Effective Collaboration - Working With Your Ghostwriter

Written by Bonnie Jo Davis


Continued from page 1

- Be flexible. If your ghostwriter delivers an article with which you are truly displeased allow him/her to do some editing before you completely rejectrepparttar piece altogether. When making directives for specific editing requests try to explain why you are making your request. This can help your ghostwriter learn your particular preferences and help further develop his/her ability to write from your perspective.

- Be reasonable regarding timeframe for delivery of your article. All work takes time and as you already know, so does writing in particular. Try to offer new projects far enough in advance that your ghostwriter has time to produce his/her best work for you. Even if your ghostwriter is an expert in your subject and works well against short deadlines, he/she can usually produce a better article for you if not pressed for time.

- Money talks, but not alwaysrepparttar 128809 same language. You may be surprised to learn that many professional ghostwriters are more drawn to regular work than a one-time-shot larger payment for writing an article. As I often say, writers are real people with real lives and financial commitments like everyone else. In offering your projects to a different writer each time you'll definitely receive a variety of work, but you won't have much security. By working with one or perhaps two ghostwriters you'll haverepparttar 128810 benefit of knowing what to expect in their work.

- Don't keep your ghostwriter's name a secret. Sharingrepparttar 128811 name of your ghostwriter with other people who may have a need for his/her services goes a long way in maintaining a successful relationship. Not only is itrepparttar 128812 most genuine compliment you can offer, it is also one ofrepparttar 128813 most effective ways of ensuring that you're a valued client. Even freelance writers who have built a regular client base are almost always accepting new opportunities, if only as filler projects during slow times. Sharing your ghostwriter's name demonstrates your value of their work. You can berepparttar 128814 first name to whom your ghostwriter likewise makes referrals in your area of business and/or expertise.

- Pay your ghostwriter's fees promptly. Many ghostwriters charge a deposit or in-advance payment on projects that they accept as a standard for doing business. However, some do accept work without a deposit. Whichever agreement you reach with your ghostwriter, it is important that you honor that agreement just as any other contract for professional services by making payment upon receipt of services.

(c) 2004, Davis Virtual Assistance. All rights in all media reserved. Permission for reprint granted to all venues so long as they are opt-in.

Bonnie Jo Davis is the author of the e-book: Articles That Sell: Use The Best Kept Secret To Promote Your Business For Free! For more information about Bonnie her e-book visit http://tinyurl.com/5wnmm.


Help to the writer by a judge of several major TV script and screenplay contests. Advice and tips on preparing a script before entering a contest.

Written by Lynne Pembroke


Continued from page 1

  • Keep in mind thatrepparttar industry professionals who sponsor some of these film and TV competitions do so in order to find good producible material, hopefully for lower rather than higher budgets.  Therefore, entering a screenplay in a genre with a story that screams "high budget" lessensrepparttar 128807 writer's chances of winning.  This means that
    1. Sci-fi special effects stories taking place on purple planets populated with giant, paisley-skinned, seven-armed, Plasmanian Wooglegorps who magically float throughrepparttar 128808 air using anti-gravity belts or

    2. a 1920's Period Piece necessitating Model-T's, Zoot suits and flappers or

    3. an action/adventure story that hasrepparttar 128809 bad guys blown to smithereens, along with their Lear jet, overrepparttar 128810 ocean, followed by a high-tech nuclear submarine underwater search and rescue mission whilerepparttar 128811 oil slicked water burns out of control, are notrepparttar 128812 best way to go.
    • Make certain that your story is told visually.  Film is a visual medium.

    • Make sure you don't have "onrepparttar 128813 nose" dialogue or too much dialogue and that allrepparttar 128814 dialogue sounds natural.

    • Check to make sure that your characters are interesting, engaging and have good character arcs.  Nothing worse than having an unlikable hero, a wishy-washy bad guy, or a protagonist who starts out angry atrepparttar 128815 world and byrepparttar 128816 end ofrepparttar 128817 story is still angry atrepparttar 128818 world having learned and changed nothing in his nature.
    Conclusion Once you've gone through your screenplay and are satisfied with it, have it read by someone else.  After all, your story is intended for a movie-going audience so honest opinions from friends and family members will give you a feel for that audience reaction.

    Then do yourself a favor and have your screenplay read by an industry professional that has experience and good credentials inrepparttar 128819 area of script analysis.  A writer can become too close to his work and not be able to "seerepparttar 128820 forest forrepparttar 128821 trees".  It is to your advantage to have any possible format, story, character, dialogue and structure flaws found and corrected before it is submitted to a movie or TV script contest.

    While there is never any guarantee your screenplay or TV script will be a winner, writing one torepparttar 128822 best of your ability and which meets industry standards is a must, asrepparttar 128823 competition is fierce.

    I wish you great success in your present and future story-telling adventures.

    Website: http://www.coverscript.com

    Email me at: lynnepem@aol.com

    Lynne Pembroke Coverscript.com Los Angeles, CA. 323-953-5921 lynnepem@aol.com http://www.coverscript.com

    Copyright 2003 Lynne Pembroke, Coverscript.com The information on this page may not be reproduced, republished or mirrored on another webpage or website withoutrepparttar 128824 permission ofrepparttar 128825 links site owner or webmaster.

    Over 18 years experience as a freelance script reader/analyst & consultant for agents, studios, producers, script consulting companies & screenwriting competitions.  A writer, poet & screenwriter. Specializing in screenwriting, script writing help & screenplay analysis of movies/tv scripts. Services provided, include: story analysis, ghostwriting, rewriting & adaptation of novel to screenplay. Website: http://www.coverscript.com


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