I ghostwrite memoirs, business and how-to books, and crime fiction. I’m currently ghostwriting my first literary novel for a client. I can write in any style and my background in journalism means I can research any subject.

The underlying skills are surprisingly similar. Business books teach you to understand complex ideas quickly, find the argument or story underneath them, and explain them clearly.
Crime fiction teaches you about structure, pacing, character, tension, and keeping a reader turning the pages. Bringing those skills together across different genres makes me a better ghostwriter and collaborator.

I’m a Sunday Times bestselling ghostwriter with more than 40 published books and over 20 years in the industry. Clients include Bear Grylls, Sir Steve Redgrave, Duncan Bannatyne, and Lucy Spraggan. I’ve also ghostwritten chart-topping crime novels.

That’s the core of a good ghostwriter’s job. The process is built around listening closely and capturing how you naturally speak and think, not imposing my style. You’ll see and react to drafts as the book develops, so you can be sure the finished book will be recognisably and authentically yours.

Yours. It’s your book, your name on the cover, your voice throughout. I won’t tell anyone I’ve helped you write your book.

You will own the rights to your book, not me.

Yes. Before work starts, my contract sets out scope, payment, timeline, rights and both parties’ obligations. Everything is agreed upfront.

Yes. I’m happy to sign an NDA, and every client’s project and story is treated with total discretion. Whether and how the ghostwriting relationship is disclosed is up to you.

Yes. Most clients have never written a book before — that’s often exactly why they need a ghostwriter. You don’t need to know how to structure a book, write a first draft, or understand the publishing process before we start.

Writing your book will take me several months, so it needs to provide a significant percentage of my annual income. Most full ghostwriting projects fall between £20,000 and £40,000, depending on the length and complexity of the book. Payment is usually split into thirds: on signature, on delivery of the first draft, and on delivery of the second draft. Further edits are charged separately.
There’s some flexibility on fees where rights or royalties are part of the discussion. I can also work on a day rate or word rate if you prefer.

Your project might be better suited to working with me as your Book Doctor or Beat Sheet Coach. If you’ve already written a draft and want expert feedback to strengthen the manuscript, that’s book doctor territory. If you’re planning a novel and want help mapping out the plot before you write a word, then I can work with you as a beat sheet coach.
If you’re not sure which service you need, get in touch and we’ll work it out together.

Most ghostwriting projects run over several months, covering initial interviews or research, drafting, and revisions. When I interview people for a full autobiography, I usually end up with 20 to 25 hours of audio. Expect to spend at least five full days with me.

That’s what the drafting and revision process is for. You’ll see the work as the book develops and have opportunities to give feedback, so we can address anything that isn’t working. The contract sets out the agreed scope of the revision stages, so we’re both clear about what’s included.

Yes. I can help with finding a literary agent or guide you through independent publishing, though I can’t guarantee a particular publishing outcome.

Get in touch to talk through your idea. You’ll receive a proposal covering scope, timeline, and fee before any commitment is made.