By Caitlin Ball
You may recall in recent years the backlash some YouTubers and social media celebrities turned âauthorsâ have received for their alleged use of Negroes. More often than not, this criticism (and derision) stems from outrage at inauthenticity – a belief that the piece of literature being sold is an evasion and exploitation of the gullibility of young disciples for the sole purpose of lining the pockets of already rich. people.
The term “ghostwriter” by its very name continually compels those involved in its practice to confront connotations of recklessness and dishonesty. It is often assumed that a professional writer is hired under the guise of legally binding nondisclosure contracts and the pride of inflated public figures and does all the real work just so others can take full credit for it.
While this view is not entirely wrong, the ease with which anyone, regardless of their intellectual ability, today can claim to be the author of successful works means that they are increasingly becoming. more dominant.
The reality is that attitudes toward ghostwriting vary widely across a multitude of industries and settings, from universities and literature to medicine, music, and even the visual arts. And in many cases, using a ghostwriter solves countless practical problems.
In the music industry, a ghostwriter may be hired to write a new song in the style of the artist in question in order to meet demand and resolve scheduling and scheduling issues.
Likewise, it may seem slightly ridiculous to demand that an inexperienced celebrity with questionable intellectual abilities find time in her busy schedule to write – on her own and to a salable standard – her entire life story in form. autobiography. While the author’s familiar personality often serves as the initial hook for the individual browsing the bookstore shelf, if that personality is then barely detectable by excessively poor written expression, then the benefits will not be realized. .
In this case, a ghostwriter would simply ease the transition from brain to paper, fine-tuning the âauthor’sâ ideas to ensure they make a compelling read.
The argument persists, however, that the overabundant use of a ghostwriter – especially for intensely personal projects such as autobiographies or memoirs – makes the whole thing a pretty much pointless exercise.
How much do we sacrifice the sense of honesty and privacy that we would get if we had read an autobiography written entirely in the subject’s own words? Vocabulary choices and sentence structures are sure to resemble fingerprints – crucial and invaluable keys to an individual’s identity (as well as their state of mind and experiences). It’s frustrating that with works written by ghosts, we can never really be sure which part of the author’s own voice was lost or altered during the writing process.
As the “celebrity” figure and culture turns increasingly sour in this new era of morality and media scrutiny, it no longer seems ridiculous to wonder how long the skills of negroes will be desirable. at the same level as they have been in the past decade.
The rise in popularity of works written by so-called “normal” people in recent times is a testament to this notion – take Adam Kay’s immense success. It will hurt, for example – a collection of diary entries he made as a young doctor. In a case like this, readers may feel more betrayed hearing about the presence of a ghostwriter than the autobiography of a random 25-year-old celebrity due to the level of privacy the book promises us.
With that in mind, I would say that many of us have become somewhat numb to the use of ghost writers in celebrity literature and will now always read books of this strain with an underlying awareness of their presence.
However, I still cannot come to terms with how many other readers are misled into believing that they are reading the genuine words of someone they admire when in reality they are reading the words of someone. ‘an imitator.
Of course, the use of negroes in certain contexts is objectively morally wrong, for example in student essays or personal statements. But in those forms of literature where there is a greater level of moral obscurity, the debate is tough and complicated.
Ultimately, I think if there’s someone with a really important story to tell who really lacks skills as a scribe, then using a ghostwriter isn’t necessarily a bad thing. I disapprove more of the use of negroes where the only motivation is money and the books are written just for fun.
In order for genres such as novels, autobiographies and memoirs to retain their integrity, arguably more needs to be done to prevent them from being viewed as commodities. Perhaps not being so secretive about the contributions of others would help de-stigmatize the use of Negroes and do more to open up the relationship between reader and author.
Image: Thomas Hawk via Unsplash