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9 Secrets of Ghostwriters

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Admit it: You’ve read at least one book written by a celebrity, politician, or business tycoon in the past year, if not the past month. You’re no fool, though. You know that people like Keith Richards, Snooki, and Donald Trump often have help writing their memoirs. But what exactly does ghostwriting a book for someone else entail? How much of the book does the ghostwriter write and how much does the “author” contribute? What’s the ghostwriter-author relationship really like? We tapped a handful of professional ghostwriters to find out.

1. COACHING THE AUTHOR IS A BIG PART OF THE GIG.

Researching, outlining, writing, and revising are only part of what ghostwriters do. The job also entails a certain amount of handholding, especially when working with a first-time author who may not know how labor-intensive book writing is.

“Just because they can tell a story at the bar, doesn’t mean it’s going to look good on the page,” says Mike Edison, a New York‑based author, editor, and ghostwriter who’s worked on a number of food and music memoirs. “Some people think that sex and drugs are what’s really going to sell the book, and they push too hard on that.”

On the flip side, some authors are more circumspect, requiring the ghostwriter to draw them out lest they have no material to work with. “Some people are brash in the public light but get skittish when the writing starts,” Edison says. He’s repeatedly seen larger-than-life rock stars clam up upon realizing that their spouse and family will probably read their book.

“They might freak out about their girlfriend if they’re talking about having sex with someone who’s not their girlfriend, even if happened 25 years ago,” Edison says. Here’s where that hand-holding comes in: “When you’re writing a memoir, honesty is the currency you trade in,” Edison reminds his clients. “If you don’t have that, you don’t have anything.”

2. GAINING ACCESS TO AUTHORS CAN SUCK UP A LOT OF TIME.

It may sound counterintuitive that a public figure who’s hot to “write” a book would disappear the moment they get a publishing contract, but it happens a lot. This means ghostwriters can spend a decent chunk of their time trying to get on the schedule of the authors who’ve hired them.

“I know one writer who builds a certain number of author-access hours into each contract,” says Judy McGuire, a New York‑based author and ghostwriter. “It’s an excellent idea because your publisher doesn’t care if your author is too busy on Broadway or fulfilling her Real Housewife obligations—they still want the book on schedule.”

3. GHOSTWRITERS GET TO KNOW THEIR AUTHORS REALLY WELL.

Being a people person is a must for ghostwriters, who can spend several weeks, months, or years working with an author on their book. “People have to feel comfortable with you and they have to like you,” says Stephanie Krikorian, a New York‑based journalist and New York Times best-selling celebrity ghostwriter. “They’re trusting you with their life story or their life’s work. And most people only get one book, so I take that responsibility very seriously.”

McGuire agrees. “You get so close to someone,” she says. “You hear all their dirt. You’re like their shrink. It’s a very one-sided relationship, but it can be very intense. And then it’s over. That can be good (if they’re annoying) or a little sad.”

4. THE AUTHOR GETS THE FINAL SAY, NOT THE GHOSTWRITER.

“A lot of times when people read back their words, they say, ‘Oh, I would never say that,’ or, ‘That doesn’t sound like me,’” Krikorian says of her authors. This happens despite Krikorian recording and transcribing each conversation she has with them.

But if an author doesn’t like a turn of phrase, they don’t like a turn of phrase, and Krikorian will make a tweak. “Every author I work with signs off on every single word in their book, so I’m not putting words in anybody’s mouth,” she explains. “They’ve read it five times before it goes into print.”

5. THE PAY VARIES WILDLY.

A book’s length, complexity, and deadline all factor into the fee the ghostwriter negotiates. Ghostwriters can get paid anything from $15,000 to $150,000, even hundreds of thousands if the author is a household-name celebrity. In addition to their flat fee, some negotiate a percentage of royalties.

Take Tony Schwartz, the ghostwriter behind The Art of the Deal, Donald Trump’s 1987 New York Times best-selling memoir. Schwartz earned half of Trump’s $500,000 book advance for his efforts, along with half the book’s royalties on the back end, eventually netting him millions of dollars.

6. GHOSTWRITERS TURN DOWN FAR MORE WORK THAN THEY ACCEPT.

Almost everyone has a book idea in them. Many people, upon meeting a ghostwriter at a party, will share their idea in hopes that the ghostwriter will provide feedback or even take on their project for a cut-rate fee. (“I’ll pay you on the back end if the book makes any money.”) This is not how professional ghostwriters work. Most carefully vet the books they take on, based on budget, the viability of the project, and whether they’re the right wordsmith for it. Often the projects they accept have been vetted by a literary agent, publishing company, or mutual contact first.

“Most people do have a book in them,” Krikorian says. “But the economics of publishing don’t allow for all those people to hire a writer to do their book.”

7. GHOSTWRITING IS ONE OF PUBLISHING’S WORST-KEPT SECRETS.

Many ghostwriters will tell you—sometimes even on the record—that at least 60 percent of celebrity books are ghostwritten. The most obviously ghosted books bear both the author and ghostwriter names on the cover. Sometimes the ghostwriter or “collaborator” credit is a bit more subtle: on the back cover, inside the back flap of the book, or in the acknowledgments.

Take Edison. “The books that I’ve worked on, it’s generally an open secret that I’ve worked with the authors,” he says.

8. SOME AUTHORS GHOST THEIR GHOSTWRITER POST-PUBLICATION.

Despite how close ghostwriters can get to their authors, the relationship is primarily transactional—the ghostwriter is merely a service provider easily dismissed once the transaction ends.

“Most of my clients have been generous and easy, but I know some authors won't acknowledge that they had any kind of help—it's a struggle just to get listed on the acknowledgments page—because they've built this fiction that they have actually written the book themselves,” McGuire says.

She recalls one ghostwriting project where she never met or had direct contact with the author: “He never emailed, never called—all he contributed was having his assistant send one academic journal article per chapter. These weren't even necessarily journal articles he'd written. It was very strange, but a contractor handled the whole thing. I doubt he'd even read the book before he went on 20/20 to discuss it. But as long as the check clears, who cares? You need to be ego-less in this profession. Or at least a little thick-skinned.”

9. THEY'RE OFTEN SWORN TO SECRECY.

Tony Schwartz, who shared a cover credit with Donald Trump for The Art of the Deal, infamously told The New Yorker last year how much he regrets ghostwriting the president’s book. But many ghostwriters wouldn’t dream of spilling the beans on an author or project. Plus, some are legally bound to take the secret of having written someone else’s book to their grave, no matter how well the project goes and how good their relationship is with the author.

Krikorian’s friends and family know not to ask what author she’s working with at any given moment. Instead they just ask if she has work, end of story. “I really strongly believe that my job is to keep the secret,” Krikorian says. “There’s a reason it’s called ‘ghost.’”

All photos via iStock.

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15 Powerful Quotes From Margaret Atwood
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MICHAL CIZEK/AFP/Getty Images

It turns out the woman behind such eerily prescient novels as The Handmaid’s Tale and Oryx and Crake is just as wise as her tales are haunting. Here are 15 of the most profound quips from author, activist, and Twitter enthusiast Margaret Atwood, who was born on this day in 1939.

1. On her personal philosophy

 “Optimism means better than reality; pessimism means worse than reality. I’m a realist.”

— From a 2004 interview with The Guardian

2. On the reality of being female

“Men often ask me, Why are your female characters so paranoid? It’s not paranoia. It’s recognition of their situation.”

— From a 1990 interview with The Paris Review

3. On limiting how her politics influence her characters

“You know the myth: Everybody had to fit into Procrustes’ bed and if they didn’t, he either stretched them or cut off their feet. I’m not interested in cutting the feet off my characters or stretching them to make them fit my certain point of view.”

— From a 1997 interview with Mother Jones

4. On so-called “pretty” works of literature

“I don’t know whether there are any really pretty novels … All of the motives a human being may have, which are mixed, that’s the novelists’ material. … We like to think of ourselves as really, really good people. But look in the mirror. Really look. Look at your own mixed motives. And then multiply that.”

— From a 2010 interview with The Progressive

5. On the artist’s relationship with her fans

“The artist doesn’t necessarily communicate. The artist evokes … [It] actually doesn’t matter what I feel. What matters is how the art makes you feel.”

— From a 2004 interview with The Guardian

6. On the challenges of writing non-fiction

“When I was young I believed that ‘nonfiction’ meant ‘true.’ But you read a history written in, say, 1920 and a history of the same events written in 1995 and they’re very different. There may not be one Truth—there may be several truths—but saying that is not to say that reality doesn’t exist.”

— From a 1997 interview with Mother Jones

7. On poetry

“The genesis of a poem for me is usually a cluster of words. The only good metaphor I can think of is a scientific one: dipping a thread into a supersaturated solution to induce crystal formation.”

— From a 1990 interview with The Paris Review

8. On being labeled an icon

“All these things set a standard of behavior that you don’t necessarily wish to live up to. If you’re put on a pedestal you’re supposed to behave like a pedestal type of person. Pedestals actually have a limited circumference. Not much room to move around.”

— From a 2013 interview with The Telegraph

9. On how we’re all born writers

“[Everyone] ‘writes’ in a way; that is, each person has a ‘story’—a personal narrative—which is constantly being replayed, revised, taken apart and put together again. The significant points in this narrative change as a person ages—what may have been tragedy at 20 is seen as comedy or nostalgia at 40.”

— From a 1990 interview with The Paris Review

10. On the oppression at the center of The Handmaid's Tale

“Nothing makes me more nervous than people who say, ‘It can’t happen here. Anything can happen anywhere, given the right circumstances.” 

— From a 2015 lecture to West Point cadets

11. On the discord between men and women

“‘Why do men feel threatened by women?’ I asked a male friend of mine. … ‘They’re afraid women will laugh at them,’ he said. ‘Undercut their world view.’ … Then I asked some women students in a poetry seminar I was giving, ‘Why do women feel threatened by men?’ ‘They’re afraid of being killed,’ they said.”

— From Atwood’s Second Words: Selected Critical Prose, 1960-1982

12. On the challenges of expressing oneself

“All writers feel struck by the limitations of language. All serious writers.”

— From a 1990 interview with The Paris Review

13. On selfies

“I say they should enjoy it while they can. You’ll be happy later to have taken pictures of yourself when you looked good. It’s human nature. And it does no good to puritanically say, ‘Oh, you shouldn’t be doing that,’ because people do.”

— From a 2013 interview with The Telegraph

14. On the value of popular kids' series (à la Harry Potter and Percy Jackson)

"It put a lot of kids onto reading; it made reading cool. I’m sure a lot of later adult book clubs came out of that experience. Let people begin where they are rather than pretending that they’re something else, or feeling that they should be something else."

— From a 2014 interview with The Huffington Post

15. On why even the bleakest post-apocalyptic novels are, deep down, full of hope

“Any novel is hopeful in that it presupposes a reader. It is, actually, a hopeful act just to write anything, really, because you’re assuming that someone will be around to [read] it.”

— From a 2011 interview with The Atlantic 

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China's New Tianjin Binhai Library is Breathtaking—and Full of Fake Books
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FRED DUFOUR/AFP/Getty Images

A massive new library in Tianjin, China, is gaining international fame among bibliophiles and design buffs alike. As Arch Daily reports, the five-story Tianjin Binhai Library has capacity for more than 1 million books, which visitors can read in a spiraling, modernist auditorium with floor-to-ceiling bookshelves.

Several years ago, municipal officials in Tianjin commissioned a team of Dutch and Japanese architects to design five new buildings, including the library, for a cultural center in the city’s Binhai district. A glass-covered public corridor connects these structures, but the Tianjin Binhai Library is still striking enough to stand out on its own.

The library’s main atrium could be compared to that of the Frank Lloyd Wright-designed Guggenheim Museum in New York City. But there's a catch: Its swirling bookshelves don’t actually hold thousands of books. Look closer, and you’ll notice that the shelves are printed with digital book images. About 200,000 real books are available in other rooms of the library, but the jaw-dropping main room is primarily intended for socialization and reading, according to Mashable.

The “shelves”—some of which can also serve as steps or seating—ascend upward, curving around a giant mirrored sphere. Together, these elements resemble a giant eye, prompting visitors to nickname the attraction “The Eye of Binhai,” reports Newsweek. In addition to its dramatic main auditorium, the 36,000-square-foot library also contains reading rooms, lounge areas, offices, and meeting spaces, and has two rooftop patios.

Following a three-year construction period, the Tianjin Binhai Library opened on October 1, 2017. Want to visit, but can’t afford a trip to China? Take a virtual tour by checking out the photos below.

A general view of the Tianjin Binhai Library
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People visiting China's Tianjin Binhai Library.
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A general view of China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A woman taking pictures at China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A man visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A woman looking at books at China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A general view of China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

People visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

[h/t Newsweek]

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