Si vous n'êtes pas à l'aise avec l'anglais, utilisez ceci :
Cet outil vous fournit une traduction automatisée en français.
Seven Useful Tips To Ghostwrite Books For Clients As A Freelance
Serious freelance writers know their income may come from other sources, not just writing articles for magazines or clients. Ultimately, their freelance writing leads to writing books or e-books for themselves or as ghostwrites. If you decide to ghostwrite e-books and trade paperbacks for clients, consider the following:
If a client hires you as a "work-for-hire" ghostwriter, then the client pays you for your work, and he owns all rights. Make sure: 1) You receive a 50% retainer before you begin the work; and 2) You receive the balance at or right before delivery. That's it. If the book turns out to be a great success, great! That's wonderful! You should be extremely proud -- but from a distance! To be a successful ghostwriter, you must enjoy your glory as a ghostwriter in the shadows. Many ghostwriters prefer it that way.
I know a great speaker in the industry who commands $10,000 or more per speaking engagement. He is phenomenal to listen to and even more dynamite to read. However, he doesn't write his books alone. He contributes to them but he never writes any of them himself. His ghostwriter, Shelly, is known only to a few writers in a close-knit writer's group. Why does Shelly let this speaker take all the glory for her work? She is painfully shy and exceedingly talented as a writer. She once said, "I am where I need to be and he is where he should be." If you are going to ghostwrite, stay where you belong (invisible) and accept payment for the job as payment enough.
TIP #1: As a ghostwriter, you should always try to meet the needs of the true "author" of the work. Cover the content they want and do your best to make the client happy.
TIP #2: As with writing any book, ghostwriting involves lot of revisions and changes as far out as two months, especially if the book needs to go through an editor or publisher. You should make changes as needed. However, don't wait on final payment if your client hasn't received final approval from his publisher.
TIP #3: Always write your ghostwrites as if they are your own. Write with quality and professionalism in mind.
TIP #4: Never sign a non-compete contract on the subject of the book. It is crazy for the client to ask but crazier for you to do it. If a client asks for one, walk away. You have your own work to protect as well as the client's work. Remember the saying, "to thine own self be true"? Well, in writing, there's no truer statement.
TIP #5: You owe the client exceptional work and the client you work for owes you money for a job well done.
TIP #6: If your client is dissatisfied with the end result, even after he's paid you, make it right for the client. Satisfied clients usually become repeat clients; they will bring you steady work and referrals.
TIP #7: Consider using a pen name as a ghostwriter. Jeanine Anne, a freelance writer and ghostwriter, said she uses a pen name when she ghostwrites. She said, "I've written most of my ghostwrites and presented them to my clients under my pen name, Jeanine Anne. First, if someone decides to spam me, there's no harm done to the name for which I write my own work under. Secondly, when I write for a client, I have no idea what the client will do to the work, after all it is his work once it leaves my hands. The client may add content which I may not like or he may write something that is not my style of writing." This is something to remember if you write for clients as ghostwrites. The client hires you to do a job and the client owns the work after it leaves your hands.
You can find many ghostwriting gigs on www.FreelanceWriting.com, Elance.com, Guru.com, GetAFreelancer.com, Indeed.com, www.WritingCareer.com, and CraigsList.com. The other way is to create your own ghostwriting gigs by networking and marketing.
BONUS : Seven Ways To Connect Your Writing And Your Life
An important question for any artist is: How can I built a career and simultaneously be true to myself? Its an important question, and during the twenty years Ive taught writing, hundreds of students have expressed the belief that success and personal integrity are mutually exclusive.
The Lifewriting approach to fiction suggests that not only do these two qualities overlap, but that the safest, surest, most satisfying path to discovering your true voice, your deepest creative flow, and ultimately crafting the most satisfying career, is to be true to yourself. It suggests that Aristotles famous debate concerning the relative merits of plot and character is a trick: Plot and character are actually two sides of the same coin. Character is best revealed through action. And plot is merely what happens when a given character engages with a specific situation. It is not only possible, but advisable, to shift back and forth between those perspectives, seeking to create a seamless whole.
How do you, personally, define character? You MUST have some theory or feeling for the human condition, or youll have nothing to write about. The best and simplest way to learn characterization is to study psychology. And the best psychological study is yourself. Why? Because you have more information about what makes you you than you will ever have about what makes anyone else tick.
What this path demands is the honesty and courage to look deeply into your own life, and some model to organize the different aspects of your personality and emotional history. Then you need some mechanism to help you apply your discoveries to your writing.
The very finest model of the human condition is the 6,000 year old model from India, the chakras of yoga. Supposedly seven energy centers within and around the human body, they mirror Maslows hierarchy of human needs. Both yogis and psychologists suggest that until the lower more basic needs are met, one cannot move to the next level of life.
The Chakras represent survival, sexuality, power, emotion, communication, intellect, and spirit. Lets take a peek into the way each of these levels can be used to connect your inner emotional world, and your writing.
1) Survival. What are your deepest fears? Remember that fear underlies most anger, and fear turned inside-out inspires most comedy. What comic or horrific use can you make of your own most secret fears? Create characters with the same concern and needs. I promise you: plenty of your readers will have the same problems. Die Hard and a hundred other movies a year punch this button. We fear dying, disfigurement, abandonment, old age, and diseaseall survival values. All superb story sources.
2) Sexuality. What turns you on? Sexuality can be an important aspect of your characters lives . What was you r first experience? Best? Worst/ Most recent? Least ethical? At what point do you feel you began to have mature sexual relationships? When do you think that sexuality is appropriate or inappropriate? What people in your experience have been uplifted, healed, damaged or debased in their sexual interactions? Every one of them is a character, and an opportunity for you to express your opinions and philosophies. The movie A History of Violence used sex brilliantly to help us understand the powerful bond between the leads.
3) Power. What is your physical condition? What does it say about your actions, values, and priorities? Craft characters with distinct physical attributes, and allow their life history to express itself in their movement and appearance. Rocky or Million Dollar Baby utilize dynamic training and fight scenes to express depths of passion and desperation. While physical power is the most basic form, this evolves into financial and political powerany form of control over self, family, or others. Explore your own attitudes toward these kinds of power, and begin to craft characters who breathe.
4) Love. What is love? Mature affection as opposed to immature puppy love? Love for ones children and family. Love for country? For all mankind? What is the difference between love and sexual attraction? What is the price you see people paying for their heart space connections? What are the greatest advantages and disadvantages of human contact? Forrest Gump is about a man with a beautiful loving heart and the mind of a child. His life is better than almost anyone he ever meets, despite their advantages.
5) Communication. What is your belief about education and perception? What is our obligation to communicate with clarity and honesty? What kind of mischief is caused by miscommunication? Is verbal communication better, more immediate and more honest than nonverbal? In Billy Budd, an inarticulate character strikes a man dead, largely due to frustrated communication.
6) Intellect. What are your intellectual strengths? Weaknesses? When have you had to modify your world view because reality didnt match your theories and beliefs? Creator with Peter OToole tells of a brilliant scientist locked in an intellectual prison, unable to deal with the death of his beautiful wife. ago. He must either change his map of the world, or his heart will die.
7) Spirit. What are your spiritual beliefs? Are you an atheist? Agnostic? Buddhist? Christian? What do you see as the spiritual and philosophical differences? If you didnt use the specific labels, could you create characters of each type, and demonstrate the differences? If so, why? If not, why not? Have you ever had a crisis in faith? Ever felt a prayer was answered? Did it happen in a way you expected, or otherwise? Ghandi dealt with a man of great spiritual commitment who found the strength to loosen the grip of the greatest empire the world has ever seen.
Once you have thought through each of these levels as they apply to your own life, you are now able to create characters of uncommon complexity and depth. And you have taken a huge step toward releasing your true writing potential whether your intent is artistic, commercial, or, most wisely, both.
An important question for any artist is: How can I built a career and simultaneously be true to myself? Its an important question, and during the twenty years Ive taught writing, hundreds of students have expressed the belief that success and personal integrity are mutually exclusive.
The Lifewriting approach to fiction suggests that not only do these two qualities overlap, but that the safest, surest, most satisfying path to discovering your true voice, your deepest creative flow, and ultimately crafting the most satisfying career, is to be true to yourself. It suggests that Aristotles famous debate concerning the relative merits of plot and character is a trick: Plot and character are actually two sides of the same coin. Character is best revealed through action. And plot is merely what happens when a given character engages with a specific situation. It is not only possible, but advisable, to shift back and forth between those perspectives, seeking to create a seamless whole.
How do you, personally, define character? You MUST have some theory or feeling for the human condition, or youll have nothing to write about. The best and simplest way to learn characterization is to study psychology. And the best psychological study is yourself. Why? Because you have more information about what makes you you than you will ever have about what makes anyone else tick.
What this path demands is the honesty and courage to look deeply into your own life, and some model to organize the different aspects of your personality and emotional history. Then you need some mechanism to help you apply your discoveries to your writing.
The very finest model of the human condition is the 6,000 year old model from India, the chakras of yoga. Supposedly seven energy centers within and around the human body, they mirror Maslows hierarchy of human needs. Both yogis and psychologists suggest that until the lower more basic needs are met, one cannot move to the next level of life.
The Chakras represent survival, sexuality, power, emotion, communication, intellect, and spirit. Lets take a peek into the way each of these levels can be used to connect your inner emotional world, and your writing.
1) Survival. What are your deepest fears? Remember that fear underlies most anger, and fear turned inside-out inspires most comedy. What comic or horrific use can you make of your own most secret fears? Create characters with the same concern and needs. I promise you: plenty of your readers will have the same problems. Die Hard and a hundred other movies a year punch this button. We fear dying, disfigurement, abandonment, old age, and diseaseall survival values. All superb story sources.
2) Sexuality. What turns you on? Sexuality can be an important aspect of your characters lives . What was you r first experience? Best? Worst/ Most recent? Least ethical? At what point do you feel you began to have mature sexual relationships? When do you think that sexuality is appropriate or inappropriate? What people in your experience have been uplifted, healed, damaged or debased in their sexual interactions? Every one of them is a character, and an opportunity for you to express your opinions and philosophies. The movie A History of Violence used sex brilliantly to help us understand the powerful bond between the leads.
3) Power. What is your physical condition? What does it say about your actions, values, and priorities? Craft characters with distinct physical attributes, and allow their life history to express itself in their movement and appearance. Rocky or Million Dollar Baby utilize dynamic training and fight scenes to express depths of passion and desperation. While physical power is the most basic form, this evolves into financial and political powerany form of control over self, family, or others. Explore your own attitudes toward these kinds of power, and begin to craft characters who breathe.
4) Love. What is love? Mature affection as opposed to immature puppy love? Love for ones children and family. Love for country? For all mankind? What is the difference between love and sexual attraction? What is the price you see people paying for their heart space connections? What are the greatest advantages and disadvantages of human contact? Forrest Gump is about a man with a beautiful loving heart and the mind of a child. His life is better than almost anyone he ever meets, despite their advantages.
5) Communication. What is your belief about education and perception? What is our obligation to communicate with clarity and honesty? What kind of mischief is caused by miscommunication? Is verbal communication better, more immediate and more honest than nonverbal? In Billy Budd, an inarticulate character strikes a man dead, largely due to frustrated communication.
6) Intellect. What are your intellectual strengths? Weaknesses? When have you had to modify your world view because reality didnt match your theories and beliefs? Creator with Peter OToole tells of a brilliant scientist locked in an intellectual prison, unable to deal with the death of his beautiful wife. ago. He must either change his map of the world, or his heart will die.
7) Spirit. What are your spiritual beliefs? Are you an atheist? Agnostic? Buddhist? Christian? What do you see as the spiritual and philosophical differences? If you didnt use the specific labels, could you create characters of each type, and demonstrate the differences? If so, why? If not, why not? Have you ever had a crisis in faith? Ever felt a prayer was answered? Did it happen in a way you expected, or otherwise? Ghandi dealt with a man of great spiritual commitment who found the strength to loosen the grip of the greatest empire the world has ever seen.
Once you have thought through each of these levels as they apply to your own life, you are now able to create characters of uncommon complexity and depth. And you have taken a huge step toward releasing your true writing potential whether your intent is artistic, commercial, or, most wisely, both.
