I was insulted for about five seconds and then I saw the potential of what he was offering. The books already had a publisher. It was definite money. All the information was in one place and would be relatively easy to collect. He was an interesting man with a lot to teach me. When I reflected a little further I realised that I had actually been doing much the same thing in journalistic form for clients of public relations companies, writing articles and speeches on their behalf. This was merely a protracted version of the same process.
I accepted the job and it went without a hitch. There must, I thought once it was over, be millions of people with books in their heads who don’t have the time, ability or inclination to write them themselves. I just need to find them. That was when I hit upon the idea of taking a small ad in The Bookseller – ‘Ghostwriter for Hire’ – in the hope of reaching every publisher and literary agent who had a client with a great story but no time or inclination to write it themselves.
The story of Stumpy
My ghostwriting gene must have developed early. I didn’t realise that what I was doing was going to be my life’s career but at the age of around 11 I decided, with the help of my best friend, Tom, to write the life story of Stumpy.
Stumpy was one of many mice that I had bred in the school nature society (a society of which I was voted President, I’ll have you know, largely because my mice bred with greater speed and ferocity than anyone else’s), but he was different, born with only three functioning legs. I guess this could be described as my first ‘misery memoir’.
Every bit of free time we could squeeze from the dreary daily routine of boarding school, Tom and I would hurry off down the corridors to the school library – a permanently unpopulated, panelled room with floor to ceiling shelves of unread books, looking out over terraces to the valley beyond – to write another chapter of Stumpy’s autobiography … Even then I should probably have been taking more fresh air and physical exercise.
The glamour model versus the ‘arbiters of taste’
‘I’ve had a call,’ the agent said, ‘from the managers of a model called Jordan. She’s looking for a ghostwriter for an autobiography.’
‘Who?’
It was the beginning of the twenty-first century and unless you were a regular reader of The Sun newspaper, you did not necessarily know who Jordan was or what her story might be.
‘She’s famous for having had her breasts enlarged. Her management are asking publishers for a million pound advance. Do you think it would be worth meeting her?’
‘She sounds like an interesting character.’
The agent was Andrew Lownie, one of the most distinguished independents in the business. He was one of the agents who responded to my ad in The Bookseller and we had worked together very successfully on a number of projects, all very different to this one. He agreed to set up a meeting and rang back a few hours later.
‘They want to have the meeting at her lawyer’s offices: Mishcon de Reya.’
‘Mishcon de Reya! Seriously?’
This was one of the biggest-hitting law firms in London. They had acted for the Princess of Wales in her divorce. This Jordan girl was not messing about. Lord alone knew how much a firm like this would be charging for their services.
The meeting room was surprisingly full when we arrived and I couldn’t help wondering how many of the shiny male managers and lawyers around the shiny conference table were charging by the hour.
Jordan, in the sort of skimpy dress a ‘saucy French maid’ might wear in a farce, had brought a friend with her and seemed totally relaxed in the surroundings despite the fact that she can’t have been much more than 25 years old. The two of them chatted and giggled like they were in Starbucks while the men attempted to talk business. Every so often, however, Jordan would interject with a question which completely cut through all the bullshit, and hold the eyes of whomever she was talking to with a disarming – and slightly alarming – intensity. I wasn’t completely convinced that she had enough of a story for a whole book, but I was completely convinced she would be fun to work with. She too said she would be interested.
After the meeting I made a few phone calls around publishers and other agents that I knew, just casually asking if they had heard of Jordan and whether they thought there was anything in it. With each phone call I found out more. It seemed that Jordan’s management team had already been to virtually every agent and publisher in the business, leading the conversation with the announcement that they were looking for a million pound advance.
I wasn’t surprised that this request was being greeted with derision by the industry but what did shock me was the level of disdain with which they all seemed to dismiss the would-be author herself, simply because of her profession and because of the audience to whom they thought she appealed. Publishers who would happily buy biographies of courtesans, actresses and prostitutes of the past, seeing them as colourful players in the pageant of history, did not like the idea of dealing with a living, breathing woman who promoted herself to the masses as a sex object. To be frank, they didn’t want to let her across their thresholds, let alone into the hushed and rarefied environs of their editorial departments. According to John Carey in his excellent book, The Intellectuals and the Masses, Rudyard Kipling observed that ‘the masses must pass into history before they become suitable for intellectual contemplation’. Snobbery, it seems, is a constant, if mutating, presence in the literary world.
For a few months everything went quiet and Andrew Lownie lost interest in the project. I believe Jordan changed her management company and someone within Mishcon de Reya reached out to Maggie Hanbury, another distinguished literary agent, who for a while was under the impression that she was being asked to represent a Middle Eastern country. Once that misunderstanding had been cleared up Jordan worked her steely charm again and the two women found that they understood one another. Sadly for me, Hanbury decided that Jordan would be more comfortable talking to a female ghost and I fell out of the picture. I remained, however, fascinated with what was to unfurl over the following years.
Even with her new literary ally, Jordan was still not able to win over the arbiters of taste within the big publishing houses. One independent publisher, a former tabloid editor called John Blake, however, understood what he was being offered and thought that, with the addition of plenty of pictures, it would be a deal worth doing. He offered her an advance of £10,000, a hundred times less than her representatives had originally been asking for. Showing a flash of the business sense that would soon make her a multi-millionaire, Jordan instructed her agent to accept the offer.
Two things then happened, which changed everything. John Blake came up with the idea of writing Being Jordan from the perspective of the real Katie Price, and Katie herself was invited to fly down to the Australian jungle and appear in I’m a Celebrity … Get Me Out of Here, where she caught the imagination of the British public, particularly the women, and conducted a very public romance with Peter Andre. A pop singer whose star had previously been waning, he became her first husband and father to two of her children. The target audience was no longer limited to male readers of The Sun because millions of women were now intrigued and wanted to know more and, as everyone in publishing knows, women are the ones who buy the most books, by a very large margin.
Being Jordan reputedly sold a million copies in hardback and editors in one of the major publishing houses who had previously refused to allow Jordan through their doors, were forced to offer Katie Price a seven figure sum to come to them with Rebecca Farnworth, her chosen ghostwriter. Cross with John Blake for signing up a rival model and for refusing to match this offer, Katie changed publishers and produced a stream of books in a variety of genres, most of which became colossal bestsellers, making no secret of the fact that she did not ‘do her own typing’. At the time of writing this she and Rebecca are still a team, with Lord knows how many titles under their belts.
Secrets and confidentiality agreements
> The ever-cheerful soap star peered suspiciously at the freshly delivered cover of her forthcoming autobiography.
‘Why hasn’t it got your name on it?’ she enquired.
‘Because I’m invisible,’ I reminded her. ‘It says so in my contract.’
‘Does it?’ It was obviously the first she had heard of any such stipulation. ‘Why’s that then?’
‘The publisher thinks it’s better.’
‘Why?’
‘They think the fans will prefer to believe that you wrote it yourself. They want them to picture you sitting down at your escritoire at the end of a hard day’s filming and pouring your heart out onto the page.’
‘Sitting at my what?’
‘Your writing desk.’
She emitted a tobacco-throated croak of mirth. ‘I don’t think anyone’s that thick, are they?’
‘It’s standard practice. The publisher just thinks it’s better.’
‘I’m not sure about that. I don’t want people to think that I’m pretending I can write a book. That’ll make me look like a right knob.’
Such frankness is always endearing in an author. Most, in my experience, are quite happy to confess that they have had help with ‘doing the typing’, as Katie Price would say; it is usually the lawyers and the publishers who insist on contracts that threaten the ghost with hanging, drawing and quartering if they even tell their pet spaniel that their clients didn’t write their own books. The paid advisers are equally fond of confidentiality agreements that forbid you from ever telling anyone anything that you might have found out that doesn’t actually make it into the published book. If the client removes all their clothes during a recording session or confides that they intend to top themselves, mum’s the word.
Things have become less draconian with the passing years and with the public’s growing awareness that most people will find it hard to dash off a book if they are also doing another full-time job like starring in a soap opera, playing in a professional football team or running a country. As a result there are now some books where the ghost is openly acknowledged on the cover or the flyleaf and is free to talk to everyone including the media about their involvement in the project, and others where quite the opposite is true. Likewise there are some author/ghost relationships where a level of trust exists without the necessity of a written confidentiality contract, and a ghost would guard their author’s secrets as fiercely as they would guard those of their friends and family. Those are the best ones. It is the state that all good ghosts should aspire to.
Glimpses of hell
Living, as I do, in one of the safest and most prosperous islands in the world, and being part of a comfortable and loving family, it is easy to forget or to remain ignorant of the depths of hellishness that man is capable of inflicting on his fellow man, and frequently does. The collapse of the communist Eastern Bloc at the end of the eighties released a hurricane of shocking and fascinating human interest stories, carried back to the West by people who needed the help of ghostwriters to tell them.
When Romanian President, Nicolae Ceauşescu, was toppled from power and executed in 1989 his country was released from a quarter of a century of oppression. What horrified the outside world the most, however, was what was discovered inside the walls of the ‘orphanages for the irrecuperable’ which littered the country. Thousands of children who had been deemed to be of no use to Romania, or who had been ‘inconvenient’ births, were found locked up in these asylums, tied up in cots, starved, abused, driven insane and beaten until they eventually gave up living. This was what medieval Bedlams must have looked like. Western cameras went in and recorded scenes the like of which we had not seen in Europe since the liberation of the concentration camps after the Second World War.
After the collapse of Yugoslavia stories of war crimes and ethnic cleansing emerged daily as different factions and nationalities struggled to fill the power vacuum, committing any atrocities they deemed necessary. Soldiers, doctors, diplomats and charity workers all came out of the area with tales of unbelievable barbarity and many of them also needed ghostwriters to help them put into words horrors that had left them speechless.
The symbolic fall of the Berlin Wall seemed like a new beginning. Although the stories that had been hiding behind it were more prosaic than we had been led to believe by the propaganda of the Cold War, at a personal level they were both shocking and awe-inspiring. Individual stories of endless, grinding poverty, cruelty and darkness emerged into the light. Each story that was brought to me seemed more gruelling and shocking than the one before.
Out of that darkness, however, it was possible to make out glimmers of hope as good people made huge sacrifices and put their own lives on hold in order to help. A variety of ghostwritten books followed. There were tales of hopelessly crippled and apparently mad orphans being saved by Western surgeons and by the love of patient foster families. Bombed orphanages were rebuilt by soldiers, charities were set up and families who had been separated for a generation were reunited. There was so much to do but no shortage of people who wanted to help, and who then wanted to tell the stories of the horrors and the miracles they had witnessed.
For a writer it was a Pandora’s box: scenes of unspeakable evil and personal struggles, often leading to happy endings. I wrote the story of a small boy who had been tied up and imprisoned in an orphanage cot for the first four years of his life, condemned by the authorities as sub-human because he was believed to be both physically and mentally handicapped, who was saved by a volunteer and given a full life in the West. I did one for a soldier who rebuilt a bombed orphanage for a local town in his own time and went on to create a full-scale charity, and another for an English woman who had been trapped in Eastern Europe as a teenager just before the Second World War, not escaping back to her family in the West until the Iron Curtain finally fell just over half a century later. I also helped tell tales for some of the pioneering business pirates and ex-politicians who built vast fortunes as communism crumbled and a new frontier-land of opportunities opened up for those bold and ruthless enough to grab them.
These stories were the absolute stuff of life, horrifying and inspiring, sickening and uplifting, frightening and dramatic. I seldom cried while I was actually there in the orphanages, or actually listening to the stories (as Graham Greene once said ‘There is a splinter of ice in the heart of a writer’), but I confess that when I came to write the stories the ice would inevitably melt into tears. The goal then was to ensure that the readers would be equally moved to tears at the same time as being unable to stop turning the pages.
That splinter of ice
That ‘splinter of ice in the heart of a writer’ Greene talked about helps a great deal when listening to stories that have the potential to break your heart. Ghosts, like other authors, need to be able to remain objective, slightly distant, hovering above the emotion, watching and noting what it looks and sounds like. But at the same time we need to understand what it feels like in order to convey it to the reader.
If the person who is telling you the story is crying, then you need to be able to make the reader cry too when you reproduce the story on the page, but you won’t be able to do that if you get too close. You need to be interested in the story, amazed by it, moved by it, but you cannot let it cloud the clarity of your own thoughts while you are interviewing.
Sometimes I have sat with people who are in floods of tears when they tell their stories. More often they struggle to hold in those tears, their chins trembling, their eyes and noses running involuntarily, their voices cracking as they battle bravely on with the memories that cause them so much pain and which they want so much to exorcise. It is a cliché that many of the soldiers who had the most traumatic times in the trenches of the First World War never wanted to speak about their experiences once they got home. The same rule has applied to others who have suffered since in different ways but times have changed. The medical profession came to understand about post-traumatic stress and peop
le are now encouraged to talk about their traumas in order to learn how to cope with them. It is still never an easy thing for most damaged people to do.
My role is to sit and wait, quiet and encouraging; never criticising them, never comforting them, never rushing them, just passing the tissues, assuring them there is no problem and waiting for them to feel able to continue.
Readers want to be moved to tears by stories, just as they want to be moved to laughter or to shrieks of fear. They want to ‘feel something’. A ghostwriter must catch the elements that produce that effect and reproduce them later on the page, not during the interview.
I guess therapists and analysts must work in the same way because often when I get to the end of the interviewing process the subject will say they feel like they have just been through a course of therapy. They are nearly always grateful to have been able to unburden themselves but still the fact remains that there was a splinter of ice required in order to achieve it – and that troubles me a little.
It isn’t only once work is under way that a ghost has to remain detached. Often the people who make initial enquiries about hiring a ghostwriter have heartbreaking tales to tell. To have to warn them that the fact that they have lost a child in appalling circumstances or been tortured for months by an oppressive regime does not necessarily mean that they will get a publishing deal, can seem unbearably cruel – but to give them false hope would be far crueller.
I suppose it’s the same in many other professions. A paediatrician must spend a large proportion of his or her time having to give heartbreaking news to parents. A press photographer sent to a war or disaster zone, a policeman dealing with the victims of a terrible crime or having to break the news of a death to a family. All these people can only function effectively in their jobs if they become detached in some way, deliberately inserting Greene’s cold, hard, necessary splinter of ice.
Confessions of a Ghostwriter Page 2