book editing

The Unexpected Problem with Book Editors – Getting Editing Right

If you’re wondering if your chapter sucks, it probably does. That’s ok. Keep writing. The first goal is to just get it down on paper and then you bring in book editors to help.

We like to tell our clients the first order of business is creating a bad first draft. Once you’ve got a bad first draft, there’s something to work with to make it good, and then great. That’s where the most important members of your team come into the picture:

The book editors!

But, here’s where way too many well intentioned authors go so wrong!

Don’t Waste Your Money on the Wrong Book Editor

Too many authors send me their edited manuscripts telling me they are ready to publish … and they have hired professional editors, but the book still is not good. What’s gone wrong?

First, let me be clear … 100% of authors need editors. Professional writers need an editor. There is no level of experienced writer that just no longer needs an editor.

You CANNOT edit your work. Your brain plays tricks on you and you will only see how something is supposed to be written not how it’s written. Also, stuff that makes sense to you quite likely doesn’t make sense to other people.

While some experienced writers can skip a developmental edit, those situations are rare. Most non-fiction books will be improved from a two or three-star book to a four-star book with a good developmental or content edit. Then the copy edit takes it from four stars to five stars.

Even when you understand this and you realize that you have to hire professionals for this not just your aunt who edited your papers for university, you might still go wrong when you hire editors and here are the four most common places I see it go all wrong for well intentioned authors.

3 Ways Authors Mess Up When Hiring a Book Editor

1. You hire an editor, but your book needs someone who will help you develop the idea further.

Editors are not the same as writing coaches. In fact, editors often are more analytical than a writing coach. The best line or copy editors are detail oriented and process driven. A good writing coach is going to be driven to influence and communicate in a way that is engaging. They are typically creatives.

Your book might need someone who is more creative first … someone to develop the concept further and make sure you’ve made something that is compelling and interesting above all else. Editing improves the writing but it’s not usually going to develop the core message and idea enough to make the book really great. Even content editing,  which does focus on the structure and content of the book, is sometimes premature if the book doesn’t have a well enough developed hook. Don’t know what makes a great hook? Watch this video:

If you’re not really sure where your book is at ask a few colleagues or friends to read your book (commonly called beta readers) and ask them to answer a few questions like:

> what do you think this book is about?
> what’s the main benefit you get from this book?
> what would you change?

If your beta readers are coming back with positive and consistent answers to the above then you’re probably ready for editing.

2. You hired an editor but weren’t clear on what you expected the result of the edits to be.

I hired an editor but she didn’t make my book better she just made it grammatically correct.” More than one client has brought me their manuscript with this complaint.

If you hire a copy editor – you’re going to get a copy edit.


Some great copy editors will flag areas of your book that need improvement, but their job is to follow a list of rules and make sure your book follows those rules.

If you want an editor that is going to make your book better, you may need a story expert (See point 1 …). Or you need to hire a developmental editor and make it clear that you’re looking for someone to dig in and help you figure out how to make this book better. Spell out what that looks like – do you want them to actually write out how to make a paragraph read better or just, flag it with questions for you to do the work? The more you can lay out the expectations of your editor in advance the more you set yourself up for success.

3. You hired an editor without checking their experience.

Someone may have a great eye for mistakes, but that is not the same as being an experienced and professional editor. Your Uncle may be handy around the house, but it’s not the same as hiring a licensed carpenter or electrician.

If an editor hasn’t edited a bunch of other books in my genre (non-fiction, ideally business books or memoirs) and doesn’t edit for a living, I move on and unless you’re on a tight budget, you probably should too.

Editors are the most expensive part of your book publishing process (unless you’re working with ghostwriter … then the writer should be the highest paid person on your team). Make sure your investment is going to making your book better. And, often this means you need different people to do different roles. It also means you need to hire true professionals.

At Book Launchers we have a story expert or writing coach help with the concept before a different person does the content edit, then a different person does two rounds of copy editing before another person does a proofread. My margin on our book projects would be much higher without involving all these experts, but then the books we produce wouldn’t be half as good. Every professional is worth it but make sure you’re getting the right people at the right time in your book publishing journey.


You also might like this video:


4 Ways to Start a Chapter that Grab Your Reader’s Attention

How you start a chapter in your book is critical. It’s your opportunity to keep your reader, or lose them. If they are just browsing your book, it’s your chance to hook them in for the whole book.

One of our recent clients, to be unnamed, sent me the first draft of their book and 80 percent of the chapters started with the word I.

Chapter One. I experienced this.

Chapter Three. I was in a meeting.

Chapter Four. I saw the trend.

Do you see the trend?

Guess what? Your reader only cares about one person and it’s not you.

Of course, this book has your story in it and it has your perspective. But you can deliver it in a way that is fun and engaging to read and from the perspective of your reader. And, most importantly you want to start every single chapter off in a way that grabs your reader by their collar and compels them to read on!

Here are four ideas to start your chapter with words other than I and hook that reader, so they keep reading your book all the way through to the end.

Number one. Start in the middle of the action.

It was written on the wall of the bathroom. “Who in the school is fatter than Alex?

Looking around the room, I wondered if anybody else noticed that the speaker’s fly was undone.

She found it hard to breathe as she took a deep breath and started, “Mom, Dad …. I know this is not what you wanted for me.

Movies and TV throw you right into the middle of the action. They don’t start with a girl thinking about her date, they start in the middle of the date. There is tension, action, or drama in every opening scene that hooks you in and makes you need to know what comes next.

Number two. Start with an unusual point of view.

If you’re writing a book about fighting cancer, why not start from the perspective of the cancer cell and what it wants?

Maybe start from the perspective of the mutual fund company that decides to charge a front-end loaded fee and how they do it for their benefit to lock in the client and not help the client make a return? Can you tell I’m bitter?

Or, possibly you write from the perspective of a child explaining the adult concepts of divorce or financial freedom?

It’s a different point of view than what you or your reader might expect. It should make your reader curious.

Number three. Shock or surprise the reader with your idea.

93 percent of the people who do this one thing will make three times the money next year. And yet, you probably won’t do this one thing.

Stats are ok but if you’re opening up your chapter with a stat you better make it one that will make someone stop in their tracks. It’s better to present your idea and then support it with the surprising data you’ve uncovered.

Rather than statistics I like to find interesting facts you may not have thought about and give you the research to back it up later.

You should strive to be more like Bill Clinton in your business. No, I’m not talking about the scandal. I’m referring to the amount of emails he sent in his presidency.

Any guesses as to how many? He sent two emails in his presidency. Can you believe that?

But if you send less email you’ll get less email back.

Here’s another one.

The healthiest place on earth is an island in Japan. Okinawa has more than 450 people over 100 years old living there. They better have some good pension plans.

My favorite one is this:

Imagine if your wounds healed right before your eyes like they do for some superheroes. It’s not just in t.v and movies. There’s one animal with crazy fast healing powers. And it’s probably not one you’d ever guess. You want to keep reading that don’t you. And you’re wondering which one it is.

I challenge you to open up one or two chapters with something most people will not know. Surprise or shock them. Like the time I came home and my husband Dave had cleaned my bathroom. I was surprised.

Number four. Clearly tell them why this chapter’s important.

Hit them hard with this declaration or promise that this is the chapter that will make them rich. Happy. Faster. Fitter. Prettier. Smarter. More Popular, more loved, and more admired by their neighbors. Let them know that at the end of this chapter they will be better for it. And that should keep them reading or make them buy the book if they’re just browsing and that’s the paragraph they happen to glance at.

Change it up so each chapter has a different approach. Pay attention to what catches your attention in the books you read. How do you like chapters to start?

Which animal has super healing powers? It’s the. They have special bacteria that makes wounds heal right before their eyes. Surprising isn’t it?

You may also enjoy:

How to Start Writing a Non-Fiction Book

An Epic Guide to Find and Hire a Ghostwriter

Fair Use of Copy right Information

Fair Use of Copyright Material – What Can You Use in Your Book?

If you’re writing a non-fiction book, you’re probably quoting other people’s work in your material. Or you’ve used other people’s work as a reference. In many cases, you’re probably interviewing people. Maybe on podcasts or over the phone to create content from that. So, what is considered fair use of copyrighted material, and what requires permission? And what is just outright not okay?

Criticism, New Reporting, Teaching, and Research

Fair use is covered under US copyright law. It says that brief excerpts of copyright material may, under certain circumstances, be quoted verbatim for purposes such as criticism, new reporting, teaching, and research. In those cases, you do not need to secure permission from the creator or copyright holder.

Fair use protects negative and positive comments and discussion. As an author, we will often refer to other books or works by others because something they wrote or created inspired us, and we want to refer to it or build upon it. That is fair use. But, keep in mind the word brief.

There’s no word limit. It comes down to the amount of material used must be reasonable given that purpose. In other words, it’s a judgment call.

US copyright law does not require attribution, but how would you feel if someone quoted your words or references your work, but didn’t give you credit? So give your fellow authors a shout out!

Fair Use of Copyright Material to Support Your Point

What about to support your point, which is how a lot of us authors will use copyrighted material? Fair use applies when copyrighted material is being used to illustrate, support, or prove an argument or point. But again, there are some limitations as to what this can cover.

You can’t use someone else’s work for decorative purposes. As it pertains to the body of your book work, you’ll need permission to use copyright material for anything but to support your argument, period. It can entertain while supporting your argument, but it’s not just to be for entertainment. It’s also subject to that reasonable amount of reproduction test.

What about charts and graphs?

One fun fact covered in the Fair Use Guide by the Author’s Alliance is about charts and graphs.

Charts, graphs, and tables may be protected by copyright, but the underlying facts are not copyrightable. My interpretation (I’m not a lawyer) is that you can’t copy someone else’s chart or graph and reprint it without permission. But, you can create your own with the facts given.

Creative choices in the way those facts are presented in a chart or graph might be original enough to warrant copyright protection of your own.

For more copyright protection for your book visit this article.

It’s important to note, copyright does not protect ideas, processes, facts, systems, principles, or discoveries. Copyright protects only the expression contained in work.

So I think the only question that remains here is what do you do if you want to use someone else’s work and it doesn’t fall under fair use? I think the answer is one of three choices:

  1. You can ask them for permission,
  2. Look for other works that can be used under certain licenses of use,
  3. Or find material that’s no longer covered by copyright or the copyright expired.

Or, something I often encourage Book Launchers clients to do is to just make up something awesome of your own. Why quote someone else’s research or brilliant ideas, when you can quote your work?

You May Also Like These Articles:

Copyright Protection for Your Book

Book Award Contests are (mostly) Scams

Traditional vs. Self-Publishing – what’s best for you?

How to Start Writing a Non-Fiction Book

You already know the tremendous benefits of writing, publishing, and selling a non-fiction book. It’s a fantastic way to boost your business, grow your income, and get booked on media and stages. But, you’re probably thinking, how do I start writing a non-fiction book? What is the first step?

If that’s you, this is for you.

Before you start writing a non-fiction book consider what your goal is.

If you’re thinking, I want to be a bestseller, then you have to dig deeper and figure out why?

This article on why you are probably wasting time chasing Amazon bestseller status is worth a read too.

Most importantly, figure out what you want your book to do for you. Do you want:

  • To find more clients?
  • Paid speaking gigs?
  • To solidify your position as the authority in the industry and get more media attention?
  • A way to connect with specific influencers and people in your community?

Once you figure that out, you can dive into what angle you need to take with the book to achieve that goal.

Next, you need to figure out who you are writing the book for.

Who is your ideal reader? What problem do they have that you can solve with your book. Bonus points if you know who your reader is so well that you can identify the books they are already reading, the conferences they attend, the podcasts they listen to and who they are influenced by right now.

Finally, what is the hook of your book?

The hook is the single thread of an idea that ties your entire book together. It’s what makes your book different and ‘hooks’ your reader in so they feel like they have to read your book right now.

When you talk about your book, the hook is what you’ll say to get someone excited about reading it. It’s kind of like an elevator pitch for your book.

Let’s look at some examples of great hooks for books.

The 4-Hour Workweek wasn’t really about working four hours a week. It was a comprehensive game plan to ditch the nine to five from a cubicle and create a business that supports you living an exciting adventure filled life.

T. Harv Eker’s, The Millionaire Mind showed how some folks seem to get rich easily while others are destined for a life of financial struggle.

The Subtle Art of Not Giving a F*CK shows us how to stop trying to be positive all the time, so that we can truly become better, happier people.

So think about a sentence or two that people will use to tell their friends about your book. You can even test it out with your clients and colleagues. If you have something that has your ideal reader going, ooh, I have to read that book, then you’ve probably found your hook.

For help figuring it out and getting started writing a non-fiction book – contact us today! We’d love to help you. Grab our 7 Steps to Start Writing a Non-Fiction book or set up a call to speak with us.



Still Looking for a Book Deal with a Traditional Publisher? That’s so 2012 …

While you waste two years pursuing a book deal with a traditional publisher your competition has already published their book and begun to profit. Traditional book deals aren’t dead … there are some sensible reasons to pursue a traditional book deal, but self-publishing is quite possibly the best solution for you.

Even if I was offered a traditional book deal right now, I wouldn’t take it. Here’s why:

Reason One for Not Taking a Traditional Book Deal: Money

I make way more money self-publishing. To self-publish my first book, I invested a total of $12,800 when you include hiring a PR company. That’s with me doing all the legwork to research the steps, hire everyone, set up accounts, upload all my files, and project managing the entire process. It was a giant pain, and it took more than a few hundred hours to do. Forget about just the writing. I also made some huge mistakes, including one that cost me bookstore distribution in the province of Alberta, you can see a video about that one right here, and another error that cost me $1,200 in returned book charges. You can see about that mistake here.

It was worth it, but if a company like Book Launchers had been around in 2013, I would’ve happily paid them that money and more to do it all for me.

There are plenty of reasons besides money to write a book. I covered that right here:

But, there is a lot of money to be made in book sales and beyond if you do it right.  In the last four years, I’ve made more than $63,000 from the sale of More Than Cashflow, and that’s just from Amazon and bookstores. I’ve also made thousands of dollars selling books at the back of the room where I’ve spoken or had a booth.

Because I owned my book, I was also able to use it as currency. I traded copies of my book for more than $30,000 worth of magazine advertising space.

If I had landed a traditional book deal, I would’ve made less than $10,000 from the same quantity of book sales. I also couldn’t have easily used my books as currency to trade for advertising because I would’ve had to pay retail price to the publisher to buy copies of my book to do the deal. It cost me $4 and something to buy each book from the print-on-demand publisher. It would’ve cost me closer to $15 to buy it from the publisher. What I could do with the content for creating courses, talks, and other off-shoots would have been subject to the publisher’s approval as well.

Reason Two for Not Taking a Traditional Book Deal: Creative Freedom

Now, some of these financial benefits of publishing a book would’ve come about with a traditional publisher, but not all of them. With a traditional publishing deal, I would’ve had to compromise on the subject matter of the book. It would have made the book much less impactful. The traditional publishers I spoke with actually rejected my book idea, saying there was already too many generic real estate investing books on the market. The idea the publisher gave me to write about was kinda lame (real estate investing for couples). I’m glad I didn’t get a deal to write that book. I knew my market.

That’s part of the reason my book became an Amazon Overall #1 Bestseller and stayed into the Top 100 for 45 days. It was unique, but the publisher didn’t know my market as I did and wanted me to go into a boring niche. I’m so glad I didn’t get that book deal.

Reason One for Not Taking a Traditional Book Deal: Rights and Control

I’ve watched a lot of my friends get book deals and ultimately be very unhappy about it. It usually comes down to the rights and control. Most traditional publishing deals require you sign over the audiobook rights, but often the publisher may not create one for you. You don’t have the rights to produce one for yourself. So you’re stuck. But, it’s more than that.

Who owns the content in your book? Not you when you take a traditional publishing deal. One friend of mine even had their book republished, word for word, under another person’s name. The intro and title changed, but it’s 95% his book, now being sold under someone else’s name. The publisher can do that because they own the content. Another friend bought his book rights back from the publisher because he was tired of them limiting what he could do with the brand.  Jim Kukral of the Sell More Books Show was recently pleading with his listeners to buy his last 70 copies of his book to free him from his oppressors, his publisher. Traditional publishing is a broken model, and it doesn’t offer the advantages people think it does.

Maybe a book deal with a traditional publisher is right for you

Maybe traditional publishing is right for you, but quite likely, it’s not. Fewer traditional deals are done now. The deals all take a long time. You usually need to find an agent. That takes time. Then, you write a book proposal and sit gets shopped around. That takes time. Then, if anybody bites, there are contract negotiations. If you start now, two years from now, you might have your book out.

With self-publishing, you could have a book out in the next six to 12 months. A lot could happen in that year … and in the meantime, while your book isn’t out, you’re almost guaranteed to be leaving money on the table. Other people with books are landing the paid speaking gigs, the consulting clients, or selling more products.

But there are reasons to pursue a book deal.

The significant benefit of pursuing a traditional publishing deal is ease of distribution. If you traditionally publish your book, it’s more likely to be carried in bookstores. You’re also more likely to be eligible for the huge best-seller list like New York Times and Wall Street Journal, and the traditional publisher does take a risk on your book, footing the bill for the team that will take your book from concept to print.

But, don’t expect that they are going to do much to sell your book!

You, the author, are still 99% responsible for marketing. Let me repeat that part because it’s so important. Even with a traditional publishing deal, the author is responsible for marketing the book. In other words, you do all the sales work and you write the book, and they take 85% of the revenue. Sound fair?

Finally, and this is another really important thing to know. The only person who REALLY cares if you got a book deal is you. Readers don’t care. If the book is done professionally and gives them massive value, they are happy.

Some authors are happy with their book deals.  It can be a great solution for the right people. Just don’t go into it thinking this big company takes care of everything but the writing. That just isn’t true.

If that was why you were pursuing the book deal, check out what we do at Book Launchers. We do EVERYTHING a publisher would do AND we help you market your book to achieve your goal. The best part is that you keep all the rights and royalties.

To learn more, let’s chat.

finding great ghostwriters

An Epic Guide to Finding and Hiring a Great Ghostwriter

You don’t think Sarah Palin, Beyonce, Pamela Anderson, Lance Armstrong, and Nicole Richie actually wrote their books? As one celeb said, “I don’t do my own typing.” So many bestselling books were the result of an author hiring a great ghostwriter.

Stephen Covey’s 7 Habits of Highly Effective People was written with Ken Shelton. Richard Branson in Losing My Virginity acknowledges Edward Whitley. Howard Schultz’s Onward was penned by Joanne Gordon. Many of the top-selling CEO and celebrity books are penned by someone else, but the book could not exist without the author. The ghostwriter provides the words, and sometimes some supplemental research, but not the expertise, not the story nor the advice in the pages.

That’s all you, the author. So, if you hate writing, don’t have the time to do it, or you just know you aren’t the best person for the job, a talented ghostwriter could be the right solution for you.

A ghostwriter is someone who can write your book, in your words. Good ghostwriters work hard to capture your voice to create a first draft.

So, what exactly does a great ghostwriter do?

First, the ghostwriter needs to flush out the concept for the book. Which means, identifying the ideal reader, and the hook of the book. Working with the author, the ghostwriter will create the outline for the book.

Second, the ghostwriter has to get the content from the author. Usually, this involves interviewing the author extensively to capture their voice and expertise. The ghostwriter also will research the subject matter to supplement the content as needed.

At some point early on the writer will send a sample over to the author to check the tone of the writing. Then, they will put their head down and their hands to the keyboard and complete the first draft.

Finally, the writer then will take feedback on the full first draft from the author and rework the manuscript.

Once it’s a solid draft, it’s off the editors, and over to you, to review and revise.


If that sounds like exactly what you need help with, your next question probably is where can I find a great ghostwriter?

Ghostwriters are everywhere. We have several on our team at Book Launchers if you want help with a non-fiction book.

But, where do you find the right ghostwriter for you?

First, get as clear on your book project as possible. The more you know what you want, the easier it will be to identify a writer who can help you.


These are all important things to figure out.

Now, you start looking. Here are three ideas for where to find a great ghostwriter:

Number one, you can ask your friends who have written a book.

Some may disclose they worked with one; others may say something like, “Oh, I have a friend who worked with one.”

Number two, check out writing groups on LinkedIn and Facebook.

Many of the groups are closed groups, but if you write the admin and let them know what you’re looking for, they just might put up a post on your behalf. When I was hiring a ghostwriter for Book Launchers, I received about 20 highly-qualified applicants from a writers group one of the people on my team is a part of. It was a fantastic source.

Number three, Google business ghostwriters.

I connected with a few ghostwriting service companies when I was trying to find a very specific, skilled ghostwriter for one of our clients.

Four, post a job where you might hire other freelancers, like,, or Scriptd.

Post a job for a great ghostwriter could result in an overwhelming number of responses though. So, the next question you might ask is: How do you know when you’ve found a good ghostwriter?


We’ll cover that in a second, but first let’s explore what it can cost to hire a ghostwriter.

cost of hiring a great ghostwriterWhen Book Launchers first started, we only helped you write your book with writing coaches. We didn’t have ghostwriters on our team. Then one of our clients said, “I don’t want to be the one to put the words to my expertise.” I tried to argue the benefits of writing his book, but he insisted,  “It’s not a good use of my time. Find me a writer.”

My first call was to a ghostwriter I knew would be perfect for him. She’s written at least one Wall Street Journal bestseller. My client loved her, but her price tag of $50,000 to $60,000 was a bit of a budget killer. So I brought in another writer who was a well-respected sports biography ghostwriter. He couldn’t disclose a lot of his clients as many people don’t want you to know that they didn’t write their book. And because I didn’t know his experience level as well, I expected him to be cheaper than the other one. He came in at $1 per finished word.

Most business books are somewhere around 50,000 to 75,000 words, so you can see how $1 a finished word could add up.

So, I expanded my search and I started interviewing all kinds of people who had ghostwriting experience. Most of the other quotes came in between $25,000 and $35,000 for a book. The cheapest ghostwriter I found, and they were a service, not a single writer, started at $18,000.

When you understand that it will take most ghostwriters up to six months to write your book, the prices make sense. Great ghostwriters dedicate a lot of their life and time to this project. They aren’t making a living if they charge much less. And it’s not easy being a great ghostwriter, it’s a skill to be able to write a book well and to do it in someone else’s voice.

It’s not just a matter of putting words to the paper; it’s a matter of making sure they would be words that you, the real author of the book, would use.

Now, you can hire much cheaper writers. And the writing might even be half decent. The issue is that it’s not your voice and that is so important. It’s not your book if it’s not your voice. And if someone writes in a different style than you would, then you have a mountain of work to do to redo it. Sure, you save money, but you add a whole lot of time, energy and effort to the entire project.

Bottom line: to get a skilled professional ghostwriter working on your book, you’re looking at a minimum of 30 cents per finished word. The average cost is going to be closer to 50 cents per word. The more experienced the writer and the more extensive the work you’re asking for them to do, the higher the price.


Now, how do you select a great ghostwriter?

With all of the other things figured out, including:

  • Your goals for the book,
  • What you need your writer to do,
  • Where you are going to find your ghostwriter, and
  • How much you expect to pay,

now it’s time to uncover the secret to screening and choosing the best ghostwriter for your project.

This isn’t as easy as you might think because most people who hire ghostwriters don’t want you to know they didn’t write their book, so this presents a pretty big challenge.

How do you evaluate a ghostwriter’s work if they’re not allowed to tell you the books they’ve written?

In many cases, the ghostwriter has signed an NDA, so they can’t tell you they wrote that book. The more experienced ghostwriters will be able to point to a few projects they’ve worked on and can give you samples of their writing, but how do you know if they’ve captured the author’s voice if you don’t get to know who the real author is?

There’s a lot of ways to approach this, but here’s how I hire ghostwriters for Book Launchers:

Number one, I put something in the job ad that acts as an initial screen.

For example, I ask a weird question, like their favorite fruit, or I request that they do not send a resume, but instead send a short writing sample. If they don’t follow that instruction, I immediately eliminate them. If they lack care and attention to detail at the start when they should be showing their best self, it’s not a good sign for me, and it’s an immediate rejection.

Number two, I make sure that they’ve worked on similar projects.

Have they written several business books before? Not just articles, but full books. Have they written any of their books? Ideally, I want to check out their writing somewhere. Assuming that the writing was decent and they had relevant experience, we’ll move onto number three.

Number three, I send them a content editing test.

I’ve been using the first five pages of a client’s manuscript. I ask them to read it, provide five suggestions to make it more engaging and easier to read without impacting the author’s voice. Do they recognize the key issues? Can they offer interesting suggestions to improve the material? Are they able to identify questions they should be asking?

Number four, I then set up a time to chat.

When we’re talking, I’m looking for personality fit, engagement, and dedication. I don’t have a specific list of questions I’m asking when I interview a potential ghostwriter except for the following:

  • What do you love about writing non-fiction books? I’ve found a lot of ghostwriters who are passionate about fiction, but non-fiction pays their bills. I’m looking for a writer that loves learning new things and turning them into material that will be helpful and easy to digest for someone else.
  • How do you approach a ghostwriting project? There isnt’ a right answer but they need a process. If someone doesn’t have an approach at all, I will be concerned about their true experience level.
  • Finally, how do you prefer to communicate with a client?

If everything looks good, references are next.

Ask, “What was it like “to work with them?” “What was challenging about working with the writer? “What did you have to do to help them with the project?” And then, even ask them, “What did you think “the process was like?”

Now, before you hire them for the full project, you still may want to do a tester. Maybe you pay to an article written for you. That way you can see how it is to work with them and if they can capture your voice before you hire them to write your full book.

Finally, you have to talk price and expectations. You should have a good idea of this from above already. But here’s a few more points on this:

The lower the price, the faster they’re going to need to go to get to a first draft. This isn’t a bad thing, but know that they’re making money on quantity, not quality.

You have to manage them, set deadlines, layout expectations and provide feedback.

Remember, you’re getting a manuscript, not a book. You still have to hire editors, layout designers, cover creators, and more.

Writers won’t give you a satisfaction guarantee because it sets themselves up for a world of pain if they get a picky client. You can set a number of re-writes or revisions in your contract, but it will not be unlimited. It’s your job to manage the process from the start to make sure you get what you want.

If all this sounds like a giant pain in the behind, and it is, we can help! We now have writing coaches who help clients to write their book. If you prefer to have an experienced ghostwriter do the writing for you, we can do that, too! The best part is we can do it for less than it would cost if you hired one of these amazing writers on your own. If you want to chat about it, fill out this form and we’ll hop on the phone!