Getting Started as a Ghostwriter with Treasa Edmond

Treasa: Honestly, I don’t ghostwrite for the glory. I take pride in what I do. Honestly, I love it. It is my passion project. Every single project is my passion project. But I don’t feel the need to take any kind of credit for it. It’s their story, it’s their thoughts, and it’s their ideas. It’s, you know, their knowledge I’m sharing. All I’m doing is giving it a form that their audience can reach and take out.

Introduction: Welcome to the Become a Writer Today Podcast with Bryan Collins. Here, you’ll find practical advice and interviews for all kinds of writers.

Bryan: Would you like to become a ghostwriter? If so, how can you get started and how much does ghostwriting a book pay? Hi, there. My name is Bryan Collins and welcome to the Become a Writer Today Podcast.

Now, I’m not a ghostwriter and I’ve never really worked as a ghostwriter unless copywriting counts. But one of my missions on the Become a Writer Today Podcast is to help writers earn a good living from creative work. Sometimes, creative work can involve writing a book for yourself and self-publishing it on Amazon and you’re the face of your book. On other occasions, it can involve finding clients that you’re happy to work with and helping them express their ideas. You can do that through ghostwriting.

I recently had the chance to catch up with Treasa Edmond. She’s an accomplished ghostwriter who’s been in the industry for over 15 years. She’s written across many different genres and, in this week’s interview, she talks about how much ghostwriters can earn, how to get started, and the types of questions that you should ask clients before you decide to work with them.

To be honest, I learned quite a lot from this interview and it made me think back when I was working as a freelance journalist in my late 20s and early 30s. I was out of work on and off for several years because I wasn’t very good at finding clients, I wasn’t very good at pitching clients, and I never really negotiated proper contracts with clients. And these are all areas that Treasa covers in this week’s interview.

My other takeaway from this interview with Treasa is how she structures her day. She describes how she spends several hours in the morning writing up to 5,000 words and then she’ll spend the afternoon working on administrative work that keeps the lights on for her business and then she might take a break and finish the day with some writing. Her day sounded a little bit like mine, but she also describes how it really depends on what type of writer you are and how complex the project is. 

Now, if you enjoy this week’s episode about ghostwriting with Treasa, please take time to leave a short review on iTunes because more reviews and more ratings will help more people find the Become a Writer Today Podcast. You can also share the show on Overcast, Stitcher, or Spotify or wherever you’re listening with anybody who enjoys hearing practical advice about the craft of writing. I’ve also got a free Grammarly discount which you can use to claim 20 percent off your subscription. Simply visit becomeawritertoday.com/try-Grammarly-today and I’ll include a link for that in the show notes as well. 

Now, let’s go over to this week’s interview with Treasa Edmond and she starts by describing how she got into ghostwriting.

(interview)

Bryan: Welcome to the show, Treasa.

Treasa: Thank you. Thank you for having me, Bryan.

Bryan: I was impressed to discover you’ve written across many different genres, which we’ll get to in a moment, but could you give listeners a flavor for who you are and how you got into ghostwriting?

Treasa: Well, I started ghostwriting because I hired on with the business as an editor and the leaders of the business, I started writing blog posts for them and I found out I had a knack for writing in their voice. People who knew them didn’t know that it was someone else writing and I branched out from there. I’ve been ghostwriting for about 15 years now and I actually started editing academic stuff, believe it or not, which is the most boring stuff in the world, but I love it, it’s great, I get to help people tell their stories and that’s my primary goal.

Bryan: As a ghostwriter, do you primarily write books or do you also write articles and blog posts?

Treasa: I also do articles and blog posts. I prefer to do books, big projects, take a while, I can really get into them. Blog posts don’t take long. I enjoy doing them as a break, so to speak. Yeah, I write pretty much anything they need written in their voice.

Bryan: How many clients have you worked with over the years?

Treasa: I believe I’m up to 50 now in ghostwriting, and about half of those were books.

Bryan: Wow, that’s a lot of books. So I guess we do some rough back-of-the-paper on math, is that three to six months per book?

Treasa: Yes. I try to take six months. The fiction novel that I did, we did that in three months and it about killed me. Yeah, so I try to do six months.

Bryan: I’m interested, what drives somebody to work with a ghostwriter instead of writing a book themselves?

Treasa: There are several factors. The first one will be time. They’re leaders, they run a business, they just don’t have time to write the book themselves. The second factor is they have a story but they’re not sure how to tell it or they’re very, very uncomfortable writing and I write in their voice and I work very closely with my clients. It’s not a hands-off process. So, they are still very involved in it, they’re still the author and the creator, and all I’m doing is giving their voice words.

Bryan: When you’re working with a client, do you spend long vetting them before you decide to collaborate on a book for several months?

Treasa: Yes, yes, I do. I actually check them out. I make sure that we are in the right range on how much time they’re willing to spend on it, the budget. Budget’s a big thing unfortunately. You know, I’d love to do this for free but no I can’t. But making sure that their story is one that I can do justice for. I always want to go above and beyond for them. And we do a couple of phone calls. One is usually to decide if we’re going to work together and then I’ll send a proposal. So, we go from there to see whether or not we’re going to work together.

Bryan: So, you’ve worked for 15 years, you must have written across many different genres. Could you maybe elaborate on some of the genres that you tried over the years with your clients?

Treasa: Yes. I’ve written on Christianity and spirituality, leadership, psychology. That one was fun. We talked about brain science. I’ve also done a couple of memoirs and leadership books from members of the military who suffered from catastrophic injuries and their journey to come back from that. Pretty much across the board. I don’t know that there’s a topic that I haven’t touched on at some point. I even helped with mathematics once, and that one was strange. And artificial intelligence, which was absolutely fascinating. I understood not a word of what I was writing but it was really cool.

Bryan: I was talking to my writing coach a few years ago, Robert McKee, he said that every book has a convention that the writer needs to follow. In other words, they should do certain things to satisfy readers. How do you figure out the conventions when you’ve written across so many different genres? Because I can imagine a devotional book and a leadership book and a memoir all need to accomplish different things.

Treasa: They do, and they need to do it in different ways. I do a lot of research. Luckily, I read constantly so I’m pretty well-read across most genres. What I do is I go and look at, say, the most popular or the most well-known books in each category, I’ll read through them, make sure that everything’s working. The format across them is pretty standard for non-fiction books. You just — there’s like five different templates you can use and work into those and give each book its own flavor. It’s not a pantser process for non-fiction. It’s very much plotting everything out. So, I spend at least the first month, sometimes the first two months, just planning the book, getting everything ironed out and laid out and doing the research. And then I spend the rest of the time writing. So, a good portion of it is working on that structure.

Bryan: Interesting that you mentioned there are five different structures for a non-fiction book. Would you be able to describe your favorite structure and how that works?

Treasa: I prefer when they use a story to make their point. It’s really easy to write one that’s just like a coaching lesson or if you take someone’s speeches and turn them into a book or even if you take a series of sermons and turn them into a book, that’s easy, it’s fine, but the ones that take a story and weave it through and make the point in that story, I think people relate to those more. Lencioni’s books are all very story-driven and they’re fun. Donald Miller, he teaches the art of storytelling. All of those books are just — they’re more fun to read, they go faster, and people tend to retain the knowledge better.

Bryan: So, if I’m writing a non-fiction book, am I writing a 1,000-word story and then having a takeaway or points at the end of the chapter or is there some other approach?

Treasa: You can do that if you want. A lot of people do and a lot of publishers want questions at the end or some kind of study guide so that they can transfer easily to book groups, because book groups and small groups and people taking it into their business and using it for their employees are the primary selling points for those books. Also, if the speaker — or if the author becomes a public speaker, then they can sell those books as teaching tools to their audience, which is great. But I would say that even with the story format, having at least three questions at the end of each chapter that makes them dive back into the chapter, or three points to consider, maybe that’s even a better way to do it. So, three points to consider out of this chapter. And you could — be main things. So, leadership books, how is this style of leadership good or bad for what you’re doing? Just to help them apply it to their lives.

Bryan: When you’re writing a non-fiction book, do you have a preferred word count per chapter?

Treasa: I do. Well, I try to do at least 50,000 words and I try to do 11 to 15 chapters. So, we hit that ballpark range and so it divvies up a little bit differently every time. The introduction is usually a full-sized chapter, the conclusion is usually a little bit shorter, and then I always recommend that they include resources at the end if they can. So other books people might like, ways to get in touch with them, ways to do that. So I don’t include the front matter and the back matter in that page count or word count. But, yeah, 50,000 words minimum. I know a lot of people are doing shorter books now and I’ve seen some very effective ones. Show Your Work is massively short. It only takes about 20 minutes to read it but it’s a cult following. I mean, a lot of people read that one.

Bryan: The Austin Kleon book, Show Your Work? 

Treasa: Yeah.

Bryan: Yeah, no, it’s a good book. So, 10 to 11 chapters, approximately 500 to 600 words in length. Are you then dividing the chapters up into individual acts?

Treasa: Sometimes yes, sometimes no. It depends on the book. So, if we’re just teaching about a subject, then, yes, there are definitely — it’s more like a speech in book form so you tell them what you’re gonna tell them, you tell them the facts of the chapter and then you tell them what you told them in a way that’s applicable to their lives, which kind of gets rid of those questions at the end. For a story-driven book, absolutely, it’s told in acts and it’s told in a very — sometimes linear, sometimes circular but there’s always a path that leads people through the process.

Bryan: When you have written the chapters, are they generally the interview that you’ve turned into a story? Is that your approach?

Treasa: Usually, yes, especially for the story-driven ones, I try to do interviews and I do a series of interviews with the clients to make sure I’m getting everything and I don’t do the interviews until after I’ve come up with an outline for the book so that I can make sure everything is exactly where it needs to be.

Bryan: How many rounds of rewriting and revising do you go through with your clients?

Treasa: Usually, well, there are two but the first one’s the big one. After I do the introduction and the first chapter, I send it to them for revision and to make sure I’m hitting that mark on their voice. I want to make sure it’s exactly what they want. And then it goes a lot faster after that, but we do revision after each chapter. So, they can send back any revisions, then I can make sure that tone then goes on into the next chapter. And then at the very end, it’s pretty much just a read through and “Oh, hey, wait, we got that date wrong,” so it’s just very minor revisions at the end. And then I do require that every book that I ghostwrite goes through a professional editor and I incorporate those edits in the manuscript whenever they come back to make sure it doesn’t change the tone.

Bryan: Is the client sourcing the editor or do you include that as part of your service?

Treasa: It’s up to them. If they want to source it, I give them a list of people that I recommend but I’m happy to run that through my process as well. 

Bryan: What about proofreading? 

Treasa: That is usually done at the editorial level so if they’re going to self-publish, then I recommend that they do that themselves. They have someone come in and do that. If it’s going to a publisher, then it’s going to be re-edited and then they will provide the proofreading as well.

Bryan: Okay, yeah, that sounds like a fairly solid process that you’ve refined over the years, Treasa. One reason why I never got into ghostwriting is perhaps I’m a little greedy but I always wanted to just publish something that I could call my own and see my name on the front of the book. Did you ever kind of encounter that for yourself? Because it must be strange seeing something that you’ve invested a lot of time in that’s attributed to someone else.

Treasa: You know, a lot of people ask me about that and I have writers that I work with who say they could never do it. They could never not have their name on something they worked so hard for. It really doesn’t bother me. I don’t know why. I think there’s just a subset of us people out there who we don’t need all of the glory. I’ve always been a behind-the-scenes leader. So, I prefer to let my people take the lead and shine and get all of the credit. I’ve been that way since I was young. It’s just part of my makeup, I guess. And, honestly, I don’t ghostwrite for the glory. I take pride in what I do. Honestly, I love it. It is my passion project. Every single project is my passion project. But I don’t feel the need to take any kind of credit for it. It’s their story, it’s their thoughts, and it’s their ideas. It’s, you know, their knowledge I’m sharing. All I’m doing is giving it a form that their audience can reach and take out.

Bryan: Let’s say I’m listening to this interview and I’m thinking, “I want to try ghostwriting. I think that’s a good career for me. I’m okay with being a behind-the-scenes type of writer,” what are my first steps for getting started?

Treasa: You know, when I started ghostwriting, I am a big researcher, obviously, which is why I love nonfiction. I couldn’t find anything on ghostwriting. There are some ghostwriting schools out there and stuff now and there are ghostwriters who do basic courses. I don’t hear a lot of feedback from them. The ghostwriting world’s weird. It’s very insular, not a lot of people share. If you join some of the ghostwriting associations, they do give tools and tips and pricing guides to their members but it’s all behind closed doors and I don’t like that. I’m very much a believer that if we don’t train the next generation of ghostwriters in how to do it, then they’re going to go out there and not give it a good name, which, I mean, you’ve seen the news, there have been cases of ghostwriters who blab, who just said, “Hey, no, he didn’t write that, I did.” So it’s just that code of conduct, the basic structure. So, I’m just doing it now. I talk to budding ghostwriters all the time and I freely share my knowledge and so many of them have come back to me and said, “Hey, I’m willing to pay for this,” that I’m going to actually start a ghostwriting membership. It’s gonna be low cost. I’m still going to publish a lot of free information about how to be a ghostwriter and I just want to help them become the best that they can be. And there are lots of little tips and tricks that make it easier. I mean, you have a podcast on writing, you know that there are little things that you can learn from other writers that make your job better.

Bryan: So, how does a ghostwriter go about finding their first client? 

Treasa: Mine came from referrals and I kind of fell into them. I highly recommend that every ghostwriter start with content writing, that they form that solid base of knowing how to write effective content that either educates or connects or amuses, whatever the purpose of it is. If they can master those, then they have a very solid portfolio to take to their potential ghostwriting clients. So you can reach out on LinkedIn. Find someone you might like to write for that does a lot of public speaking or has talked about writing a book but just isn’t ready to do it. You might start with blog posts. Those are a very easy ghostwriting start, because you can perfect that voice over time, because it’s 1,200 words, most people don’t see it if you miss the voice a little bit. But then always, always, always ask for referrals. Ninety percent of my clients are referrals, and that helps the vetting process as well. So, if they’re referred to me, they see me as the expert when they come in, I don’t have to spend a lot of time proving that to them so then I can just go right into the process of helping them tell their story. And that’s what I recommend.

Bryan: It sounds like the aspiring ghostwriter is building up a portfolio of smaller works before they pitch a bigger project.

Treasa: Oh, absolutely. If you can’t write an entire story in 1,200 words, you’re really gonna struggle with 50,000 words. You need to master small content before you can move to big.

Bryan: Yeah, I’d agree with that. Sometimes, smaller content is harder than larger content because you have the confines of a word count.

Treasa: Absolutely. The hardest thing I’ve ever written was a 100-word post. You have to get absolutely everything that tells an entire story in 100 words and that’s difficult. And I actually learned that from a writing agent and she was a fiction writing agent but she would have contests all the time with her followers where, every week, she would give five keywords and you had to write a story in 100 words with those five keywords and it was the best exercise ever for developing my writing prowess. 

Bryan: Sounds a bit like flash fiction.

Treasa: Yes. 

Bryan: So, I have a portfolio, I have some referrals, and now I’m on the phone with a client and he or she is particularly interested in working with me. How do I go about deciding on a price?

Treasa: You don’t do that on the call ever. That’s the first tip. You just never ever give them a price on the call. You can say ballpark. You can say most ghostwriting book projects start at $25,000. You know, shorter projects like eBooks or 20,000-word books might start at, say, $10,000. I recommend they never go less than 50 cents a word for ghostwriting and I don’t price it per word because if you do, you miss out on all of that time you spent on research. So if I write a six-month book, two months of that might be hours and hours of research every week. And if I don’t account for that in my charge, then, essentially, I’m losing money on the project, which we write for a living so you can’t let that go. 

Yes, it’s passionate. Yes, I’m writing because I love to do it. But I still need to pay the bills and I still need to have health insurance and all of that fun stuff. So, what I recommend that they do is they get all of the details. How long does the client want the book to be? How many chapters? How much research are they going to provide? Do they have speeches? Do they have stuff they’ve already written that they want to incorporate in this or is it going to all be independent research, which takes a lot longer? Are they providing me with a basic outline that I can flesh out or am I coming up with the outline from scratch that’s then going to turn into a very in-depth table of contents that helps me write the book?
 
So, once you have the process down, it’s a lot easier but if you know you have to go through all of those steps, then you can account for that time when you’re going back and doing the proposal. And then that depends on, you know, where you are in the world, what you wanna charge. I have two ways of figuring out charges. I know I wanna make a certain amount of money per hour and I know after all the years about how many hours it’s gonna take me.
 
Sometimes I overestimate, sometimes I underestimate it still even, but I also know that I will never take less than a certain amount per word. So, I figure out both of those and then I kind of find the average in between and make sure that I’m hitting my bottom goals. So, it’s a lot of math. I don’t like math, I like words, but I have formulas that I use for that and I freely share those with anyone that asks me for them.

Bryan: Yeah, I can include them in the resources section. You also touched on another interesting point. When I was a freelance writer years ago, I’d spend a lot of time working on the article, I’d submit the article to an editor and then I’d have no work lined up for the following month and then there’d be a scramble to pay the bills. So how do you balance working on a project that lasts several months versus finding your next project when the last one is over?

Treasa: I never stop client seeking. Even if I’m in the middle of a very large project, I will talk to potential clients and I will say, “The next opening in my schedule is this day. I’d love to work with you on this project. What’s your timeline?” and if it’s something I can — I can work on two books at the same time. I read three or four at the same time. So, it took me a while to get to where I could write on two at the same time without going absolutely crazy but once you get there, then you just manage your schedule. 

But I block out and I’m very diligent about blocking out time to work on books and that’s all I do in that time. And then I also block out time to make contacts on LinkedIn, to reach out to prospective clients, to reach out to former clients and say, “Hey, I have openings for books next year. Do you know of anyone who’s going to be wanting to write one?” Because if you talk to people, a lot of the times, they’ll be like, “Oh, I’ve been wanting to do that, I just hadn’t even thought about it.” So you can drive the project from very get-go and make it seem like a gift to your clients. And, honestly, that’s what your work should always be — a gift they pay well for.

Bryan: Wow, you work on two books at once. So how many words are you writing a day?

Treasa: I can write 5,000 pretty easy before I get kind of wonky in the head. And I never ever edit when I’m writing. So that’s just getting the words on the page. I don’t edit until I get to the end of each chapter.

Bryan: That’s a good rule of thumb. So when you get to the end of the chapter on a morning, do you edit immediately or do you set it aside ’til the following day?

Treasa: I set it aside. I never edit — and if I can, if I built enough time into my schedule, I’ll leave a week. I’ll let it sit and I’ll start working on the basics of the next chapter. The longer you’re away from it, the better you can see your mistakes. And I always, always read it out loud to myself. That absolutely activates a completely different part of your brain so you catch more errors than you do when you’re just reading it, because your eyes see what they know you’ve written.

Bryan: Yeah, I would agree with that. I found it quite helpful to print out a manuscript or to use a tablet that you can annotate the script with using an iPad pen or yellow pen and mark up changes as you go. 

Treasa: Yeah, I do that as well. 

Bryan: Yeah, it’s quite helpful. I’ve used that for my last book. So, when you’re — it sounds like then you do your writing to up to 5,000 words in the morning, which is an amazingly productive morning, and then in the afternoon, you’re doing your client outreach and referrals and so on.

Treasa: You know, it depends. Every person has their own rhythm and their own zones of productivity. I’m not a morning person. I don’t like people in the morning, I want to be quiet and alone and thoughtful. So I can get up at whatever time I wake up — and I don’t use alarms because they freak out my whole day. I wake up early because my poodle wakes me up and they wake me up very forcefully and then I will, once I’ve taken care of all of the morning business, sit down and write before anyone else is awake. And I’ve written up to 1,000 words an hour pretty easy. 

That’s fast. I know that’s fast. A lot of people can’t do that so don’t ever think you have to write at a certain speed. But then, after about 10 a.m., I’m useless with writing so I switch over to work stuff until lunchtime. And then after lunch, I’m useless for anything so I try to do very light tasks or just even read a book for a couple of hours. And then there’s about three, four hours before bedtime that I’m very, very productive with writing again. And so I kind of start my day with writing and end my day with writing and I do all of the fun stuff and the errands in the middle.

Bryan: The stuff that keeps the lights on for your business. 

Treasa: Yes, yes.

Bryan: Yeah. Sounds a bit similar to my day, at least some of the time. Just to go back then to the contract because when I was working as a copywriter later on, one of the banes of my life was rewrites and, you know, we spend a lot of time rewriting the same piece of copy for a website and the key thing I learned is to agree with somebody up front how many rewrites we’re going to do —

Treasa: Yes.

Bryan: — before we say, “Time is up, we have to make a decision.” Do you bake that into your contract?

Treasa: My contracts are so detailed that they cover every eventuality. They didn’t at first and I learned really quickly to leave no wiggle room for anyone in that contract. So, I have my deadlines, I have client deadlines, and the clients have deadlines on every single chapter just like I do. So if I have to have it to them by a certain date, they have to have their revisions back to me by a specific date. If the timeline gets thrown off, then everything’s just really troublesome. And I count that first round of revisions as author revisions, I count the round at the end as manuscript revisions, and then the final round, the client’s not even involved in, that’s my editorial revisions. 

All three of those are listed, all three of them have timelines, if they want the book completed by a specific date. If they don’t get me the source material in time, the whole date is pushed backwards. If they take two weeks every time to review a chapter instead of one week, all of the deadlines are pushed backwards, But also in that, I include any extra costs. So, if I’m finding the editor for them, then I will get quotes from editors and include those in the proposal. I include the timelines. I include a basic chapter outline in the proposal so I’m like, “So we talked about it, I’m looking at 15 chapters including the introduction and the conclusion. 

These are the topics you wanna cover so this might be the basic outline for the book.” So I just go overboard on my contract so there’s no question from the get-go about what the working process is going to be. That, I think, is the scariest thing for a client. You know, they don’t know what’s happening because I’m gone for several weeks at a time writing. They don’t know what’s happening. You know, they have no assurances that I’m actually even working on their project. So as long as we keep that communication going. But before I start writing a single word of the manuscript, I do that really in-depth outline and I have them approve it and that is, I think, the key to keeping the revisions down.

Bryan: You mentioned an interesting point there about reassuring clients. I can imagine the reason why they may have concerns is they’ve probably paid some money towards the project. So, if I’m listening to this and I’m a ghostwriter, what’s best practice for how much percentage to take from my clients before and after a project?

Treasa: I do a 50 percent deposit. Now, smaller projects, eBooks, blog posts, all of those, I’m paid in advance. They get the work so even if they choose not to use it, I need paid for that work so I always charge those in advance and that’s pretty much anything that’s $5,000 and less. If I have a repeat client, I may just do a deposit and a final fee, but, usually, it’s upfront or on retainer. For books, it’s always 50 percent before I start, 25 percent after I’ve done with the first half of the writing, and then 25 percent before I turn over copyright to them at the end of the writing process. So, once that final revision is done, before it goes to the editor, my payment is due.

Bryan: And clients are genuinely happy with that approach?

Treasa: Yeah, I’ve only ever had one person who wasn’t and, honestly, they didn’t wanna pay for someone to write the book. They thought that they would give me everything and what they were looking for was an editor but they wanted the editor to write. So, it was just — if a client baulks at your process and you’ve proven your process or if they baulk at your cost, then just assume that they’re probably not the right client for you. There are other people out there and it is definitely not worth fighting with a client through the entire process because they’re never gonna be pleased at the end, no matter how good of a job you do.

Bryan: Probably not worth your time to work with them because you could find somebody else who’s more enjoyable.

Treasa: No. I call them PITA classes, pain in the…

Bryan: I like that. Finally, I noticed you’ve set up your own website that offers advice about the craft of writing and ghostwriting, The Writing Mindset.

Treasa: Yes.

Bryan: I’m curious, you mentioned that you are happy being a ghostwriter but what prompted you to do something that’s a bit more public facing?

Treasa: Because I want to teach other people and they kind of need to know who I am. So that one is not for my clients. My client website is edmondediting.com and it has all of the professional stuff on it. The Writing Mindset is a brand new project and I’m just getting stuff on there so, everyone, have grace. But it’s more about the basics of writing. It has some stuff for, say, business people who want to write their stuff, they can’t afford to hire a professional writer yet, so it’s tips for them, for budding writers, and there’ll even be some fun stuff on there for people who have written for a long time. But it’s — the whole purpose of that is to inspire, educate, and bring joy to the writing process. Because how many people do you know that think writing is horrible? I know a lot.

Bryan: A surprisingly large amount.

Treasa: Yes. I love it and I want everyone else to love it too. So, those are my ideal audience for The Writing Mindset is people who really want to find that joy in the writing again.

Bryan: Okay. So if I’m listening to this and I want to become a ghostwriter, where should I go?

Treasa: I’m going to put that on The Writing Mindset website so thewritingmindset.com and there will be a section on there called Ghostwriting Mindset and we will be having — I’ll do courses or little snippet videos that will walk through basic tips and then inside the membership, we’ll do twice-a-month group coaching and I’ll also include in there for free all of my templates, all of my pricing processes, anything that can help them not have to do all of the work. I’m a big believer in not reinventing the wheel.

Bryan: Yeah, me too. Well, it’s great to talk to you today, Treasa, about ghostwriting.

Treasa: Thank you. Thank you very much for having me on here. 

(outro)

Bryan: I hope you enjoyed this week’s episode. If you did, please consider leaving a short review on the iTunes Store or sharing the show on Spotify, Stitcher, or wherever you’re listening. More reviews, more ratings, and more shares will help more people find the Become a Writer Today Podcast. And did you know, for just a couple of dollars a month, you could become a Patreon for the show? Visit patreon.com/becomeawritertoday or look for the Support button in the show notes. Your support will help me record, produce, and publish more episodes each month. And if you become a Patreon, I’ll give you my writing books and discounts on writing software and on my writing courses.