Sometimes professional writers are offered the opportunity to work as a co-writer. Should you do it, and if so, what the best way to protect yourself should problems develop.
Co-writing can be an ideal arrangement, when you have long been friends or business associates and you both share a passion for the project. Then, you can bounce your creativity off each other and create a great project together.
But what happens when you are approached by someone who thinks they have a great idea, and now they need a writer to make that happen. In many scenarios, this can turn into a paid project where the writer works as a ghostwriter and is paid on a work-for-hire basis, or possibly this can turn into a co-writing agreement when both parties work well together. A
I believe starting with a work-for-hire agreement this is an ideal arrangement when you are approached by someone you don’t know, because you don’t know how well you will work together or if you will share similar ideas for the book or a film project as it develops. This way, if the person with the project has the budget for it, he or she can maintain control of the project, while you write what the person wants. Then, if the relationship works out and you both want this, you can turn the book or film into a shared royalty agreement. One common scenario is for the writer to finish the project at a lower fee, such as less 25-35%, in return for a percentage of the royalty (commonly 50-50) after anything paid up front is deducted.
Often the situation of a shared royalty arrangement from the get-go comes up when the person with the idea, notes, or a rough draft has a limited budget. This shared agreement can work well, if you soon come to share the writer’s vision of what the final project should be and you feel comfortable sharing in the project. Also, you feel the project has a good likelihood of getting sold, so you aren’t giving up the regular income you depend on as a writer in return for something that’s a risky bet.
However, there are a number of cautions to watch out for in co-author arrangements, when you respond to an ad for a writer to be a collaborator or co-writer. One problem is that you may start off thinking this is a shared project, but then the original author becomes controlling and you start to feel like a hired hand, as happened to one writer who was enticed into doing some chapters for a book by a psychologist. She claimed she wanted someone to be a true collaborator and share the authorship and royalties. But then the psychologist turned into a tyrant, who was very critical of what the writer wrote, because she wanted everything expressed a certain way. Eventually, the writer was able to escape the nightmare with a signed work-for-hire agreement and get paid in full for what he had discounted to be a collaborator.
Another problem when you agree to be a co-writer is that the original author has less and less time to contribute to the project or loses interest, because he or she has other commitments. So there isn’t enough information to complete and sell the project, and the writer is stuck with getting less or nothing, because of agreeing to a collaboration. For example, one writer faced this situation after writing situation when the client writing his memoir suddenly decided that he shouldn’t do this book now, because his psychiatrist thought it wasn’t a good idea. Besides, if he did pursue the book at all, he now wanted to have full control of both the book and the possible film based on it. Fortunately in this case, the writer was also able to turn the collaboration into a work-for-hire situation for the work already done and get paid accordingly. But in many cases, a project simply dies at this point, and the writer doesn’t get paid.
The other big problem with a collaboration is that when the project is completed, it may not sell or may only bring in a very small advance which is less than the author would get paid for simply writing the book, proposal, or script as a ghostwriter. Then, if there is a very low or no advance, any future work on the project has to be done essentially on spec.
Thus, given all these potential problems, my usual approach is to start off as a ghostwriter for at least the beginning stages of the project. Then, if the project is in a field I normally write about and we both feel a co-writing arrangement is desirable, we sign a co-writing agreement, and I reduce the total costs on the project by 25% in return for sharing in the proceeds should it sell, and thereafter, the original author is paid back in full for anything paid to me before we share in the royalties 50-50. This kind of deduction before sharing royalties is a typical arrangement, and I have found this kind of approach works best for me.
What’s best for you? I suggest treating each co-writing arrangement on a case by case basis, taking into consideration the topic, how much you like both the project and the author, and the potential for selling the book or film and how much a sale is likely to bring, versus what you would make as a ghostwriter, since normally the most you will earn on most books and films is what you are paid as an advance. Then, too, consider your own income needs and whether you can afford to take a chance on getting less up-front as a co-writer, and whether being a co-writer from the get-go is the only option, because that’s all the original writer can afford.
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GINI GRAHAM SCOTT, Ph.D., is a nationally known writer, consultant, speaker, and seminar/workshop leader, who has published over 50 books on diverse subjects, including business and work relationships, professional and personal development, and social trends. She also writes books, proposals, scripts, articles, blogs, website copy, press releases, and marketing materials for clients as the founder and director of Changemakers Publishing and Writing and as a writer and consultant for The Publishing Connection (www.thepublishingconnection.com). She has been a featured expert guest on hundreds of TV and radio programs, including Good Morning America, Oprah, and CNN, talking about the topics in her books.