage – that is, to introducing the subject and giving enough background to help readers understand what your client wants to say. It can be tempting to go into intricate detail at this point, especially if you’re writing about a subject that is interesting or complex.

Nevertheless, you should fight the temptation to tell the entire story. You do need to set the stage, but you don’t need to include the entire script of the play, plus a list of links to every published review of the show. Nor do you have to offer a comprehensive discussion of the history of theatrical performance, an explanation of the techniques used to varnish the wooden floors of the auditorium, a review of the weaving techniques used by the costumers’ fabric suppliers, and an exhaustive biography of the actors. If you do, you’ll be saddling readers with more information than they want or need. (So if you’re ever in doubt about whether you’ve crossed that line, remember comedian Dennis Miller’s line from an HBO special that aired in 1990: “Stop me before I sub-reference again!”)

One is the loneliest number

We’d like to think that all the advice we’ve just given you will be easy to follow. After all, it sounds straightforward, right? If you want to avoid overwriting, follow instructions about length and time requirements, know your audience, and resist the urge to explain the entire story from top to bottom and then delve into tangential topics.

But frankly, it may not be simple to remember all these points – especially when you’re immersed in the job.

At that point, you may have achieved a state of flow that allows you to crank out one gorgeous sentence after another at top speed. Perhaps you’re preoccupied by more mundane concerns, such as the ticking of the clock that shows just how little time is left until your deadline hits. Or maybe you’ve just been working on the same assignment for so long that you can hardly see the words on your screen anymore. Under such conditions, your response to basic advice about how to avoid overwriting is likely to be just about as positive as the attitude of a toddler who’s been told to eat his or her vegetables.

The best remedy is to get help. Don’t try to finish your assignment alone; find at least one more pair of eyes to look at what you’ve written. If you are working with an editor, let that person see your work before you turn it in. If relevant, show your material to your supervisor, project manager, or another colleague who may have a different perspective on what the client wants. You could also enlist the help of a third party or a beta reader, if you need an objective response that’s not influenced by the concerns of either the writer or the client.

Once you’ve taken this step, you’ll need to prepare yourself to receive constructive criticism – and to take heed of the suggestions you receive. If you don’t, your chances of falling prey to overwriting will increase.

Now we’ll turn the floor over to you. Where have you found overwriting, and how did you recognize it? If it’s happened to you, what have you done to overcome it?

What Is A Ghostwriter And What Do They Do?

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What Is A Ghostwriter And What Do They Do?

To some people, the term “ghostwriter” conjures up images of some kind of covert, undercover secret agent who writes novels under a pen name, never revealing their true identity.

The reality, though, is a whole lot less mysterious.

So, what exactly is a ghostwriter, and what do they do?

Ghostwriters are writers who are hired to write books (or other material) that someone else will be credited for.

In essence, the ghostwriter is the person who listens to your ideas and stories, and then helps you turn those ideas into a book. Once the book has been completed, you are listed as the author, with the ghostwriter’s identity remaining anonymous.

There are times that ghostwriter does receive credit for the part they played in the writing process. However, more frequently ghostwriters remain unknown (as does the fact that a ghostwriter was even used).

Although this may sound odd, it is actually quite a common practice. In fact, there are many celebrities and well-known personalities who regularly hire ghostwriters to help them pen their autobiographies and memoirs.

While ghostwriting is frequently associated with writing books for celebrities and non-celebrities alike, ghostwriters are also used for a variety of other written works, including:

  • Speeches
  • Blogs
  • Social media posts
  • Proposals
  • Newsletters
  • Website content


So, next time you find yourself struggling to put your words to paper, perhaps you should consider hiring a ghostwriter!  

How to Edit Your Ghostwriter

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When you hire a ghostwriter, chances are, you won’t like everything they write.  That’s okay.  We may go so far to say, to some degree, it’s even expected. The author-ghostwriter relationship is a collaborative one, and one that works best when you (the author) are honest and clear with the feedback you have for your partner (the ghostwriter).

Now, we know that sounds somewhat self-evident.  However, it can be trickier than you think to edit your ghostwriter, if you aren’t familiar with editing.

When you start to see the first chapters proudly presented by your ghostwriter, you will likely have some or all of these questions:

What types of errors are normal in a first draft?

Should you be concerned about typos? 

What if you sort of like the material, but it doesn’t quite feel like you? 

What if you really don’t like it at all?

To help get started with constructive feedback, we’ve found that it helps our authors to separate their editorial comments into two types: large-scale, “big-picture” edits and smaller, one- or two-word “little-picture” edits.

This helps them, and us, categorize what level of editing or reworking might be necessary, and to determine best next steps.

“Big-Picture” Edits 

What are they?

These edits are just like they sound: “big-picture” edits are more about style and organization and often require discussion and rewriting. Not every draft requires big-picture edits, but such edits are not unusual, either – especially at the beginning of a book project.

Examples:

Here are a few examples of “big-picture” questions/edits:

  • Changing primary angle/direction of the copy
  • Scrapping current copy and rewriting from scratch
  • Changing the order of multiple sections
  • Combining, rewriting, or deleting larger sections
  • Changing the style or tone of the piece (i.e. your writing doesn’t sound like me)

What to do:

Stop.  Talk to your ghostwriter, in person or on the phone — email is almost always too vague, and it can be difficult to convey all of your thoughts into in-text comments.

Be clear that you are looking for major revisions (don’t sugar coat it), and give your writer the opportunity to rewrite.

“Little Picture” Edits

What are they?

“Little-Picture” edits are one-or-two word changes that don’t require any discussion or large-scale rewrites.

Examples:

Some typical “little-picture” edits include:

  • Small word choices  (“crimson” instead of “red,” for example)
  • Word preferences (you prefer not use the word “custom” or “affordable”)
  • Facts and figures (“September 29” instead of “September 19”)
  • Spellings of names, places, or companies (“Kathy” instead of “Cathy”, “The Writers for Hire” instead of “Writers for Hire,” etc.)

What to do:

Unless your document is littered in typos and factual errors, there is no need to worry.  Fact checking and proofreading come later on in the process.

We suggest you make “little-picture” changes directly on the Word document yourself. If you’re familiar with the “Track Changes” function in Word, you can use that. If not, just highlight your changes so your writer knows where they are in the document.

Send the document back to your ghostwriter for reference, but don’t ask for a cleaned up version yet.  Let them continue writing – your book will move along faster if you don’t try to perfect each chapter as you write it.

Good Ghostwriters Want Your Feedback – Really!

We mean it. The more specific, detailed comments you can give us, the better! As your ghostwriters, we depend on your feedback to ensure that your book actually sounds like “you.” You won’t hurt our feelings or offend us if you’d like to make a change.  

What happens if you’ve tried giving feedback, it’s just doesn’t seem to be working?  If you hired a reputable firm after close due diligence, chances are you’ll be able to work it out.  If not, check out our post on When to Leave Your Writer.

How Can a Ghostwriter Help Write My Family History?

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Have you ever considered writing a book about your family’s history, but don’t know how or where to get started?

Perhaps you have a great concept in your mind, but are struggling to put the words on paper. Or, like many people, you would love to have your family story written, but you just don’t have the time to do it yourself.

Whatever your reasons may be, it is likely that you have at least contemplated the possibility of hiring a ghostwriter. But, can a ghostwriter really help write your family history?

The short answer is, yes.

Now, as in any profession, different ghostwriters have different strengths. So, you will want to find the right ghostwriter for your project.

Once you have found a qualified family history ghostwriter, though, there are many ways in which they can help turn your book dream into reality.

The Nitty Gritty Research

If tracing your family roots and learning details about your ancestors is an important part of your family story, then it is imperative that you look for a ghostwriter who has experience with genealogy.

While many ghostwriters can turn your family stories into a great book, you will need someone who is also skilled at the kind of in-depth research that is needed to trace your family history beyond what your grandparents’ memories could reach.

Not only will this ghostwriter need to have the ability to research information about your family’s history, they also will need the necessary resources to check (and double-check) the facts and information that they find. Along with genealogy research, your ghostwriter will be able to research additional details about what was going on at a certain point in history, or what life would likely have been like for your ancestors.

Once the research portion of your family history is completed, your ghostwriter can work with you to find the best way to showcase their findings within your book.

Living Interviews

While you may know most of your family’s stories, and could probably provide enough content for an entire book yourself, it is always recommended to hear those stories (and more!) from the perspective of other living family members.

That is where your ghostwriter steps in.

They have the experience and know-how to get your family talking. They also have the skills to ask the right questions, and dig into the meaty heart of a story.

Along with great family stories, your ghostwriter can also work on collecting old photographs to include in the final book. And once all of the interviews have been completed, your ghostwriter will be able to organize the information and weave it into the most appropriate parts of your book.

Keep in mind, though, that you will want to make sure that the ghostwriter you choose is likeable and has good people skills. Afterall, grandma is not going to want to tell her best stories to someone who isn’t friendly.

Writing and Editing

This is where your ghostwriter’s storytelling and writing skills come into play.

Your ghostwriter will work closely with you to find out how you imagine your story should be told, as well as the specific style and format that you want.

Don’t worry if you are not quite sure what it is you want. An experienced ghostwriter will be able to walk you through the process of figuring out what will work best for your family’s story. They will also be able to explain your options to you, and make personalized recommendations.

And once you figure out what you are looking for in your book, your ghostwriter will be able to make the magic happen.

Publishing the Final Product

Once all of the research has been done, the interviews have been collected, and your book has been written, you will want a way to publish it.

Whether you are hoping to publish just one copy for your own personal use or several copies to give as gifts to family members, you will find that there are many publishing options available.

Depending on the ghostwriter that you choose, they may be able to take you all the way through the publishing process.

It is important to remember, though, that most ghostwriters are not publishers.

Most experienced ghostwriters, however, have a working knowledge of the publishing process and will be able to educate you on your publishing options. Also, it is likely they will be able to help you self-publish, or connect you with a publisher who can take care of your final product for you.

How to Find the Right Tone and Voice in Writing

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  1. As writers, we are always trying to make sure that our work reflects our clients’ unique and authentic personalities.

    It’s important that the things we write do not sound “cookie cutter,” or too generic. At the same time, though, we want to make sure that our writing is relatable and entertaining.

    But, how do we go about finding the right tone and voice for our writing? And how can we be sure that our tone and voice portray our clients in the way that they wish to be seen?

    This great blog from Kuno Creative is a fantastic resource for finding the right tone and voice for your writing. It gives some great tips on how to decide how you want to be portrayed, and how to successfully achieve the appropriate tone and voice to fit your unique self.

The Ghostwriter’s Survival Guide

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Have you ever wondered what goes into being a ghostwriter?

Have you pictured yourself writing books for other people, but have no idea how to get started?

If you answered “yes” to either of these questions, then this great “survival guide” from Freedom With Writing is just what you need.

This informative guide covers everything from the definition of ghostwriting (and why it differs from copywriting and editing) to the art of writing from someone else’s perspective. It also dives into the difficulties of never receiving credit for the work you do, as well as tips for how to get started as a ghostwriter.

Looking for more information on what goes into a ghostwriting agreement? Check our blog on the Ins and Outs of a Nonfiction Ghostwriting Contract.

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