Writers and Editors

"Simply stated, a Collaboration Agreement is a mini-partnership agreement. The partnership assets are the songs covered by the agreement. The songwriters are the partners and the agreement details how the expenses and income related to the songs will be shared."
~ Kent Newsome, "The Art of the Deal"

George S. Kaufman referred to collaboration as "gelt by association."

Sanford Dody's own memoir was Giving Up the Ghost (1980), out of print and available at Abe Books but not Amazon!

Medical Ghostwriting
Medical ghostwriting is another kettle of fish altogether. On this topic you may want to read Medical Papers by Ghostwriters Pushed Therapy (Natasha Singer, NY Times, 8-4-2009), What Should Be Done To Tackle Ghostwriting in the Medical Literature? (a debate about medical ghostwriting on PLoS Medicine, with Peter C. Gøtzsche, Jerome P. Kassirer, Karen L. Woolley, Elizabeth Wager, Adam Jacobs, Art Gertel, Cindy Hamilton), Ghostwriting and the Medical Writer (Cynthia Haggard, American Medical Writers Association), and New strategies to tackle medical ghostwriting are debated (Science News). Finally: AMWA code of ethics.

---

Sarah Wernick's FAQ on Collaboration

What follows, adapted from the website of the late, wonderful Sarah Wernick, has migrated here by permission of Sarah's husband, Willie Lockeretz, on behalf of all the expert authors who ask, and the professional writers who are repeatedly asked, certain basic questions about writing a book and getting it published. Thank you, Sarah!

---

You don't have to write a book all by yourself! Team up with someone whose expertise complements yours. You'll make the process more efficient and enjoyable – and boost the odds for success.

• Why work with a professional writer?
• How do I find a collaborator?
• What should I look for in a writer?
• Should we sign a contract?
• What are the usual financial arrangements?
• Who gets credit on the book jacket?
• Who holds copyright?
• How do collaborators write together?
• Other questions?

Updated January 1, 2007

Why work with a professional writer?

The answer is obvious if you know your prose can't do justice to your ideas. But what if your friends and colleagues admire your writing? Say you’ve written for trade magazines or technical journals. Maybe you’ve published an academic book or articles. Do you really need to work with a writer?

Maybe not. But realize that a popular book requires a different writing style. Also, commercial publishing involves expertise beyond word craft, such as knowing how to find an agent and how to present a book idea effectively in this competitive marketplace.

For example, when a strong writer works with an expert who doesn’t yet have an agent, she arranges for the two to meet with several agents who would be appropriate for their book. If she's selective about the experts she collaborates with – and can write strong book proposals – her books receive six-figure advances (as Sarah's did). Her experience and connections are also useful after the book is published, when the focus turns to marketing.

If you’d rather work on your own, start by learning about the profession. For a quick overview, have a look at So, You Want to Write a Book! Check out the links and read the recommended books; join a writers’ organization and attend classes and workshops. Gain experience as a commercial writer by submitting articles to popular publications.

All this probably sounds like a lot of work – and indeed it is. Do you have the time to develop a second profession as a writer? Is this the best use of your energies? If not, collaborating with a writer might make more sense.

How do I find a collaborator?

If you're an expert with a high profile in your profession, a writer might find you. Sarah contacted Miriam Nelson of Tufts University after reading an article Miriam wrote for the Journal of the American Medical Association (JAMA); they subsequently collaborated on three books.

A writer might interview you for a magazine or newspaper article, and then ask if you’ve thought about writing a book. Peggy McCarthy, a patient advocate who was a source for two magazine articles Sarah wrote about lung cancer, later called Sarah with a book idea and they became coauthors.

Sometimes experts are contacted by someone in publishing – an agent, an editor, or a book packager – who sees a potential book idea in their work. Any of these people can recommend writers.

Another approach is to look for a writer yourself. Go to a bookstore and browse through books similar to the one you’d like to write. Look at the bylines and read the acknowledgments. Also check magazines and newspapers for popular articles on your subject. When you’ve gathered some names, plug them into Google or another search engine. Many writers have websites, so it's easy to find them and learn more about their work.

You can also find a collaborator through writers’ organizations. For example, the American Society of Journalists and Authors has a free referral service called Freelance Writer Search; job listings are publicized to a membership of over 1,200 published writers who have met the organization's standards of professional achievement.

What should I look for in a writer?

Relevant experience is valuable in every profession, including writing. The ideal coauthor is someone with experience writing collaborative books on a subject similar to yours for the same target audience as your book. A writer with an excellent track record is not only more likely to do a good job, but will also be an asset when selling the project to a publisher.

Check references. Ask the writer if you can call experts with whom he or she has worked in the past.

Get together and talk about your project. Do the two of you communicate well? Does the writer ask intelligent questions? Understand your answers? Offer good suggestions? Personal compatibility counts too. Collaborators work closely over the time required to write a book.

Should we sign a contract?
Definitely! As soon as you begin writing with someone, you are creating jointly owned property together. Having a written agreement is as important as it would be if you were building a house. Before you start working with a writer, both of you should sign a collaboration agreement. This is true even if you decide to write your book with a friend.

The collaboration agreement covers the following:

• Description of each person's responsibilities


• Monetary issues, including compensation and expenses


• Credit, copyright, and control


• Provisions for the unexpected and the unpleasant

For information on collaboration agreements, see the following books, all of which include other valuable information for writers:

• The Writer's Legal Companion: The Complete Handbook for the Working Writer, Third Edition, by Brad Bunnin and Peter Beren (Perseus, 1998)


• The Writer's Legal Guide: An Authors Guild Desk Reference, Third Edition, by Tad Crawford and Kay Murray (Allworth Press, 2002)


• Business and Legal Forms for Authors and Self-Publishers, Revised Edition, by Tad Crawford (Allworth Press, 2000). The book's model collaboration agreement is included in "About Collaboration Contracts," an article by Mary Embree.

Though model agreements can be helpful, it's prudent to have your contract reviewed by a literary attorney or agent before you sign it.

What are the usual financial arrangements?

The American Society of Journalists and Authors collects data on collaborative splits from its members. Their reports indicate that the single most common arrangement is for the writer and expert to split the advance and royalties 50-50. But these deals are negotiated individually. Variations in both directions are common.

Even with a 50-50 split, specifics differ. For example, the writer – who usually must live on the proceeds, while the expert normally has other professional income – might receive a greater share of the advance, while the expert collects first royalties to make up the difference.

In most cases the writer receives an up-front fee for writing the book proposal. Fees vary considerably: $3,000 is minimal; $5,000 to $10,000 is more typical – and writers with a strong track record may charge much more. Sometimes the fee is considered an advance against money earned from the book, but sometimes it's a separate payment. All financial arrangements should be spelled out in a written collaboration agreement before work begins.

Who gets credit on the book jacket?

Credit is determined by mutual agreement. When peers collaborate on a book, they may flip a coin to decide whose name comes first. An author like Sarah receives a “with” byline on the jackets of coauthored books, signaling that the expert is the lead author. The expert collaborator’s name is typically printed first and in larger type. Similarly, the description of the expert-author that's printed on the book jacket flap, is longer than the description of the writer and may include a photo, which the writer’s might not. All these details should be spelled out in your collaboration agreement.

Some experts prefer not to credit the writer. But most professional writers are proud of their books and would hesitate to collaborate with someone who was unwilling to acknowledge their work. Those who agree to be a ghost writer (a writer or collaborator with no credit) usually expect commensurately higher payment to assuage the pain of no credit.

Who holds copyright?

This too is negotiated. A solid professional writer normally shares copyright with his or her collaborators.

How do collaborators write together?

Coauthors work in many different ways. Sometimes the writer does all the writing; sometimes the expert produces the first draft and the writer polishes – and those are just two examples. Part of the challenge of collaborating is devising a congenial and effective process.

Some collaborators prefer to meet in person; others work via email or telephone. Often, there's a combination. For example, at the beginning of Sarah's collaboration with Rick Bradley, she traveled to Washington DC, where he works, for a two-day meeting to plan their book, Quick Fit. After that, telephone conferences and emails sufficed. In Sarah's experience, distance is not an obstacle to successful collaboration.

Other questions?

Have a look at Sarah Wernick’s chapter about collaborations in The ASJA Guide to Freelance Writing: A Professional Guide to the Business for Non-Fiction Writers of All Experience Levels, edited by Tim Harper for the American Society of Journalists and Authors (St. Martin's Press, 2003).