MY CO-AUTHOR JOURNEY

Front cover of the Creating Literary Art book written by Keli H 

It's been over a week since I last wrote on this blog. I'm pleased to report, though, that it's not for the lack of writing anything at all during this time - I started a new book. That's right; the 400 series by Keli H will be getting a third installment! I don't have a title yet, and I'm still busy on the research, but I can confirm it will be even more scandalous than the already scandalous second book set to release in July. But I digress. The book I'm here to talk about today is Creating Literary Art, the only non-fiction work under my belt at the moment, and I can't claim full credit for this since it was co-written by an amazingly talented writer, to whom majority of the book's success is owed. 

Theresa Bhowan, today, is a phenomenally successful ghostwriter, whose works have actually reached bestseller lists. What a privilege for to me have worked with her! Our journey together started long before either of us had earned the positions we have in the literary industry today. Here's how the dynamic duo of Keli and Theresa came to write and publish Creating Literary Art together.

HOW WE MET

If it's your first time discovering my blog, it would be rude of me to assume you already know who I am. Although, one day I hope my books will be famous enough that I don't even need to introduce myself to anyone anymore. I'm not ashamed to admit that, because all writers have had the multi-millionaire Stephen King or J. K. Rowling fantasy, but I'll be the one to say it out loud. For the moment, I'm Keli H, living the quintessential author life. My family owns a small but prestigious book publishing house based in Durban, South Africa, called The KREST House, of which I am the managing director (though I often introduce myself as CEO.) I am also an award-winning author (winner of Best Upcoming Female Author at the 2022 South African national Book Behind Awards). My works before Creating Literary Art include The Four Hundred Club (400 #1) and Splitting an Empire (400 #2). 

When The KREST House first started, it was small and floundering for its footing in an industry dominated by giants. I used to do everything myself back then, including the ill-rewarding task of managing our social media (you'll know from previous posts how I feel about social media. Side note, I think I might de-activate my accounts after all, but I'll give you the full low down in a more long winded post.) I met Theresa back then (maybe the year 2020 or 2021) through Instagram. I suppose maybe social media might have been good for one thing at least, back when it was still heavy on the 'social', but now it's just turned into simply 'media' platforms for businesses and brands to advertise in your face all day long. I'm digressing again. I don't remember quite what Theresa and I connected over, but maybe it was just literary soulmates finding each other across time and space, and clicking over nothing at all except for the fact they were always meant to work together one day. 

Theresa lived in Gauteng (she still does) and I lived in KZN (still do.) She wasn't a ghostwriter then. She was a journalist at a trade publication - specifically, a mining magazine. I never said it, but what an ordinary use of her fantastic imagination! It makes sense, now that I think about it, that such a creative spirit needed to use her talent with words in a more artistic way. In the year 2021 I hosted a series of online creative writing classes called The KREST Conservatoire, aimed at teaching aspiring authors how to write books to professional standards. Theresa was a member of the first group of aspiring authors that joined. I think she knew she was destined to write more than mining articles too. Theresa, like me, is fated to go on to write some of the greatest books the world will ever read. Conservatoire classes on a Saturday were the highlight of my week. Nothing fuels the soul like a good creative discussion. And it's over creative writing discussions that Theresa and I first met and continued to stay in touch.

We've watched each other go through many seasons since then, only growing closer for it: her changing careers a few times, me riding the wild highs and lows of a young business. In the year 2022, Theresa joined The KREST House as an editor. By 2024, I already knew that she was earmarked as the future COO of the company when we can eventually hire for it. During this time she started freelance ghostwriting for individuals who wanted to publish books but didn't have the time or know-how to pen an entire novel, and her writing journey seemed to catapult. She's ghostwritten over 80 books (to my knowledge) and many of them have reached bestseller lists. So we'd known each other for a few years before deciding to work on a book together. 

DECIDING TO WORK TOGETHER

In late 2023 I decided to create a guide on how to write a perfectly publishable book. The most frequent question I was asked, as the head of a by then reasonably successful publishing house, was, "Where do I start if I want to write a book?" I know the answer to that like the back of my hand. I'd taught it all at Conservatoire already. The idea formed to compile all the lesson notes and turn it into a non-fiction book on how to write novels.

I had the notes already, compiled as research done over years. What I didn't have was the time to write another book among trying to juggle the sales of The Four Hundred Club and running an entire publishing company. I needed someone to write it for me and the perfect person already existed. Theresa was originally contracted as a ghostwriter to turn all my research and lesson notes into a coherent book. 

When the completed manuscript came back months later, I fell off my chair. To be honest, I thought it was better than how I would have put all the notes together myself. In all good conscience, I knew Theresa had to be be offered the opportunity to be listed as a co-author alongside me on this book, rather than remain in the shadows as a ghostwriter. The opportunity came with its own rewards and risks: having your name on a book is a chance to build a public portfolio, but being listed as one of the authors means any payment for the work is only dependent on receiving sales royalties. I'm glad Theresa took the risk of being listed as an author - it's a journey that's rewarding in so many ways other than just financial, but most of all it's so cool that my best friend and I have a book with our names together! 

THE CO-AUTHORING PROCESS 

I've been unlucky to be in involved in some group author projects where not everyone pulls the same weight. Because there were just 2 of us, we're great friends first and foremost, and the scope of our work had already been set out in the publishing contract from The KREST House... Theresa and I worked really well together. 

As explained above, the research and outline for the book was done by me. The filling out of the notes into a manuscript was done by Theresa. It was a pretty balanced process. I don't think there are hard and fast rules about the co-author orocess; I've seen other teams split the chapters to write, or have weekly outline meetings to do it together. Whatever feels fair to the individuals. 

The publishing process was also fair work between us. Remember, Theresa and I aren't just solo writers. We are affiliated to The KREST House as editor/future COO and CEO respectively. So once the writing part was over, we had to put on our KREST House publisher hats and forget we were the writers that created the manuscript. I became the editor (which is fair for two reasons. Firstly, I had not worked on writing the manuscript so I would be an objective editor. Secondly, I have qualification from the SA Writer's College as an editor and proofreader. Side note, another thing Theresa and I have in common is that we both did the course at SAWC, though at different times!) Theresa did the typesetting, I did the post-setting check that the project manager would usually do. Theresa came up with the cover concept and oversaw the cover design process with our graphic designer, Monique. I oversaw the proofreading process with our reader, Surprez. The book went off to print. Now, some days we're the authors that represent our book, some days we're the publishers putting together sales plans for it. Even the post-publication work seems relatively split between us - Theresa promotes our book in Gauteng and I do it in Durban. 

BENEFITS OF CO-AUTHORING 

Writing is a lonely, mentally loaded process. The movies about the reclusive writers going insane over their work aren't wrong, you know. We're constructing people and universes and puzzle pieces that need to fit together to make a realistic chunk of life. Having a co-author eases the mental work of what we do. I can genuinely say that Creating Literary Art is the easiest book I have ever worked on because I never felt the weight of the world resting on my shoulders trying to bring it to life by myself. 

The other massive benefit of having a co-author is that the post-publication process goes further together than it would have for either of us alone. Theresa and I are both small (yes, literally and figuratively!) powerhouses in the industry. Having both our names on the book opens up more doors than just mine as a young business owner or hers as a debut name on the scene (ghostwritten works are done under heavy non-disclosure agreements so the individual titles of Theresa's bestselling portfolio aren't public knowledge). Our combined accolades and credentials make this a very credible book on the distribution market. It also helps a lot that we can hold down the fort in different parts of the country. Theresa attends book events and creates networks on behalf of our book in Joburg, and I do the same in Durban, resulting in a book that is decent cross-country exposure. 

CONSIDERATIONS FOR CO-AUTHORING 

If you want to author a book together with one or more writers, here's what I would recommend to make this a smooth process:

Choose writers who have the same working style and values as you. There will be nothing more frustrating than you as an orderly person trying to work with a procrastinator; or a plotter trying to write with a pantser. 

As a publisher and avid reader, it would be ideal to write with someone whose writing style can mirror your own, or the other way around. There is nothing worse than reading a jarring book whose narrative doesn't flow well. Where you are working with diversely styled writers, it would probably help to lay out foundations on which to write, like tone, style, pov. 

Even when working with friends, know how to put your colleague caps on when it comes to the book. Parts of the process will be fun, but if you want your book to be commercially successful, it requires a level of serious approach. 

I absolutely recommend a scope of work at the start of the project to make sure everyone feels fair about the workload before proceeding. For me and Theresa, this scope of work came in the form of a formal contract from The KREST House that stated what each person would be responsible for doing. Even a simple written division of the workload can suffice to make sure it won't turn into a disastrous group project down the line. 

If I sound like a dream to work with (wink wink) and you'd like to write a book with me... I am, in fact, looking for a co-author for the next books in the 400 series by Keli H. 

If you want to write a book, you can enlist the proffessional help of Creating Literary Art by purchasing it from www.kresthouse.co.za (South Africa) or Amazon (international). South African readers also have the opportunity to purchase it from any of their local bookstores. 

For more articles written by Keli H, the author, visit this blog's home page on keli-h.com

 

Keli H is the award winning author of the 400 series, which includes The Four Hundred Club and Splitting an Empire. The 400 series is high brow contemporary fiction revolving around the lives of wealthy circles. Keli's other works include Creating Literary Art. She is also the founder of The KREST House, a storytelling empire.