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Cruz Santana
A ghost who has only a lay knowledge of the subject will be able to keep asking the same questions as the lay reader, and will therefore open up the potential readership of the book to a much wider audience.
Robert Harris
So far, we’ve spent a lot of time chewing off your ears covering a lot about ghostwriting. We began by talking about ghostwriting in general and explaining what the process is and why it exists. Then, we brought up the different ways in which you could be asked to ghostwrite something by using your ideas and your client’s words or vice versa.
From there, we dove into the importance of niching it down and how your niche could change over time.
Chapter four crammed your noodle with the basics of writing damn good copy. But no worries, it’s all just practice. The more you try it, the better you’ll get. We left the chapter with the understanding that your brand is important. And you should keep all of that up to date from here on out. You just never know where your next paying gig could come from.
And finally, I broke open several sources (FIVE!) of paying gigs. I asked you not to try to pitch any just yet. And I mean that because I need you to see how ghosts pitch.
Now, without further ado, ghost pitching.
AS YOU CAN PROBABLY imagine, I get asked some pretty kooky questions on a daily basis. One that comes up a lot is, “In ghostwriting, how do you pitch?” The good news is that it’s not that far off from the traditional pitches you’d send as a freelance writer.
There are many layers to pitching. And each of those layers gets dealt with differently according to:
A. Who you’re pitching to (i.e., a publishing house, ad for ghostwritten web copy, etc.)
B. What type of writing you plan to do for them (i.e., memoir, sci-fi novel, product descriptions)
Pitches should be structured to reflect your understanding of the way things are done on the receiving end of your pitch.
Let’s talk about pitching freelance writing gigs for a sec.
Freelance writing is all about that pitch. How short, how lean, how effective pitches are. Having a great one ready to go at a moment’s notice—waiting for you in your inbox draft folder—is ideal. When the moment strikes and you’ve read all about a cozy little opportunity, go for that draft pitch. Customize it if you need to. It only takes a few minutes. And then send it to one of your new leads.
It totally works for when you’re responding to ads seeking ghostwriters, for the most part. Where it gets dicey is if you want to work for a publishing house, want to get signed up with an agency, or want a literary agent. Everywhere else, pitching is pretty much the same as what you’re already doing. If you’d like more info on pitching for freelance writing gigs, you can download some sample pitches from the bonus area here.
NO, NOT REALLY. BUT I’ve made myself believe I do. It’s the only way I’m liable to take action. Pitching is what my coaching clients struggle the most with. Some don’t realize just how many pitches you need to send out to build a writing business. But it doesn’t have to feel that way if you just pay attention to your results. I send out a few pitches per day, no matter what.
WHEN MARKETING YOURSELF to prospects, consider your expertise. For example, I specialize in ghostwriting fiction and memoir.
The best way to approach ghostwriting prospects is with a Letter of Introduction (LOI). And if you think about why, it makes sense.
Where a well-crafted pitch in traditional freelance writing would include a few ideas for topics in the body of the pitch email, LOIs don’t contain anything resembling a pitch as part of their content. You’re merely introducing yourself to a pool or several pools of opportunities. Do that right and you’ll soon have gigs being pitched to you.
An LOI is a marketing tool for pitching ghostwriting services to businesses and publications. They can’t expect you to guess what subject matter they might need covered, right? So “pitch” them your knowledge of their industry and showcase that writing experience and specialty with some light brown-nosing. Keep it short. Less than 450 words is ideal.
To create your LOI, follow these steps:
1. Start by doing some market research. Make sure you know a bit about the organization you’re contacting. What kind of writing do they need? A strong LOI is tailored to the recipient.
2. Open by making a connection. Do you have an “in”? For example, you may know someone who works at the company. Did you discover something in your market research that you can briefly mention?
3. Describe how you are uniquely qualified to work with the organization. Have you published at least one book? Do you have any experience writing or publishing articles? What about experience publishing other shorter pieces? If possible, include some detail that makes you stand out from the crowd. Maybe you have some specific experience in the company’s industry that gives you a rare knowledge set.
4. Close by asking a question. Sure, not everyone will reply. But you still want to prompt the recipient to take action so that at least some of them follow up with you. For example, ask them if they’d like you to send more samples of your work.
5. Finally, pump up that résumé to appeal to prospects.
HERE’S A SAMPLE OF a great LOI. A friend of mine wrote it, and I really like the layout.
Dear Ms. Alley:
A fellow ghostwriter and friend, Marla Washington, mentioned you might be looking for help over lunch today (she’s in the states for the holidays). I am writing to express my interest in ghostwriting for Fox Publishing. [The first paragraph of your LOI should catch the editor’s attention. If you have an “in,” use it here.]
I’ve been a full-time freelance writer for the past four years. In that time my work has been featured in Redbook, Parents, Business99, Family Circle, and The New Yorker. I’m also the author of two books, Create Your Own Niche (Amazon, 2015), Making Money In the Big, Bad World of Ghostwriting (The Writer Books, 2013) and the novel, The Curmudgeon Lives On (Knopf Publishing, 2005). [This paragraph includes an overview of his writing background.]
I’ve also written for several popular blogs including The Penny Hoarder, Lifehack, Babble, Scary Mommy, CollegeHumor, and The Good Men Project. I also draft marketing pieces, newsletters, brochures, and others for businesses. [Here he showcases the fact that he’s written for online publications.]
A little more about me: I received my bachelor’s degree in finance. I was also a licensed financial advisor for four years before changing careers to write full-time, and my unique training has given me a different perspective on the importance of accuracy and clarity in written communication. [His background is unique, and this will hopefully help him stand out in the editor’s mind.]
If you’re looking for ghostwriters, I’d love to discuss your needs with you, and send you some clips via snail mail or samples via email. I’ll follow up on this letter after the holidays, but please let me know if you have any questions about my background or experience. [Here he lets her know that he’s happy to send clips, and that he’ll follow up on his pitch soon.]
Thank you very much, and have a wonderful holiday season.
Very truly yours,
Johnny Ghostwriter
All in all, your mission is simple: Say hi. Explain why you should work with the publishing house, writing agency or literary agent. Flatter them a bit—but be genuine. And get it out.
Then again, not all LOIs are the same. When I was managing a submissions inbox a few years back, I’d continually field emails like this (really):
Dear Sirs or Madame,
Can I write for the Writers Digest.
Hit me up! I’d love to be in Your Digest.
K Thanks
Horace
Writer of Boss Words
See the difference?
Good. Now, be the difference.
When it comes down to it, breaking into ghostwriting isn’t all that difficult. You just need to know what you’re up against, which ultimately proves that in a sea of Horaces, it’s not that hard to stand out and fight your way to the top if you know the right way in.
IT’S PURE EXHILARATION, isn’t it? Out of nowhere, you have a real opportunity on your line. Take a few deep breaths. I need you to be in top form for this. We’re establishing parameters by recognizing that although things might be terrific right now, external factors (i.e., like a new project, an uncomfortable budget, and zero timeframe) affect how you work with a particular client.
Freelance writers are familiar with this process. They’ve done this enough to know what questions to ask before agreeing to take the gig. If you’re pitching another type of ghostwriting (i.e., newsletters, blog posts, etc.), use the same questions you always use. The process doesn’t change much in almost every aspect of ghostwriting. It does, however, when working with authors.
NEVER, EVER QUOTE A fee off the bat. Lay off your happy dance for a moment and chill out before you reply. Think it through. Only talk money after your prospect has answered the following questions (note these questions are specific to book ghostwriting, but many are also relevant for other writing types):
1. What kind of book do you want to write? How long will this book be?
2. Why do you want to write this book?
3. Have you started writing it already?
4. What’s your time frame for getting it written? When do you want this book in print?
5. Why do you want a ghostwriter/co-author for your book? Which do you prefer?
6. What kind of publisher do you hope to be working with? Do you want to sell your book to a traditional publisher or self-publish it with a print-on-demand service?
7. Who’s the audience for your book? Why would they want to read it?
8. Have you thought about how you’d like to work with a writer?
9. What’s your budget? (You might have to remind the prospect that ghosts get paid a percentage up front for their services.)
Some clients (publishers and agents, in particular) will already have a set fee in mind for a project. Others will ask you to make a bid. Make sure you know what’s expected of you, how long you’ll be working, and how long the book will be before you quote a fee.
You’ll also need to know how you’ll work together. It just depends on how much work your client has already done, is willing to do, and how he prefers to work with you. There are three ways this generally happens:
1. You may interview your client and write the book from scratch, relying on your notes.
2. Your client may write some of the book while you write the rest.
3. Your client may provide you with background materials that you use as a starting point.
Move no further in the process unless you understand exactly what you’ll be responsible for. Find out how the client will give you information. Will you get their stash of notes? Interview only? A combination of the two?
Interviews take more time, so the cost to the client will be higher if they want a lot of them. Research is another time thief, so be sure to ask if you’ll be expected to conduct any or if they plan to hire a separate researcher.
EVEN THE BEST PITCHES get declined. It’s a feeling every single writer across planet Earth knows far too well. And while you won’t see so much of a reflection of it in this field, I’ve found that prospects are sometimes not willing to budge during negotiations. I’ve been presented with crazy offers to write an entire manuscript in exchange for a co-authorship on the cover or back end royalties. Cash on the back end sounds neat, but not all books are best sellers. Before considering an offer like this, ask for cash up front. If your client asks you to justify the request, mention things like interview time, researching time, or costs of supplies.
You’ll be pelted by similar rubbish all the time. And while I’ve worked for free (especially in the very beginning), I got something out of it in the way of valuable experience that dramatically shortened my learning curve.
Counter any offer that doesn’t meet your minimums and keep that branding stuff we talked about earlier up to date.
Sometimes, despite all you do, all the chasing and the relentless back and forth, you’ll end up rejected. Don’t dwell on it. On this side of things, it usually happens due to something that’s out of your control. Either someone else was a better fit for the project (in which case, that’s a good thing) or the money wasn’t right.
Move on to the next prospect as quickly as possible.
LAST THING, FOLKS. In this business, you’ll always sign a contract and a non-disclosure agreement. Your contract will be pretty standard and will describe the nature of your working relationship with your client. It should lay out things like your fee, the size of the project, a deadline for completion, and a schedule for payment disbursements.
Publishers draw up a pretty standard contract for each of their ghosts. If you’re being paid directly by the author, you might have to supply the contract—not a bad thing. Seek out legal assistance in getting this done. If you can’t afford to do that, you can download a list of things to include in a contract here. Once you have it drawn up, pay for an hour of time with an attorney who specializes in contracts or intellectual property. Have it reviewed with that hour to make sure you’ve covered your butt well.
Non-disclosure agreements are completely normal and a part of what we do. Over the years, I’ve signed more of these than I could count. Honestly, I don’t remember what I can and can’t say anymore, so as a general rule, I just keep my mouth shut. I don’t talk about my clients or their books I’ve written, nor do I disclose their titles. If a new prospect asks, I give them a roundabout, more-or-less, skirting-the-line kind of answer. My bedroom bookshelf is the only accurate record of my work. And I’m completely fine with that.
TO GET INTO GHOSTWRITING, follow the steps in this chapter and draw up a letter introducing yourself and your expertise to folks you’d like to work with. Use your sources from the last chapter to find places to send your LOI to. You can also download some additional pitch and LOI samples from the bonus area here.
You ready to level up and earn well as a ghostwriter? Check out how to level up your biz in the next chapter.