Adam Reger | Pittsburgh Writer, Editor, and Teacher

Pittsburgh writer, editor, ghostwriter, and teacher.

Category: Pittsburgh Copywriter

Ghostwriting: How to Know If You Need to Hire a Ghostwriter or Not

Ghost Image

This is the fourth (and, for now, final) installment in a series of blog entries about ghostwriting. I’m attempting to provide practical information for those who may be considering hiring a ghostwriter. The series started with some misconceptions about ghostwriting and continued with a rundown of the different ways you might work with a ghostwriter, followed by some questions to answer before reaching out to a ghostwriter.

Now that I’ve walked through what ghostwriting is, the various logistics of how you might work with a ghostwriter, and some things you can do to prepare yourself for success with a ghostwriter, let’s ask a seemingly dumb question: do you actually need a ghostwriter?

I know, I know—shouldn’t that have been the very first question?

Well, not necessarily. Sometimes it’s only once you’ve done some self-reflection on your needs and, especially, the nature of your project that you get clarity on what you actually need. And sometimes, talking through practical matters such as how you’d like to work with a ghostwriter and what kinds of materials you have available to give to him/her exposes a surprising fact: maybe someone writing this project for you isn’t what you need at all.

As I described in my first post, many will find that they need help from the ground up, from organizing their thoughts to writing the first word. The reasons vary: English may not be your primary language, or you may simply not like writing. If you’re in that boat, a ghostwriter is certainly an excellent and efficient option.

For many others, however, your answers to some of the big getting-started questions I proposed last time might indicate: that you have already begun writing your book, but aren’t quite happy with the pages you have; that you’ve written other pieces—newspaper articles, journal entries, blog posts, white papers and more scholarly articles—that you feel could go into a book, provided they are rewritten or reworked in the right way; or that you’d like to write the book, you feel you’d enjoy it and would do a good job of it, but something is getting in your way. (Usually the obstacle here is time, a sense of not knowing where to begin, or some combination of the two.)

The options I go through below are aimed at the people who fall into this category. Depending on the nature of your project and what kinds of material you’ve already generated, you may find some of the following helpful as alternatives to hiring a ghostwriter.

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Ghostwriting: Questions Before You Get Started

Ghost Image

This is the third installment in a series of blog entries about ghostwriting. I’m attempting to provide practical information for those who may be considering hiring a ghostwriter. The series started with some misconceptions about ghostwriting and continued with a rundown of the different ways you might work with a ghostwriter.

Today I want to cover how to prepare to work with a ghostwriter. I sort of covered this in my last post, on the different ways a ghostwriter might work—it was certainly my hope that looking through that list of methods might spark some readers to say, “Yes, that is definitely how I’d prefer to work with someone.” Figuring that out is a big part of the battle.

But mostly I want to move beyond the question of how you’ll get the ghostwriter the information they need to think about ways to identify what’s important to you and get at least a general picture of your book that you can communicate to the ghostwriter. Below is a list of questions and concerns to think about before you reach out to a ghostwriter. If you have even the beginnings of ideas on these topics, your ghostwriter will definitely appreciate it.

Where will this book go in the bookstore?

For now (and hopefully forever) the metaphor of a brick-and-mortar bookstore is still relevant. As long as it is, I ask clients Where would your book appear in a bookstore?

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On Rejection

For anyone who writes and seeks to publish their work, rejection is just a fact of life. Many times I’ve started entries like this one decrying how hard it is to get anything published, from a short short story to a novel. Thankfully, I’ve deleted most of them.

Being in a sunnier mood at the moment, I thought I’d offer some more positive thoughts on rejection, trying to put it into perspective.

A reality check, though: being “positive” really just means better coming to grips with what is a very grim reality. Two object lessons that will quantify that grimness:

Screen Shot 2018-01-09 at 11.06.26 AM

This is a screen shot from my Duotrope account, which (among other things) tracks submissions. It indicates that of the 31 submissions I’ve sent out over the past 12 months, I have a 4.2% acceptance rate.

Terrible, right? My work must be pretty bad, right? Actually, if you check out the note at the very bottom of this image, you will see that that pathetic 4.2% represents a better than average response rate (from the journals to which I submitted). So much so, Duotrope is congratulating me!

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Ghostwriting: How does it work?

Ghostwriter 2This is the second installment of a brief series of blog posts relating to ghostwriting. In the first installment, I looked at some common misconceptions about ghostwriting.

In today’s post, I want to dive deeper into a question that can be a bit of a sticking point for many people who are thinking of hiring a ghostwriter.

“How does it work?”

Once you’ve found a ghostwriter and you’re ready to get started . . . well, how do you get started?

There are three main ways that a ghostwriter works with his or her clients. In my experience, writing a book for a client is typically a mix of these three methods, and very rarely is just a single method employed.

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Ghostwriting: Some Common Misconceptions

Ghostwriter imageOver the next couple weeks, I’m going to be posting some blog pieces covering a part of my career portfolio that I rarely write about: ghostwriting. I have been working as a ghostwriter for the last seven or so years, but due to the nature of the business I have rarely mentioned it here on my blog.

That’s mainly because by nature it’s a fairly secretive process: A ghostwriter is contracted to write a book for someone else, and that person’s name goes on the cover. That’s the deal, with all that it entails: As a ghostwriter, I don’t share credit, my name is never mentioned, and the “author” (my client) proceeds as if he or she wrote the book, from start to finish.

If you look at my ghostwriting page, there aren’t any titles mentioned or links to books. Part of what my clients purchase is my discretion. This can make it hard to market yourself as a ghostwriter, but what would make it really hard is a reputation of blabbing about writing clients’ books. So I keep my silence.

Common Misconceptions About Ghostwriting

In this installment, I am going to look at some misconceptions and points of confusion that I encounter frequently when I talk to people about ghostwriting. My hope is that this might be read by someone bouncing around the internet, trying to decide whether a ghostwriter is what they need for their project. Clearing up some of these misconceptions would make an excellent starting point regardless of the nature of your project.

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New, tiny fiction

Here is something new for me: I wrote a tweet-length story and it has been published by Tiny Text (@Tiny_Text), a Twitter-based literary magazine that publishes writing of 140 characters or fewer.

My story, “Spoiler Alert,” boils down all stories to a single, tweet-length formula (really).

You can check out the story here, then dive into Tiny Text’s many fine, super-compressed pieces here.


New fiction at Euphony

I am very pleased and proud to have a short story, “Cruelty,” in the Spring 2016 issue of Euphony, out of the University of Chicago. You can read the story online here.

A little background on this piece. This is all that remains of a novel I wrote during graduate school, then drastically rewrote several times after graduation. That novel (working title: “Isolation Drills”), after lots of reworking, featured a narrator who was making an academic study of pornographic films and who met and began to date a woman. It was a classic first attempt at a novel, with lots of stuff pulled from my life (NOT the porn thing!), not much plot, and some not-very-well-drawn scenes and characters. The whole drafting process was an invaluable study in what’s required for a novel and how to write one (plan! Revise!), but I’m grateful I don’t have to look at or think about those pages anymore.

Even so, the central conflict of the novel and the relationship between the two main characters stuck with me, and at some point last summer I had two related thoughts: “Is there any way I can salvage anything from those multiple drafts and hundreds of pages?” and “What if the perspective shifted from his to hers?”

And so “Cruelty” came to be.


Notes for Next Time

(I was tempted to title this something flashy and contemporary-seeming, like “One Weird Trick to Make It Easy to Jump into Writing,” but opted for the more prosaic title you see above.)

Anyway, a note stemming from last night’s meeting of my “Writing Studio” class at the Pittsburgh Center for the Arts. (Briefly, this is a class whose purpose is to offer writers of all genres/backgrounds the time to write, with some hopefully-stimulating elements like a weekly craft talk, exercise prompts, discussion time, the option to share pages with me and get feedback. Basically, think of an open studio in pottery or painting—it’s like that, but with writing.) Two meetings in, the class has been great fun and very stimulating—for me but, far more importantly, for the students, a number of whom have told me they’ve been enjoying it and getting lots done.

We had a great discussion regarding writing process, and someone brought up Hemingway’s practice of stopping a day’s writing in the middle of a sentence so that he’d have a natural and easy place to start the following day.

This prompted me to share something I do when I stop writing for the day that has come to seem so natural, I quite forgot that I’d ever not done it. The students seemed interested, so I thought I’d share it here as well.

Going off the Hemingway practice, which was designed so that Papa could stop when there was more to be written and it would be fairly clear, the following day, what should come next, I have gotten into the habit of marking the place where I’m going to pick up tomorrow and then writing a short note about what I think can or will happen next.

For example, here’s what I wrote at the end of today’s work on a piece that I think will eventually add up to a novel:

“echoes of Homewood, someone saw him give Malaki a hug and wants a hug too; asks Pete’s advice on Hilda”

This will of course be complete nonsense to you, but it means something to me and when I begin work on this piece tomorrow I can look at this and remember what I thought might be a good next step.

I have the option to follow those notes as if they were a blueprint, but it’s only an option. What I think is important is that these ideas present suggestions I can consider following (and decide to do something else—for instance, I might decide this bit about the hug is stupid, after all, and ignore it), begin to follow and then change course, or follow to the letter if I’m simply not feeling very original (or if I still agree with these ideas).

As I said, this has become a thing I do unconsciously when writing, as ingrained as having a cup of coffee nearby and my internet connection disabled. But several of the students remarked that picking up the thread of a piece of writing often costs them a bit of time and effort each time they get started back up on something, and I remembered that that used to be an issue for me, too. Hopefully this is an idea that can be beneficial to somebody out there.


Runner-Up in Nelson Algren Literary Awards

I’m very pleased to announce that a story of mine, “Klamath Falls,” was named a runner-up in the 2016 Nelson Algren Literary Awards, presented by the Chicago Tribune. Here’s the Tribune story on the contest and the grand prize winner, Lee Conell. Congratulations to Lee as well as the four finalists and three other runners-up!

For their sake, not mine—well, also for my sake if we’re being honest—let me say that this is a big deal. The Algren Awards are deluged with submissions every year, and this year the judges received more than 4,200 entries. To make it out of a pool like that, through multiple rounds of judging, is an accomplishment.

The stories will be published in the Tribune‘s “Printers Row” supplement and online via the paper’s Printers Row app. I’ll post a link when “Klamath Falls” is out there, but Conell’s story appeared this past weekend. Go check it out!


Writing Studio: Slightly shameless plug of an upcoming writing class

Later this summer, I am going to be teaching a class at the Pittsburgh Center for the Arts that I think/hope may be of interest to some of my readers (local ones, anyway).

The class is “Writing Studio” and it’s not so much a class as, well, studio time dedicated to writing (as the name may suggest).

Just as students in other disciplines at the PCA have studio options, and can drop in once or twice a week to work independently with ceramics, screen printing, sculpture, etc., students interested in writing will now have the opportunity to come in to the PCA’s education building once a week and get some writing done.

The class stems from a basic observation I’ve made throughout my courses at the PCA: most of the writers who’ve come through my classes have the most trouble not with point of view, plot, etc., but with the struggle to find time to write and to keep writing (both in terms of keeping their seats during a single writing session and coming back to the writing desk day after day). Building a healthy writing process, and the discipline to keep it up, is among the most pressing challenges for any writer, especially those just getting started. (And working a day job doesn’t make those challenges any easier.)

“Writing Studio” is meant to address these challenges by offering a dedicated chunk of time each week, as well as a space where students can come to work quietly, buoyed by the presence of others doing the same thing. Along with time to write, the course will offer a sense of community and the opportunity to discuss ongoing challenges, troubles, and triumphs. The aim is to give writers time and space to get work done during the five weeks of the course and to launch them into a productive and sustained writing routine long after.

I’ll supplement the core of the course—in-class writing—with writing exercises, craft lectures*, and availability for one-on-one feedback and discussion. But by and large, the class is about giving students a place and a time to come, sit down, and write.

The class runs five Mondays, beginning July 11 and concluding August 8. Each class will run from 6:30 to 9:30 p.m.

If this sounds like something that may be of interest, I hope to see you in July!

*An important note: “Writing Studio” is designed to work for writers in any genre, so readers who don’t write fiction (as I do) may still find something useful in the class, even beyond writing time.