When I was the speechwriter at a large federal agency, I
felt as if I had a large “S” branded on my forehead. People would see me as speechwriter
and only speechwriter, not as a seasoned professional with a host of skills and
years of communications experience.
But, a big S on a blue bodysuit might be appropriate for
members of the silent profession. We ghosts slip into our windowless workspaces
and, like
Clark Kent
stepping into a glass telephone booth (remember those?), transform ourselves
into our alter egos – corporate executives, high-ranking government officials,
politicians, and more – and deliver sound bites faster than a speeding bullet,
craft metaphors more powerful than a locomotive, and develop messages to help our
clients leap tall buildings in a single bound.
|
Halloween 2012 with Chairman Hersman and Strunk and White. |
Well, that’s how this mild-mannered reporter views the
silent profession of ghostwriting.
Like Superman in his never-ending battle for truth, justice,
and the American way, there are many positive results that can come from
well-written speeches – policy explained, people persuaded, politicians
elected, to name just a few.
Even in today’s era of constant and immediate and
telegraphic (to use a previous century’s term) communications, oratory remains
a powerful means to capture hearts and minds.
Speechwriting as a career path is not going the way of telegraph
operators.
And, it’s fun.
(1) You
can be creative. Most writing can be creative, but the speech form allows you
to really spread your wings. There’s
more to it than anaphora, triads, and rhetorical questions, among the
techniques in writing for the ear. It’s choosing and developing a theme. It’s providing
a fresh way at looking at an old issue. It’s weaving a taut tapestry of words
and images.
(2) You
get a seat at the policy table. It’s your work that helps articulate, and can
even sometimes shape, the client’s thinking and the organization’s policy.
(3) To
borrow from the good Dr. Seuss, “Oh, the places you’ll go.” Ghosting got me to
the White House Roosevelt Room, New York City’s Fraunces Tavern for a briefing
with financial analysts, and the back seat of a government vehicle for a
four-block speech meeting with a cabinet secretary.
(4)
…
and the people you’ll meet, notably your clients who may be the smartest and
most dedicated people you will ever know. That’s been my public-service
experience. There are also the experts whose brains you’ll pick for research, like
Admiral Cathal Flynn who graciously tutored me as I researched a
post-Sept.
11, 2001, FAA speech on the evolution of aviation security and Johns
Hopkins’ Susan Baker who helped me for an NTSB speech on “
Vanquishing
the Dragon of Alcohol-Impaired Driving.”
(5)
Best
yet, your work can make a difference. At my last stop before retirement I wrote
for
NTSB Chairman
Deborah Hersman. My work helped her advocate for measures to address key
safety issues, including distracted and impaired driving, which are responsible
for thousands of deaths each year.
Yet, the silent profession comes with its own Kryptonite. There’s
pressure to perform. You are only as good as your last speech. You often fly
solo. In many organizations, there’s little backup for such a specialized skill
set, not to mention specific client and organizational knowledge.
And, you need thick skin.
One client proclaimed, “This is boring” and flung a ten-page draft to
the floor. (He gave it word for word two days later.) Special assistants half
my age have specified sophomoric language to go in the draft. And, of course, I’ve
had the experience common to everyone for whom words are their livelihood: critiques from amateurs who think they are
writers.
There’s also the awkward dance with the client until your
relationship is established. (With some
clients, especially those with differing worldviews, it may never be established.
Move on.)
A speechwriter’s role is to save the client time, deliver
accurate material, and help him/her soar at the podium to get attention for the
topic and the organization. To do this,
you must step into her shoes, climb into his brain, and even get under her skin.
This personal tiptoeing can be awkward, that is, until a trusting relationship
is formed.
It’s all a ballet -- of words and ideas, images and issues, personalities
and priorities, situations and circumstances. When it all comes together, the speechwriting
craft approaches art and we silent professionals are delighted to wear an S on
our foreheads or even on blue bodysuits.