Thinking About Collaborative Writing...

Nick wrote to ask me, "I've been approached to do some collaborative writing. What tips can you offer me? What's the most important thing for me to know or do?"

I've co-authored about twenty books, and ghosted/created roughly forty more from the sermons and speeches of various teachers, so I know something about collaborative writing. Since I seem to be long-winded, I'll try to summarize my thoughts in a dozen bullet points:

1. Collaborators come in about four flavors. There's the true Collaborator, who takes the miscellaneous meanderings of a smart or interesting person and shapes it into a coherent text, often finding pertinent material to supplement the content. There's the Co-Author, who adds his own content and generally gets some credit for having a mind of his own. Third is the Ghostwriter, who creates material before getting shafted by the author, whose ego is too big to acknowledge the use of a writer. And finally there is the Mega-Editor, who re-shapes or sharpens the thoughts of the author. (These aren't really the industry terms -- this is from the MacGregor Dictionary of Publishing Words.) I start here just so you'll understand that there are different types of collaborative writing that you can be asked to do.

2. Clearly define your role. Make sure you understand what the job is and what you're being asked to do before you agree to do it. On the one hand, you have to be wary of writing someone else's book for them. On the other, there's no sense writing for someone who merely wants you to do a quick edit of their work. This has happened to me on more than one occasion -- I did great work, which the author always thanked me for effusively, just before throwing it out so that they could use their own lousy, turgid prose.   

3. Clearly define your agreement. Basically you want a written letter or email that details "I will do this work for that amount of money." It's also nice if it clarifies "you're going to give me this material, and you expect me to complete my work by this date." I encourage you to do this even if it's a small project. You don't have to make it a formal, signed contract -- but get something in writing that details the assignment. That way, should there ever be a disagreement, you have something you can all look back on that will clarify the job.

4. Define what "success" is for the project. You should know before starting the project what the author wants as an end product. If they're paying you for a rough draft, produce it. If they're paying you for a polished final manuscript, produce that. But if you don't define success, you'll often find that your expectations may not match up with their expectations.

5. Make sure you can do the job. I love writing, and I love learning new things, so I always enjoyed taking on collaborative projects. I wrote manuscripts that taught me about guns, about investing in stocks, about card tricks, about Scripture... Writing collaboratively was as good as any class I ever took in college. (Not that I was paying attention in college. I was a theater arts major -- we just emoted a lot and tried to look worldly.) If you don't like this sort of thing, or if you don't enjoy trying to mimic someone else's voice, you should stay away from collaborating.

6. Don't say "yes" to a project you don't understand. Old preachers have a saying: "If it's a mist in the pulpit, it's a fog in the pew." The same goes for collaborating. If you're a bit misty about the project after you've talked at length with the author, you'll find yourself in a total pea-souper when trying to write. Have a hard and fast rule: You will be able to tell someone what the book is about in one simple, non-technical sentence. If you can't do that, say "no thanks" to the project. (I once said yes to a book that was a complete mystery to me. I kept writing sentences with phrases like "the focusing centerpoint of emphasis." It was terrible. To this day I have no idea what the author was trying to convey.)

7. If you don't like the author, do not take on the project. Never. Ever. Imagine the phone ringing, you look down and see it's the author, Mr. Farnsworth. Your first reaction is to roll your eyes, shake your head, and yell "NO! NOT FARNSWORTH!" A bad sign. Life is too short. If you're not comfortable with the author after spending some time together, politely decline and move on. No matter how much they offer to pay you.

8. You don't want to take on a project if you don't agree with the basic premise. I'm one of those people who has done a lot of faith & spirituality titles, so I have a pretty big tent when it comes to accepting differing theologies. I don't have to agree with you on every issue, since I figure we're all wrong on some small point (meaning, at best, we're all probably heretics). But if the basic premise of the book is whacked, say no. I used to write for Adrian Rogers, a wonderful Southern Baptist pastor down in Memphis who had a big radio ministry and a lot of good things to say. I respected the man very much, but he once hired me to write an article for him in which he claimed that Jesus didn't really drink wine. I thought it was a bad idea to begin with, but once I heard his sermon, I couldn't believe it. One of the hokiest, most contrived mis-uses of Scripture I'd ever heard. ("What about Jesus turning water into wine at the wedding feast?" "That was just grape juice." "But wasn't the bridegroom praised for having saved the best wine until after the guests were drunk?" "It might have been a non-alcoholic form of strong drink.") Okay, so I wrote it anyway. And I've always felt guilty for perpetrating this tripe on other people. Save yourself the trouble. If somebody asks you to write rot, say no.

9. Don't write like they talk -- write like they ought to talk. There's a myth surrounding collaborators, that they sort of transcribe what the author says, then clean it up a bit. That's not collaborative writing. Quick -- what was the last book of speeches you bought? (Anyone? Anyone? Bueller?) Right. Nobody buys books of speeches. The spoken word and the written word are two very different forms of communication. So don't just write down what they said -- find a way to transition it into well-written prose.

10. If you're asked to ghostwrite something, ask for a reason. I've been at this for years, and I've yet to hear a reasonable explanation why a writer should not be credited. So if you're asked to ghost something, ask them why. It's been proven that listing a collaborative author doesn't hurt book sales. Look at any celebrity or sports star who authors a book, and the collaborator is always listed. Why the change when it comes to pastors, politicians, and speakers? Let's face it, there's only one basic reason for requesting the collaborative writer's name not be on the book or title page: To stroke the author's ego. (Success and money aren't enough -- they also need to pretend they wrote a book.) And to that I can only say "rot." (Another true tale: I once worked with a woman who had a huge TV ministry. She would always ask for a collaborative writer, tell them they'd get credit, then try to back out of that commitment at the last moment. Apparently she couldn't live with the idea of her followers thinking she would stoop so low as to let someone help her write coherent sentences. There's a lesson: if you're going to get credit, get the commitment in writing.)

11. Don't insist on becoming best friends. Sure, when you spend several weeks helping someone craft his or her personal story, you'll develop a bond. But it's just a temporary one.  You don't need to be best friends -- instead, you need to write well so that you get the best book possible, get paid, and get another author to hire you for the next project. Sometimes a little distance can actually help you write a more honest, compelling story.

12. "I've got this great personal story!" Sooner or later, you're going to be approached by somebody with a tale that sounds like this: "I've had the most incredible things happen. You won't believe it. God moved. Miracles happened. Whenever I share my story in church, old ladies cry and men slap my back. I want you to come write it for me. I won't be able to pay you much, but it's a dynamite story, and soon we're going to sell it to a publisher, who will get it onto store shelves, where it will hit the bestseller lists. They'll make a movie out of it, probably starring Tom Cruise. We'll be rich. I can't wait. Come join me." The individual saying this will be nice. He or she will be earnest. They may even tug at your heartstrings.

Say no. Don't explain, just say no and walk away. Trust me on this. If you want to do it as a ministry, fine. If you have a couple weeks to waste on this sort of project, by all means go ahead and leave the real jobs to other writers. But listen carefullly to this bit of wisdom: There is no market for personal stories. None. Nada. Zero Zip. Zilch-a-rooni. Yeah, yeah -- personal stories used to be big. It's fun to hear some guy stand up and tell you his amazing tale of miracles and whodathunkits and God at Work in the Lives of Men. Maybe if you could transport that person around the country, so that he or she could explain the story to every potential book buyer, it would work.

But probably not. So forget it. Sure, there's a market for movie stars and the coach of the winning Super Bowl team. Every once in a while a Lisa Beamer will come along and offer an incredibly moving story, touching lives with her grace and poise. But that happens about once every five years or so. I just checked Poor Richard's Almanac, and it says that's not scheduled to happen this year. So forget it. Say no. Put down the keyboard and walk away.

Chip MacGregor (who was chosen "Boy of the Year" by his high school graduating class of 1976...really! Hey, wouldn't that make a great book?)

Comments

[Richard Mabry]

Chip,
"I laughed, I cried, I wished I were high-profile enough to be approached as a collaborative writer."
Actually, there's a staff member at one of this city's largest churches who wants to collaborate with me on a non-fiction book that would complement one that I've already had published. We had two lunches together last winter to talk about it. Then no word or response to emails for months. Now I've received another email, saying "Things have calmed down. Let's talk more about it." Guess what I said?

[Carla]

I agree with much of what you have to say, Chip, but I have recently read some great "personal stories" that have sold well: "Eat, Pray, Love" by Elizabeth Gilbert and "The Scent of God" by Beryl Singleton Bissell. They were both published in the last year or so. As a reader, I am more interested in books about real people who have overcome obstacles and experienced transformation.

[Candace Salima]

Great, great advice, Chip. I've done some collaboration and am in the middle of one with Merrill Osmond right now. You know of what you speak, my friend.

[Candace Salima]

Great, great advice, Chip. I've done some collaboration and am in the middle of one with Merrill Osmond right now. You know of what you speak, my friend.

[Sam Pakan]

All right. No smart remarks this time. That really helped.

I won't go into great detail, but you may have just saved my tush, and that, as readers (and voyeurs--shame on all of you, too!) of this blog know, is no small thing.

I'm going to tell John Grisham 'no.' Finito. No more ghost writing, John Boy.

Thanks.

[Ron Benson]

As a collaborator, I labored to make what was written identical to the distinctive voice of my author. My editor tossed it right back and said, "Do it over." I'd have saved weeks of time if I'd had your advice 18 months ago.

That said, the book hits the shelves next month. Your advice is a welcome lesson no matter the timing. Thanks.

[Dee Stewart]

The MacGregor Dictionary of Publishing Words sounds like a nice guide book.

I've collaborated five books this year and would like to add point #13. Don't allow your projects to keep you from completing your own. That has been my learning lesson for this year.

Great post. :)

[Crystal Warren Miller]

Oh, yeah, a fine time to write this great post about collaborative writing, right after I've been through the fires on my own. I have not been all four, just two of the descriptions above. I've had contracts and no contracts and it IS a learning experience. It helps you to learn a lot about people and yourself, too. The biggest thing you have to do as a collaborative writer is to walk away. Once it's done, "Next!" And Dee's words posted above are speaking to me. It's time.

By the way I was voted Best Actress in my high school class of 1976. (My entire HS career was an act.) I was just sure you are older than I am--and here you graduated the same year that I did. Hmmm.

By the way, may I ask you about Scotland? We're talking about going next summer (or whenever is a good time of year to go.)

[Pam Halter]

Ooh, Merrill Osmond! Actually, I had posters of Donny on my wall like every other young girl. HA!

I'm working with my brother right now on a fantasy novel. He's more of a sounding board because he really doesn't want to write. But he has great ideas and has contributed a couple of characters that I've fleshed out.

Thanks for the advice, Chip.

1976, huh? You're a Bicentennial graduate! It was a big deal for us ~ our jr/sr prom had a colonial theme that year. Like everyone, I suppose. I graduated in '77.

I'm off to set up for the Philly conference. See you soon.

[Danica/Dream]

Chip, you should write that book: Boy of the year: Escapades, Miraculous Feats, and Surviving Y2K. Surely someone would buy it.

[John Robinson]

"Boy of the Year"? Posh.

When I was nine, I was the voice of the parrot Sam in a Cub Scout sketch. A PARROT. Named SAM. Chip, lad, it just doesn't get any bigger than that.

[Susan Wales]

Hey Boy of the Year!

Great comments. As you are aware, I've done co-authoring and collaborative.Just make sure with collaborative you love the story. I've had a lot of experiences with co-authors, and I have some great advice to add.

Always make sure your co-author is a better writer than you and brings a different strength to the keyboard than you do.

I had the honor and the privilege of writing three books with Alice Gray and it was like getting a degree in writing. She taught me so much about writing and gift books . . . I'd say she improved my writing by 200%. She was both an editor and an author, so she had so much to offer. And she was happy with the relationship because of the ideas and creativity I brought to the content. It was a Match Made in Heaven! Not a plug, I promise!

So I highly recommend if you are going to co-author make sure they're a better writer than you and that the two of bring different strengths to the keyboard.

Love your website. Learn so much from it. When I was in high school I was voted best legs and hips for the perfect girl! If my friends could see me now . . . I'd win for MOST hips and legs. Ha!

Blessings!
Susn Wales

[Susan Wales]

Hey Boy of the Year!

Great comments. As you are aware, I've done co-authoring and collaborative.Just make sure with collaborative you love the story. I've had a lot of experiences with co-authors, and I have some great advice to add.

Always make sure your co-author is a better writer than you and brings a different strength to the keyboard than you do.

I had the honor and the privilege of writing three books with Alice Gray and it was like getting a degree in writing. She taught me so much about writing and gift books . . . I'd say she improved my writing by 200%. She was both an editor and an author, so she had so much to offer. And she was happy with the relationship because of the ideas and creativity I brought to the content. It was a Match Made in Heaven! Not a plug, I promise!

So I highly recommend if you are going to co-author make sure they're a better writer than you and that the two of bring different strengths to the keyboard.

Love your website. Learn so much from it. When I was in high school I was voted best legs and hips for the perfect girl! If my friends could see me now . . . I'd win for MOST hips and legs. Ha!

Blessings!
Susn Wales

[Linda M Au]

Great post. I instinctively backed off of a ghost-writing situation a couple years ago. I tactfully told the people who asked (trying to start their own "publishing company," sorta) that it would mean I'd be doing someone else's writing instead of my own ... which was entirely true.

I've since realized it was a really good decision for so many reasons. And not just because the people asking were my ex and his current wife. (What was I thinking to even consider that? Ew.)

Keep up the good work! Love your common-sense approach to writing.

[Donna K. Wallace]

I’m remiss to have never had the joy of collaborating with a famed non-fiction author who knows how to write. After Richard's tears and Susan’s upbeat recommendation, however, hope crests the rim of my half empty glass.

Now, if I could just get this publicist’s elbow out of my eye, I’d smile for the camera.

[Donna K. Wallace]

Chip, you seemed to have overlooked one of your fool-proof bits o’ collab wisdom. Your words ring true. . .

Book One: Author is filled with agonizing sentiment and gratitude for collaborative help.
Book Two: Author’s spouse is frustrated by how much work Author still has to do.
Book Three: Author is now convinced of his literary expertise and no longer needs a writer.

Take care in signing multiple book contracts.

[Walter Adams]

Chip, thanks for the great info. Just one question. I've been approached to write my previous boss's life's story for him.
Question: How much can a ghost writer/biography writer ask for his /her first book? Or, if the writer gets his name on the book, what percentage of the profits can he ask for? What would the main points of the contract look like?
And how long does it take to ghost write a book if you work office hours and spend 2 hours a day with the person who you are writing the book for?

[Walter Adams]

Sorry, I forgot to ask! How do you make sure your name goes on the book and, if your name does not go on the book, can you still get a percentage of the profits?

[John Chalinder]

One must first and foremost, write what people want to read... today, not last year, last decade, last century... (unless you're writing biographies). That is, if you want to SELL your work.

Otherwise, get a vanity press to dun you a few hundred bucks to load you down with a few dozen cartons of books that will gather dust and mold in your attic or basement after you've alienated all your friends, relatives and acquaintances by giving them copies as gifts.

Note: I wrote my first published story while living at Greyhaven, a SciFi/Fantasy writer's household, in the mid to late 80's under my pseudonym James Ian Elliot.

"Wrong Number", Greyhaven Anthology by DAW, edited by the late, great, Marion Zimmer Bradley.