Empowering Writers: Think Twice Before You Take That Ghost Gig

One of my students brought my attention to this article in the New York Times about cookbook ghostwriting.

She pointed it out because she knows my position on taking ghostwriting gigs when I’m coaching my students.

My position is: think twice before you ghost.

Why?

Well, for one thing, my students work long and hard to develop their own voices, their own expertise, and their own niche. Therefore wherever they go to ghost, they are bringing all of their own hard work with them, including their distinct platform dynamic.

But with ghosting, writers have to subordinate all of their own strengths to someone’s whims and desires. And that someone else is going to cheerfully take all the credit for their hard work.

I can see how my students would be very appealing to celebrities, who want to extend their reach through ghostwritten books. My students are good, solid, conscientious writers. The know how to focus. They get stuff done.

And I can see how the lure of a celebrity name might be enticing. Might be a tempting possibility to see their name with another bigger name on the cover of a book or ebook.

They might think that this kind of opportunity is a good learning experience or a feather in their platform cap or even just a decent paycheck.

But I suspect the subordinate writer being pitched by the more experienced author is not likely seeing the whole picture. My primary concern is that they may not calculate the cost of the time spent away from the development of their own work.

Bottom line for me: I feel my students deserve better than what most ghost deals can offer.

I am willing to be wrong about this. I am waiting to hear of an example of ghostwriting where it made sense for an intelligent, hardworking, thoughtful writer with burgeoning success to take a ghostwriting gig. But so far, my impressions are…not so much.

At the very least, a writer considering ghostwriting should look beyond the paycheck and consider multiple intangibles that may be difficult to imagine unless you read this article.

Regardless of what credit the subordinate writer will receive, they will never be seen as primary catalyst behind the book, even if they were. The celebrity name is always going to garner more credit and cachet from the book, whether it sells or not.

I hope my students would get some input from experienced ghostwriters. I hope they would look at an ebook or book project as the sizable commitment it is, even in the scope of a career. And then remember, it will likely eat up 3-5 times more clock hours than you think.

Ask yourself if the gig is getting you to your ultimate destination as a writer, especially if you are on the receiving end of a very persuasive sell, in which flattery may or may not be involved.

If you subordinate yourself, expect to feel like a subordinate every step of the way. When you are used to full ownership, subordination is not likely to feel that great, promises of greater exposure or no promises of greater exposure.

I think this article helps more experienced writers with an established niche begin to understand how ghostwriting may actually not be rosy picture of camaraderie and mutual success that it’s cracked up to be.

In the meantime, I stand by my position when it comes to advising my students. And it is this: tender your career more dearly. Think twice before you take that ghost gig.

Thanks to Julie Moskin from The New York Times for writing, “I Was A Cookbook Ghostwriter.”