GHOSTWRITING AGREEMENT SAMPLE

[DISCLAIMER: The Ghostwriting Agreement as given below is just a sample and is NOT a legal document. You must consult your lawyer to formulate your own agreement. Persons using the below do so at their own risk(s).]

GHOSTWRITING AGREEMENT

 AGREEMENT BETWEEN

NAME [CLIENT], HEREAFTER REFERRED TO AS “AUTHOR”

AND

NAME [WRITER], HEREAFTER REFERRED TO AS “GHOSTWRITER”

This Ghostwriting Agreement (“Agreement”) is entered into on this ________ day of month, year, at place, country, by the AUTHOR; and on this ________ day of month, year, at place, country, by the GHOSTWRITER; and both parties do hereby agree to all the described and given below:

1. GOAL:

1.1 The AUTHOR is entrusting the GHOSTWRITER to ghostwrite, edit, and format, a nonfictional/fictional account of the AUTHOR’s experiences as an autobiographical memoir/fictional story (hereafter referred as “manuscript”) of a total of 00,0000–000,0000 words.

1.2 The AUTHOR may subsequently publish the manuscript via any traditional publisher. To aid the efforts of the AUTHOR in getting the book published, the GHOSTWRITER will write the book in a single Word file suitable for publishing. Additionally, the GHOSTWRITER will draft a ‘Book Proposal’ containing (i) a forwarding letter stating why the AUTHOR is the best person to write the book and why the book will interest a publisher; (ii) a one-page synopsis of the book; and (iii) the first ten pages of the manuscript shall be attached.

1.4 The AUTHOR may self-publish the book as a paperback or as an e-book. In the event the AUTHOR self-publishes the manuscript, the GHOSTWRITER will guide the AUTHOR on the self-publishing platforms by formatting the manuscript as per the requirements of the publisher and may convert the manuscript suitable for ebook publication.

2. METHOD:

2.1 All communications between the AUTHOR and the GHOSTWRITER shall take place via personal meetings/phone/internet/email/ or other mutually agreed ways.

2.3 All payments shall be effected via agreed payment method as detailed in Section 9.

2.4. Both parties agree that in the rare occurrence of any dispute, it shall be resolved as given in Section 11.

3. COST:

Both the Parties agree that the AUTHOR shall pay the GHOSTWRITER for writing, editing, and formatting a manuscript of a total of 00,0000–000,0000 words, at a total cost of amount in words (amount in figures), payable as given in Section 9.

4. MANUSCRIPT:

4.1 The manuscript will be written and delivered in a Word document in a 6” x 9” book size or the size specified by the AUTHOR, with Garamond 11pt font, single spaced or as per the specifications provided by the AUTHOR. It shall follow all the formatting requirements so that it may be published as a paperback and/or ebook.

4.2 The content of the manuscript shall be based on the material (hereafter referred as “material”) as provided by the AUTHOR to the GHOSTWRITER.

4.3 Materials may consist of personal notes/ diaries/ audio or video tapes/ medical and/or legal documents, scanned or otherwise. For any and all materials provided by the AUTHOR, the AUTHOR is wholly and solely responsible in obtaining the respective publication permissions/ consents/ approvals,, etc. from the respective individuals/institutions/organizations/companies. The GHOSTWRITER shall not obtain any permissions/consents/approvals, etc., and shall accept all materials provided by the AUTHOR, on good faith and complete trust, without any questions/verification/modification of the provided material.

4.4 The AUTHOR shall provide to the GHOSTWRITER, all materials necessary for the writing of the manuscript at the earliest, so that the GHOSTWRITER may study them in its entirety.

4.5 The manuscript will be written in first person/second person/third person active or passive voice, as required by the AUTHOR. Words like “I”, “Me”, “Myself”, and likewise words, wherever applicable, may be used if the AUTHOR requires. Real names of living and/or deceased individuals, along with real names of institutions/entities/organizations/companies, private and/or government, may be used, if the AUTHOR requires. For the usage of all names, addresses, and other personal details of real and/or fictional characters, the AUTHOR is wholly and fully responsible.

4.6 The manuscript shall have a working title as “Some working title” and this title may be changed later by the AUTHOR, with or without the consultation of the GHOSTWRITER.

4.7 The page outline of the manuscript may be as given below, which is an academic format given as an example. Any items may be selected to create the format as required by the AUTHOR.

half title i

series ii

full title iii

copyright iv

dedication v

blank vi

table of contents vii

blank viii

list of illustrations ix

blank x

list of tables xi

blank xii

foreword xiii

blank xiv

preface xv

blank xvi

acknowledgments xvii

blank xviii

list of abbreviations xix

blank xx

introduction/chapter one 1

[...]

appendix(es) (odd page#)

notes (if at the end of book) (odd page#)

glossary (odd page#)

bibliography (odd page#)

list of contributors (odd page#)

index(es) (odd page#)

a) The illustrations contain the scanned images of documents/ drawings, wherever necessary. They are enumerated by words “Fig.# or Figure#”, at the bottom of the illustration.
b) The tables contain data given in a tabulated form, wherever necessary. They are enumerated by words “Table#”, at the top of the table.
c) The appendix(es) contains all the scanned documents/ drawings/ other documents, supporting the content of the manuscript.
d) The glossary contains the important terms used in the book, along with their respective definitions.
e) The bibliography contains the references in APA/MLA/Turabian/Chicago style.
f) The index contains all the important words, phrases, and proper nouns, along with the page numbers where they appear in the book. Cross-referencing a word/name/concept in several chapters by using the words “See also” under specific index entries, may also be done.

4.8 The manuscript shall consist of a total of 00,0000–000,0000 words, inclusive of the front matter, chapters, appendix(es), glossary, bibliography, etc.

4.9 For nonfiction, no third party material shall be used by the GHOSTWRITER, as she/he will write the manuscript based wholly on the material provided by the AUTHOR. For fiction, the GHOSTWRITER assumes full responsibility that any third party material used has been done so after taking due permissions/consents from the respective third parties.

4.10. For book publication, publishers usually need two files, namely, interior file and cover file. The finished manuscript is the interior file. The cover file is a full color graphics file, which is usually created by some graphic artist. The GHOSTWRITER shall provide the completed manuscript, which is the interior file. The GHOSTWRITER will not provide the cover file. The GHOSTWRITER may employ some cover designer to design the cover file, with the approval of the AUTHOR.

5. OWNERSHIP/COPYRIGHT/ROYALTY RIGHTS:

5.1 Both the Parties agree that all ownership, copyright, and royalty rights, title and interest and all intellectual property rights in the manuscript and its all or any subsequent physical or electronic formats, now or ever in future, shall be the sole and exclusive property of the AUTHOR, including:

(i) All materials, including but not limited to Word files, PowerPoint Presentations, tapes, and completed manuscript, the completed Book and/or other product resulting from the manuscript;

(ii) All materials forming the content of the subject matter of the manuscript or its any other physical or electronic format, provided by AUTHOR;

(iii) Any ideas, works, documentation or notes conceived related to the manuscript;

(iv) All writings related to or associated with the manuscript; and

(v) All AUTHOR’S work/ product related to the manuscript.

5.2 To the extent that ownership of the items stated above does not automatically vest in the AUTHOR, the GHOSTWRITER hereby agrees to grant to the AUTHOR an exclusive, irrevocable, royalty free license to use, copy and modify any elements of the manuscript specifically created for the AUTHOR as part of the services for ghostwriting the manuscript. The GHOSTWRITER assigns the full title rights to the AUTHOR, who may change the title anytime, and any and all of the copyrights, other intellectual property rights, and any other data or material used or subsisting in the manuscript, whether finished or unfinished.

6. CREDIT

6.1 Credit for the Work will be in the name of the AUTHOR, and designees, and will be the only credit on the manuscript in any physical or electronic format, now or ever in future.

6.2 The GHOSTWRITER shall have absolutely NO Credit for the Work, whatsoever in any form or way. The name of the GHOSTWRITER and designees shall not come anywhere in the manuscript or in any physical or electronic format, now or ever in future.

7. CONFIDENTIALITY:

The GHOSTWRITER acknowledges and agrees that all information provided by AUTHOR related to the manuscript, including without limitation, its materials, content, writings, work product, audio tapes or files, notes and diagrams, is of great value to AUTHOR and represents his/her life work. Accordingly, GHOSTWRITER agrees not to divulge to anyone, either during, or after the term of this Agreement, any Confidential Information obtained or developed by AUTHOR while working on the manuscript. Upon the conclusion or expiration of this Agreement, GHOSTWRITER agrees to make no further use or utilization of any Confidential Information provided to him by AUTHOR; and additionally, the GHOSTWRITER agrees to delete and destroy all files and materials, physical, electronic or otherwise, pertaining to the manuscript, to prevent any accidental usage, now or ever in future. Upon successful completion of the Agreement, the GHOSTWRITER, now or ever in the future shall not keep any records, whatsoever, pertaining to this manuscript.

8. RELATIONSHIP:

Both the Parties acknowledge and agree that the GHOSTWRITER will perform the services as an independent contractor. The GHOSTWRITER agrees that he is solely responsible for the payment of all taxes associated with his fees associated with the writing of the manuscript. Nothing contained in this Agreement shall be deemed to constitute either party a partner, joint venturer or employee of the other party for any purpose.

9. PAYMENT:

The total payment of amount in words (amount in figures) shall be done as follows:

a) 60% advance
b) 40% upon completion of the manuscript.

Payment shall be made by Cash/Check/Bank Transfer/any other mutually agreed method.

10. DISPUTE

Both parties agree that in the rare occasion of a dispute, they will resort to the -give contact details like name, address, phone of the mutually agreed dispute resolution authority-, whose decision shall be final and binding on both the parties.

11. PUBLISHING/MARKETING. The AUTHOR shall undertake all activities for publishing the manuscript including submissions to publishers, marketing, distribution, selling and publicity. The AUTHOR will own the manuscript including but not limited to its subsequent publication as a hardcover, paperback, ebook, audio book, movie, DVD, or any other physical or electronic format, including any publishing rights worldwide, copyrights, sale, marketing, distribution, royalty, and any other rights.

12. WARRANTY:

12.1 The GHOSTWRITER represents and warrants that he/she will perform the services associated with writing of the manuscript with reasonable care and skill; and the services and the manuscript provided by GHOSTWRITER to AUTHOR under this Agreement will not infringe or violate any intellectual property rights or any other right of any third party.

12.2 For nonfiction, the manuscript will be written based solely and wholly on the materials provided only by the AUTHOR. The AUTHOR represents and warrants that he/she has obtained all the necessary permissions/sanctions/consents/approvals for all the scanned or otherwise materials, medical, legal, or otherwise, prior to providing it to the GHOSTWRITER, so that it does not infringe or violate any intellectual property rights or any other right of any third party or parties.

13. SEVERABILITY:

In case of any dispute, if the mutually agreed dispute resolution authority as given in Section 11, finds any provision of this Agreement invalid or unenforceable, the remainder of this Agreement shall be interpreted so as best to effect the intent of the parties.

14. INTEGRATION:

14.1 This Agreement constitutes the entire understanding between the Parties relating to the writing of the manuscript and supersedes all prior proposals, agreements, representations, writings, negotiations or understandings with respect hereto.

14.2 This Agreement may not be amended for any reason without the prior written consent of and signed by both Parties.

15. WAIVER:

The failure to exercise any right provided in this Agreement shall not be a waiver of prior or subsequent rights.

16. TERMINATION:

This Agreement may be terminated prematurely, for any reason, provided that at least – mention number of days- advance written notice of termination along with termination fee of -amount in words (amount in figures)- is given to the non-terminating party.

17. MISCELLANEOUS:

Both AUTHOR and GHOSTWRITER agree to set aside adequate time to discuss the manuscript, including constructive criticism, feedback and/or concerns or questions that directly relate to the manuscript.

Signed, sealed and delivered by both parties as follows:

(Signature)

Name [Author]:

Address:

Phone number:

Date:

Place:

(Signature)

Name [Ghostwriter]:

Address:

Phone number:

Date:

Place:

in the presences of the following witnesses

(Signature)

Name [Witness 1]:

Address:

Phone number:

Date:

Place:

(Signature)

Name [Witness 2]:

Address:

Phone number:

Date:

Place:

~0~

Reading Digital Comics

Digital comics or e-comics, has become big business for creators, fans, publishers and retailers throughout the world. No wonder Amazon recently purchased ComiXology.com because selling and distributing digital comics, is extremely profitable.

Moreover, with promotional digital applications that display the cover art, page count, price, credits, and a short description, individuals can also order traditionally printed comic books from their local brick-and-mortar bookshops. Coupled with this, other marketing efforts like dedicated websites, blogs, forums, review sites, and getting the buzz on social media sites, has increased the overall share of digital comics.

You can read digital comics across multiple devices and in a variety of ways. There is no best way and you have to find out which way suits you the best. Digital comics may be read online or offline.

Reading Online
Online comic stores use some kind of software like Adobe Flash. They prefer this format as the files cannot be downloaded and cannot be read offline. This ensures that the digital comics are not manipulated or pirated.

Reading Offline
For offline reading, they have to be downloaded. Many offer digital comics as downloads having .cbz or .cbr extensions. These files use compression formats like ZIP or RAR, which is indicated by “z” or “r” in their extensions. These formats are most popular with digital pirates and for illegal distribution. They are usually low resolution scanned images and do not offer the pleasure that original digital comics offer. They generally use some free comic reader program.

Some distributors offer digital comics as .pdf files that can be viewed with any PDF viewer. The PDF format is secure and tampering is generally not possible. Almost all publisher websites offer free digital comics in .pdf format. They usually offer a single free issue and for more issues, you have to either buy or subscribe to their monthly or yearly programs.

A large majority of readers use the Comixology app. The app can be downloaded free and then you can download the digital comics to your computer at some price, usually starting at approx. $.99. Other popular apps are from Marvel, DC, Graphic.ly and Longbox. Some apps use a monthly or a yearly fee like the online service of Marvel Comics has a monthly fee of approx. $9.99 and a yearly fee of approx. $59.88.

Many devices are text-to-speech enabled, which makes the user comfortably listen to the story and dialogues of the characters. Some creators may even provide speech done by professional voiceover artists; however, generally, it is not so, and so text-to-speech enabled digital comics may not give the desired pleasure that reading gives.

Smart phones using Android devices are also compatible with apps of Comixology, Marvel, DC, Graphic.ly, and others. Many comic book sites like Comicvine, iFanboy, etc., also integrate with these apps, giving the apps a social extension where readers can post comments. These apps are usually compatible over a wide range of devices like desktops, laptops, tablets, iPads, iPhones, etc.

Independent comic book creators may use WOWIO, where the creators can set the price for their digital comics. The creators retain all the income from the sales minus some fees and charges. The site supports itself by using ads and sponsorships.

Digital comics have come to stay and is fast changing the way comics are created, published, distributed, and read.

~0~

Baarhaan Dil Mein Ik Sawaal Aaya


Film: Mr Singh | Mrs. Mehta
Music : Shujaat Husain Khan
Lyrics : Amitabh Verma
Singers : Shreya Ghoshal, KK

Baarhaan Dil Mein Ik Sawaal Aaya
Aaj Socha Toh Yeh Khayaal Aaya
Do Kadam Saath Bas Chale Tum Hum
Hum Safar Toh Na The Kabhi Tum Hum
Baarhaan Dil Mein Ik Sawaal Aaya

Kisane Socha Tha Din Yeh Aayenge
Apane Saaye Bhi Chhut Jaayenge
Main Na Jaanu Mujhe Khushi Hai Ya Ghum
Humsafar Toh Na The Kabhi Tum Hum
Baarhaan Dil Mein Ik Sawaal Aaya

Dil Hai Bezaar Jism Bejaan Hai
Koyi Ehsaas Hi Nahi Baaki
Na Yeh Aankhein Yeh Sochake Huyi Num
Humsafar Toh Na The Kabhi Tum Hum
Baarhaan Dil Mein Ik Sawaal Aaya

Aaj phir teri yaad aayi hai
Paas mere meri tanhaayi hai
Chalo achcha hai tute saare bharam
Humsafar toh na the kabhi tum hum
Baarhaan dil mein ik sawaal aaya

Teri baaton pe muskuraaye aankhein
Teri khushbu se gungunaaye saansein
Mere iss dil ko hai bas ek hi ghum
Humsafar toh na the kabhi tum hum
Baarhaan dil mein ik sawaal aaya

~0~

22 Storytelling Guidelines

Formerly of Pixar, currently freelancing in Los Angeles, Pixar story artist Emma Coats had tweeted a series of “story basics” — guidelines that she learned from her more senior colleagues on how to create appealing stories:

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

Sources:

1. Pixar story rules (one version). http://www.pixartouchbook.com/blog/2011/5/15/pixar-story-rules-one-version.html

2. Emma Coats. https://twitter.com/lawnrocket

~0~

Once Upon A Time: 100 Management Stories by Rajen Jani

OnceUponATimeCover

Description:

This book has one hundred stories on twenty management topics. Each topic has five stories. All the stories are one-page stories.

The twenty management topics are: Customer, Sales, Team, Performance, Work, Quality, Motivation, Training, Conflict, Problem, Anger, Communication, Improvement, Leadership, Success, Relationship, Strategy, Knowledge, Change, and Time.

Rajen Jani’s lucid storytelling style, makes each story admirably touch the relevant management topic, with focus, depth, and intensity.

A must-read for management professionals and short story lovers.

Product Details:
Paperback: 130 pages
Publisher: CreateSpace (March 10, 2014)
Language: English
ISBN-10: 1496156838
ISBN-13: 978-1496156839
Product Dimensions: 8 x 5 x 0.3 inches
Shipping Weight: 7 ounces

Available at bookstores, libraries, and Amazon websites.

Tuning the Tanpura

Generally, a tanpura has 4 strings; however they may be of five, six or seven strings also.

They may be classified as ‘male’ or ‘female’ tanpuras, however there is no fixed classification. Generally, male tanpuras are tuned between C and D, they use lighter gauge strings; whereas female tanpuras are tuned around G or G#, they use heavier gauge strings. However, again there is no fixed rule and it can be tuned to any desired scale or may use any gauge strings.

Another classification may be vocal tanpura (bigger in size) and instrumental tanpura (comparatively smaller in size, usually between 95 to 115 cm in length, 4 or 5 strings, flat neck and wooden resonance box). Again, there is no fixed classification, singers and instrumentalists may perform with instrumental or vocal tanpuras, as per their own liking.

As a rule of thumb, tanpuras are tuned according to the raga for which it is being played. The first string is tuned according to the note predominant in the raga. Again, there is no fixed rule and the first string can be tuned to any desired note, as per the specification of the singer.

For example, in a 4-string tanpura:
1. For raga Bhairava, Yaman, Deshkar, Bhupali, Shankara, etc., where pa is predominant, ma may be omitted in tuning the tanpura. Then the tanpura may be tuned as follows:
pa (mandra saptak. Mandra saptak is also known as kharaj) – first string,
Sa (madhya saptak) – second string,
Sa (madhya saptak) – third string,
sa (mandra saptak) – fourth string.

2. For raga Malkauns, Bageshri, Lalit Pancham, Lalit, etc., where ma is predominant, pa may be omitted in tuning the tanpura. Then the tanpura may be tuned as given below.
ma (shuddha ma in mandra saptak),
Sa (madhya saptak),
Sa (madhya saptak),
sa (mandra saptak).

3. For raga Puriya, Marva, Sohani, Poorvi, etc., where ni is predominant, both ma and pa may be omitted. Then the tanpura may be tuned as follows:
ni (shuddha ni in mandra saptak),
Sa (madhya saptak),
Sa (madhya saptak),
sa (mandra saptak).

Sometimes tanpuras with five or more strings are also used. For five strings, generally the tuning may be:
1. pa (mandra saptak), ni (shuddha ni of mandra saptak), Sa (madhya saptak), Sa (madhya saptak), sa (mandra saptak)
OR
2. ma (shuddha ma of mandra saptak), ni (shuddha ni of mandra saptak), Sa (madhya saptak), Sa (madhya saptak), sa (mandra saptak)

Singers usually sing with two tanpuras, where the first string is tuned to the same pitch but with two different notes on two different tanpuras, as per the dominance of the notes in the ragas or specification of the singer.

Some tanpuras may need to be tuned to scale E (for example accompanying a bansuri recital), for which the best option may be to contact an expert tanpura tuner.

Remember a tanpura is an accompanying instrument. It accompanies the main performing artiste. Therefore, in all performances, the specification of the performing artist, who may be a singer or an instrumentalist, should be eagerly sought, on how to tune the tanpura. Strictly following the specifications of the performing artiste, enables the best tuning for a tanpura.

~O~

Doctor Faustus [Annotated] by Rajen Jani

Doctor Faustus [Annotated] by Rajen Jani§ Exhaustive Annotations
§ Detailed Context
§ Critical Opinions
§ Study Notes

Any admirer of Christopher Marlowe’s “The Tragical History of Doctor Faustus”, quarto 1604, also commonly known as the A-Text, will undoubtedly find Rajen Jani’s “Doctor Faustus [Annotated]” as an indispensable reference material.

Paperback: 216 pages
Publisher: CreateSpace; 1 edition (April 25, 2013)
ISBN/EAN13: 1484146387 / 9781484146385
Page Count: 216
Binding Type: US Trade Paper
Trim Size: 6″ x 9″
Language: English
Color: Black and White
Related Categories: Drama / English, Irish, Scottish, Welsh
Product Dimensions: 9 x 6 x 0.5 inches
Shipping Weight: 13.6 ounces