Over the past year, you’ve probably seen our #ghostsarereal tag on social media or in The Bookseller. CWIG’s campaign has gained good traction in the industry, with a packed panel event at London Book Fair, where I got to talk about my experience, and why I believe it’s important that children’s authors deserve recognition for their ghosting work, including proper financial reward (their name on the title page for PLR, and a royalties deal), while child readers deserve to know who’s behind the writing. Everyone’s ghost story is different, but in the hope that some of this is useful for anyone currently looking at a ghosting contract or thinking about how one might work in future, this is mine.
What was it?
I wrote the ten-book Flying Fergus series with Sir Chris Hoy, illustrated by Clare Elsom, along with a non-fiction bike manual for children. All were published by Bonnier.
How did it happen?
His literary agent contacted my literary agent looking for a suitable writer with a track record in writing funny series fiction for younger readers.
How did it work?
First, we had a ‘chemistry’ meet up, to see if we got along, and if our vision for a potential series aligned (at that point, I had a one-line idea from Chris: ‘Chitty Chitty Bang Bang but with a bike’). Over two hours, we threw around ideas, names, storylines, inspiration (the cyclist Graeme Obree as well the film ET came up a lot) and the overriding want that these be books about the taking part, not the winning. Over the next few weeks, I sketched out a synopsis for book one, as well as potential further stories. Once this was agreed by Chris and his agent, I wrote the full first book, which Chris and his agent edited (my knowledge of cycling was almost zero before this). This then went out on sub. No money had changed hands at this point – all the initial work was done under contract – my contract for the books was with Chris not a future publisher – on the proviso that if it got commissioned, then I’d get paid.
What was the deal?
The first five books were sold at auction. While the intricacies of that deal remain between Chris and the publisher, my deal was a 40% share, including of royalties. We’d also agreed my name on the title page, and that at no point would Chris claim to have written the books himself. This fed into all future publicity, with our events being about teamwork, with all three of us (including Clare) on stage at times, as well as my own individual school events.
What makes a good ghost?
There are a few things that help: having a reputation for being easy to work with, quick, as well as a track record in the genre and age banding definitely help. You also need to be able to collaborate (I was previously a political speechwriter and ghosted for cabinet ministers), and accept that some elements will make their way into the work, even if they wouldn’t be your first choice. You also need to be prepared to immerse yourself in a whole new world very quickly. There is very little I now don’t know about Olympic cycling or Graeme Obree’s bike made of washing machine parts.
Is it rewarding?
The obvious answer, in terms of finance, is yes. My advances for these books were more than if it were my name alone on the cover. But it was, ultimately, about far more than that: I love collaboration, and working with others’ ideas and with a defined world. And I also got to spend time with a truly wonderful human, whom I would otherwise never have met, and inspired thousands of kids as well.
Would I do it again?
Absolutely. For the right project and person and price. I’m signed up to an agency now (there are a couple of great ones) and have had a couple of projects offered but they’ve either been flat fee or fantasy and neither are my bag right now.
