Latest / Inspiring Stories / Elise Krentzel is your rock star Ghost Writer and Developmental Editor

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Elise Krentzel is your rock star Ghost Writer and Developmental Editor · Inspiring Stories

0:04
Speaker 1: Thank you for listening to the picture of the radiant.
0:26
Speaker 2: Rat. You readything to me? Oh well, well say, oh well,
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not bad.
1:01
Speaker 3: So agitate, solipassion, music.
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Speaker 1: As events, leading e K, editorial and coaching eleaset. Crenchell's
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narrative expertise has developed over a thirty five year entrepreneurial
1:52
career in music, media and publishing globally. By collaborating with
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our clients, we create books and content that reflect their
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ethical visions and societal contributions. With a focus on editorial
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services that include ghostwriting the right like of rebel, online
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writing course, book coaching, editing and publishing. Our services resonate
2:30
with our business leaders eager to share their impactful stories,
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including those they don't know as even exist. At EKPR,
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strategic creative direction merges with an effective communication to enhance
2:57
brand identities through compelling executive storytelling. My experience in creative
3:06
and direction and writing helps me forge meaningful connections between
3:14
clients and their audiences, ensuring their stories resonate and endure
3:21
in books, speeches, press releases, and commercials. So at least also,
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I've read read a bio that that she actually said
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to me, and it's pretty descriptive I thought. And she
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also has a memoir and uh in other books that
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she has put out under My Skin Drama, Trauma, and
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Rock and Roll, and that's promising to be a memoir
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trilogy along with The Rogue Entrepreneur and is set to
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drop in late spring. She is a poet and cultural journalist.
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She is a great traveler of around the world and
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has lived in several different countries, even though she grew
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up in New York City and she currently resides in Austin, Texas.
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So a Lisa has been around the world and if
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you work with her, I promise that you will find
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a great level of success. So why don't we bring
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Elise onto the show and let's see what she has
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to say about herself, because she is quite the dynamic personality,
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and well I told her this in person. I really
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get a kick out of her sense of style. That's
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pretty cool. So let's bring her on the show and
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the listen to Elise something.
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Speaker 4: Good morning, Elise, and welcome to the show, Thanks so much, Michael.
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Ghost Writing is like like this really valuable tool for me.
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I have my own, I have a copywritor that I use.
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She's also a ghostwriter. And because I am personally I'm
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extremely dyslexic. And if I was to write something for you,
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you look at it and with with your you could
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you use that tool of developmental ending rate? Yes, and
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you look at it like, where the heck is he
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going with this? Where's the structure? All that kind of stuff.
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It's just kind of all over the map. So I
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applaud those of you who do this work tremendously. It's
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it's like it's a very valuable thing to get people's
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stories out there.
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Speaker 5: I agree. I agree.
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Speaker 4: So how did you decide you were going to even
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start being a writer to begin with? Because you've got
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some stories to tell about where you've been in the
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world because of your writing.
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Speaker 5: I sure do well, if we're going to start at
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the beginning. A series of unfortunate events happened within my
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family that led me to write start writing in a
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diary when I was about nine years old. Oh, I
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started writing, not in any comprehensible way, with a really
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poor vocabulary. However, I started writing down my feelings and
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that led to poetry. And because I also loved music
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and played classical guitar on a Gibson and collected music
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and came from a somewhat musical family. By the time
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I was fifteen, I had this two thousand LP collection.
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I woke up one day I had an AHA moment,
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and I said, you know what, You're going to be
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a music journalist. I just realized, Wow, I can combine
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the two things that I love. This was back in
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the day before the internet, before cell phones. So I
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went to my poetry teacher in high school and I
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told him about my AHA moment, and he said, Okay,
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I'm going to help you write a pitch letter to
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magazines because you're a great writer. He loved my poetry.
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I had a one hundred average in my poetry class
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and I failed math. So I was really clear on
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the trajectory of where I wanted to go. After about
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a year and a half, I finally got a yes
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and was published in Circus magazine while I was still
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in high school. That was one of the leading rock
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magazines of its day.
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Speaker 4: Yeah I remember Circus, Billboard, Rolling Stone.
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Speaker 5: Yeah.
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Speaker 4: Yeah.
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Speaker 1: Okay.
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Speaker 5: So now I'm still in high school, I'm writing these
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reviews and I go to Europe when I'm sixteen on
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a so called teen tour that they had those then,
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and it just so happened that while I was in France.
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I don't know how this happened, but it happened that
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I met the lead punk rocker and I interviewed him,
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Plastic bertrand he had a one hit wonder worldwide sasplan Pausmois.
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So this was in the seventies, so I was just
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bowled over. Then I'm in the Netherlands and I meet
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Golden Earring again. I don't even know how this is
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mysteriously happening. I'm not asking anybody to meet these musicians.
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I meet them, whether at a club, I don't even remember.
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So I interviewed Golden Earing. They had that hit song
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Radar Love. So now this is now confirming to me,
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like all the stars are aligned, and okay, you're going
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to be a rock journalist. So great. I get back
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to the States, I start doing some part time jobs
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I'm working, and then one day, oh wait, I forgot
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in so doing. I realized, Wow, there's so much competition,
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especially in New York City where I grew up. How
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am I ever going to position myself to become someone
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in this business. I figured the only way to do
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that strategically, thinking was to become the New York correspondent
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for Canadian and British trade and consumer magazines. Nobody wanted
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that position. There was a magazine from Calgary called Record Week.
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I became their New York correspondent. There was a trade
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magazine in Toronto call Performance Magazine. I became their New
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York correspondent. And then there was Melody Maker, and I
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was one of several freelancers. Now I'm doing this and
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now I'm all. The doors are flying open. I have
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access to everyone I want in the business. And I
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get a phone call from the manager, the PR manager
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of Kiss. They said, we are going on tour to Japan.
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We'd like you to be one of ten journalists that
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we are inviting on their Japan tour. And first of
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all I said no, I don't like the band. And
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then a series of events happened over the next couple
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of weeks where everything Japan was in my purview. I
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had an interview with Paul Simon at a Japanese restaurant.
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I walked down Broadway there was an awning for a
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Broadway show called Pacific Overtures. It was about Japan's rise
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after World War two, Like, Okay, I'll say yes if
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they call me. They did, I said yes, and I
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asked them, why me. I'm not anybody. I'm just an
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up and coming freelance journalist. Oh well, our tour after
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Japan is Canada. We want you to write the publicity
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for the tour. Oh so, tour Japan, and I reported
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on the tour. Fast forward. After that, I wound up
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staying in Japan for five years and became the first
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foreign and female bureau chief for Billboard magazine.
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Speaker 4: And this is like nineteen eighty or so. Yeah, wow, wow, yeah,
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And then I probably read some of you, some of
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your articles.
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Speaker 3: Yeah.
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Speaker 5: I mean, if you go into the archives of Billboard
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in nineteen eighty, yes, it's still there, absolutely.
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Speaker 4: Yeah, because it was one of my favorite as a teenager.
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Is one of my favorite magazines.
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Speaker 5: Yep, the top one hundred.
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Speaker 4: Yeah, yeah, that is one heck of a story. Sod.
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Where did you go from there?
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Speaker 2: Well?
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Speaker 5: From there? I While I was in Japan, I did
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quite a number of things because I was in a
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unique position. I worked for a company for one year,
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and that company was the leading music publisher and publisher
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of three or four magazines Shinko Music. They also had
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radio production, they had access to the whole industry, so
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I worked for them. I learned the ropes for one year,
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and then I started my own company in Japan again
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first female foreigner to have a company, and I introduced
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punk rock to the Japanese market and we had a
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promotion agency and publishing a sub publishing company. So I
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did that for a couple of years and then decided,
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at the ripe old age of twenty five that I
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don't like the music industry anymore.
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Speaker 4: This is it.
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Speaker 5: I'm done. Went back to the States on the invitation
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of Rocky Aoki, Benny Hannah Restaurants chain, and I started
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doing promotions. I went back to New York, I started
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doing promotions for Japanese companies, experiential marketing, publicity for several brands.
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Did that for a couple of years, and one of
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the last projects before moving to Switzerland was the introduction
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of Wacol Lingerie on the East Coast, where I met
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this musician composer who was working in Midi and m
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Idi Midi as well as CGI, which was brand new
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at the time this is like late eighties, and he
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introduced me to the field of multi media. So I
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jumped all over that because I've always liken myself to
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the future. I love all creative technological advance is that
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that are not harming people, right, that are that are
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enhancing our lives. Well, the long, long and short of
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that is that that that man and I went into
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a partnership initially producing CD CDI and cg ram software
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about travel, and we got married. We were also partners.
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We are living in Switzerland, and then I decided, this
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is like, let's make this something more concrete than just
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a production company. I had bigger dreams. I wanted a
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publishing house. I wanted a digital publishing house. So in
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nineteen ninety two I started thinking about how can we
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monetize this and create a digital publishing company produce CD
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ROMs about travel. This is pre internet still, so I
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raised capital from a Dutch company which was the largest
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magazine group in Europe B to B magazine group. Yeah,
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they invested in our company. We already had prototypes and
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we moved. We had a small team, like with some
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engineers and data people. I did everything business wise, from
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distribution to marketing to sales to product development with the team.
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So We raised a couple of million dollars in venture capital,
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moved up to the Netherlands and had our company called
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bop Media travel guides across Europe which were delivered on
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c d rum with GPSS pre internet. Yeah, we put
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out guides of Paris, London, Amsterdam, Berlin. It was just amazing,
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amazing product. Then I sold my shares. Then I moved
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to the South of France. Then I wrote my first book.
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It's not published, but I wrote my first book. And
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there's more asked me some questions, it's more and more
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and more.
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Speaker 4: So the book isn't published. What's he going to take
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to get it published?
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Speaker 5: Well, look that was also this is still in the
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nineties where you go around, you send it to an agent.
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Speaker 4: And yes remember all that.
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Speaker 5: Yes, yeah, I was like, no, I'm not going to
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waste my time continuing doing this down down a rabbit hole.
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Speaker 4: That no.
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Speaker 5: So I moved on to my next projects.
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Speaker 4: So because kind of in an intro we talked about
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you being a marketing strategist and things like that, and
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you just you just gave a lot of proof, a
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lot of putting approof.
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Speaker 5: Well, the thing is that what's interesting is that writing
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has always been the basis the effectation because even as
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a publisher of those travel guides, I created an editorial team,
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a digital editorial team all over Europe trained them. They
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had never used a laptop, these writers. Yeah, we created
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pre twitter fields where they would write about sites, restaurants, hotels,
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events in a hundred words or less. They didn't know
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how to write like that. So I had to give
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them the example. I had to train these people. And
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these were professional writers from places like Time Out magazine.
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Speaker 4: Well, there's a difference between writing a long form article
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in then writing a blurb. Yes, forty characters is a blurb.
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Speaker 5: Right, Well it was a little more, but still, yes,
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it was a blurb.
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Speaker 4: Yeah.
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Speaker 5: Yeah, So.
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Speaker 1: You know, and.
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Speaker 4: You know, you've got to be way more focused. I
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say this because we have to stay focused when we
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do like the movie short, right, you have where the
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long form is ninety minutes. Now you've got to tell
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that seeing Zach story in twenty minutes. You got to
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stay focused. You got to stay on track. And that
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takes a lot more well, a lot of different kind
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of planning and thought, doesn't it.
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Speaker 5: Yes, yes, which is interesting because for example, in my
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memoir under my skin, drama, trauma, and rock and roll.
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It's very short. That's book one in my trilogy. It's
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about one hundred ninety six pages, kind of short, very
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fast read. Sentences are short and concise, yet very visual.
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So in other words, that kind of writing I attript
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you to like writing a rap song. Yeah, rap and
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hip hop are telling stories. Those are visual stories. Yeah.
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Speaker 4: Well absolutely, even even from the very beginning of it.
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One of my more favorite and it was also a
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very popular song in especially in the United States. It
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was was white Lines where they were talking about the
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trail of destruction that cocaine leaves.
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Speaker 5: Yeah.
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Speaker 4: Yeah, it's storytelling.
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Speaker 5: It definitely is. It's raw.
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Speaker 4: Mm hm.
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Speaker 5: Anyway, that's why I like that music because it it's
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it's raw and for the most part, uncensored.
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Speaker 4: I alluded to something earlier, and I think we should
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discuss your editing process because well.
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Speaker 5: Yeah, so editing is one of the services that I offer.
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I ghost write. And when I say ghost write, like
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a lot of people say they're a ghost writer, I
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am using the traditional term. I write and co write
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other people's books. Yeah, okay, so that's what I do.
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I act as their muse, as their eyes, their ears,
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their voice. I also do developmental editing. Now what is that?
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That's taking a ten thousand foot view the big picture.
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You're reading the manuscript and you are analyzing it for inconsistencies,
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structural logic, flow, cohesiveness, Does it make sense? Do wear
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the redundancies? If any does part a paragraph ten, page
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thirty seven belong on one hundred and forty, does it
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need to be reworked flushed out. That's basically what you're doing,
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and it results in an editorial report, if you will,
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a couple of page report for the writer to then
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go back and work it, work it again.
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Speaker 2: Right.
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Speaker 5: Then I have a team that helps with the line editing,
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the proofreading, formatting, which then goes into post production of
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actually self publishing a book.
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Speaker 4: Yeah, I get where you're going with that. I actually
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laid out a calendar for from a series of photographs
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from a tour that I should say a walk I took.
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It was almost fifteen hundred kilometers wow, across the rockies
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and everything right with this group. So I've edited it
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this or put together this calendar with photographs and different
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things like that, and the formatting to make it actually
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look like it's supposed to look in comparison to I've
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seen some self published books. It's like, oh, I see
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you self published?
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Speaker 5: Yeah, well.
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Speaker 4: Right, right, so it's quite the arduous process.
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Speaker 5: If yes, you know, look, there's no accounting for bad
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taste ever since people could start self publishing or using photoshop.
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That doesn't mean they're an artist. It doesn't mean they're
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a writer. It just means they have some tools. They've
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written a story, and there's lots of typos and grammatical errors,
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and some of them they can't even write in English.
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I don't mean that it's a second language. I mean
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it's a first language. Right, So, okay, on the plus side,
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express yourself.
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Speaker 2: On the.
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Speaker 5: Minus side, this is not a professional piece of art.
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You have both and everything in between.
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Speaker 4: So how do you get polished that out? For somebody
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who's seriously what's to be known seriously but their book
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to be known serious? How do you polish that out?
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Speaker 5: Well? We have professional services, our formatting My formatting team
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is professional. These are writers and editors and people from
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the publishing industry that have gone out on their own,
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who've been working and publishing for over twenty years. That's
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number one, number two in terms of promoting, because that's
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yet another aspect, the promotional part, the marketing, that's yet
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another service. And it doesn't mean that everybody will be
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a best selling author. Marketing these days, whether you're a filmmaker,
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a photographer, an author, any type of artist, it's part
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and parcel to your work. You cannot just be an artist.
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If you don't market yourself in today's world, you will
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not be known.
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Speaker 4: No.
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Speaker 5: And even if you do market yourself, look at social media,
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everything is so dispersed that it's an organic consistent process.
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Speaker 4: Like what you just said there, you said it's organic
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consistent because it doesn't matter. There's all these these guys
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that didn't want to say all these different things, the
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tricks to this and I know, the trick to making
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your your your bingo viral, blah blah blah, and it's
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in its noise.
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Speaker 5: There are no tricks to anything. And if you're selling tricks,
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then that's how you're making money, not because you actually
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made money in the industry you're talking about. It's just
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like those shysters, hey make a million dollars with real estate,
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come to a seminar. They never made a million dollars
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in real estate. They're making their money by selling these
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things at a seminar exactly, And so it's the same
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exact thing you're talking about.
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Speaker 4: Yeah, yeah, we do on occasion ourselves do a couple
29:25
of marketing tools, a few corporate documentaries, you know. But
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and then people are like, like, well, why don't you
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just show start shooting with the with the camera and
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start recording our stuff. It's like I said, no, we
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need to slow down and figure out who you want
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to aim it at.
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Speaker 5: Who you what the goal is exactly exactly. That's that's
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the same thing I tell my authors that like, well,
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here's my book, Well, who's your audience? Who is this too?
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Why do you have that? Did you did you register
30:04
URL under your name or under the book's name? Maybe
30:10
it's too long that book name. There's so much to it.
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Speaker 4: Yeah, a lot of steps. So how do you how
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do you walk your clients to do the steps so
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that so that they see the value in each and
30:26
every step.
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Speaker 5: Well, either, first of all, I don't walk them through it,
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so they decide prior do they want to do it
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or do they want to hire my company to do it,
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in which case they can have a Q and A
30:48
with me. We have Zoom calls and I basically send
30:53
them a list of instructions for what they have to
30:57
do to contribute. But mostly it's an iterative process when
31:03
they hire my company and it's a back and forth.
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So for example, if I'm helping them with their KDP
31:15
Amazon upload, well they have to have an Amazon.
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Speaker 4: Account, yeah, step one.
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Speaker 5: But if they don't, which I've worked with people that don't,
31:28
it's setting that up. It's finding the keywords inside Amazon
31:35
to register your book.
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Speaker 4: Yeah, that makes sense.
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Speaker 5: It's putting it on sale maybe so that it goes
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to number one for a day. There are there are
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many ways, and either people can do people that don't
31:52
know this don't want to do it themselves, and I
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don't do it themselves. No, And I also don't want
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to work with people that want to do it themselves.
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Speaker 4: That's not why you want to do it all for them.
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Speaker 5: Yes, right, okay. There are other people that like coaching
32:15
on that kind of thing. I don't do that. I
32:20
have a book coaching course or an online course that
32:23
people can download. But the book coaching is a twenty
32:27
week series where I work very closely via Zoom with
32:32
my authors on how to structure and write their book,
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and I guarantee you after twenty weeks they're going to
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have a two hundred plus page book. Everyone who's worked
32:47
with me is committed and therefore they will have their book. No, it's.
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Speaker 4: It's the we'd assume you have this process to weed
33:02
out the the tire kickers, the flake all saw.
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Speaker 5: The Yeah, yeah, of course you have to have that
33:12
in any business.
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Speaker 1: Is it.
33:20
Speaker 4: Do run into this where people are like, well, you're
33:24
so expensive, you could lower your pranks.
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Speaker 5: No, no, they're not your client. Obviously they don't.
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Speaker 4: They don't have they don't see the value in in
33:39
in the in the process that it takes to.
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Speaker 5: Make right work, and therefore they're not your client. Right yep.
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I mean people people that don't go into a doctor's
33:56
office and start negotiating with a doctor. Oh no, I'm
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not going to pay four hundred and fifty. Well in Canada,
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of course it's different. In most of the world it's different.
34:05
But in the US you're not negotiating prices.
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Speaker 4: No, you're not prices. Let's put it. Let's uh for
34:18
the world of Canada versus the US, it's not uh,
34:25
it's not negotiating. People try to negotiate the service that
34:28
they're going to get. It's like, oh, I don't want
34:32
I don't want that, I want this. Well, yeah, that
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I'm the doctor. I know that you need this, this,
34:40
and this, and you can't leave those steps out. And
34:44
it's the same for you. I would assume that when
34:47
a client says this is what this is what I want,
34:51
this is my then you tell them, then you we
34:54
need to talk about this, this step and and all
34:59
it takes to get them to that goal. If they're
35:02
working with you because you because they admire your success,
35:07
the na should follow follow the pattern that you're giving them.
35:12
Speaker 5: I think that's how it normally goes. If you're hiring
35:16
someone who can be a mentor to you and you're
35:21
not going to follow them, then you're slapping your own face. Yes, look, granted,
35:35
there are always people that think they know better than you.
35:40
There are there are people like that. Yeah, and you know,
35:46
let them think that I let them go off on
35:50
their bed self, go off all right, and then I say,
35:55
and so what do you think about doing this? Let
35:59
them think that they came to the conclusion. Fine by me.
36:06
The result is the same, right, and men have a
36:10
tendency to do that more than women.
36:15
Speaker 4: Hey, yes I'm saying this in public. Yes, we are
36:19
the weaker sex.
36:21
Speaker 5: I don't know if it's weaker, it's just more adamant
36:24
about certain things, like Okay, we'll do it that way,
36:31
even though it's my way.
36:36
Speaker 4: I don't know how many times everybody knows that that
36:40
I've been married a number of years to and yeah,
36:47
it's a She looks at me and says, well, I
36:51
told you to do it that way to begin with.
36:53
Now you're doing it. It's see it works out.
36:57
Speaker 5: Well, I don't say I told you so us that
37:01
would never work. That would never work with my clients,
37:04
So I don't say it.
37:06
Speaker 4: No, they may not work with they may not work
37:08
with the clients, but you. But sometimes you're thinking, I'm
37:13
gonna ask you a really hard question because you're running
37:16
out of time, and okay, the best ways to get
37:19
a hold of you and contact me be work with you.
37:23
We'll get to that part. If you could create the
37:31
most beautiful world possible, what would it look like to you?
37:37
Speaker 5: The most beautiful world? Yeah, it would be one where
37:45
all there were no borders, there was no poverty, because
37:53
there is enough energy and food, which already is. It
37:59
does exist where there were no wars because people would
38:08
not people would look upon war and killing as something
38:15
grotesque and inhumane, which it is in my opinion, and
38:23
would be authentically confident enough to show there they're they're themselves.
38:38
Speaker 4: Best ways to get ahold of your work again.
38:43
Speaker 5: At least Crensell dot com go to my website. Do
38:50
they need the spelling? Now you'll put a little thing.
38:54
Speaker 4: So they can get it appear as a link.
38:58
Speaker 5: Okay, yeah, so on my website or on LinkedIn.
39:04
Speaker 4: Yeh yeah, because you offer a lot of success to
39:14
people if they if they want, want to take it.
39:17
Speaker 5: So yeah, good way of putting it.
39:24
Speaker 4: So, as I said in the in the intro, if
39:27
you want your story to actually turn into something that
39:32
can can help your business grow, give you a bigger
39:36
impactor on your community. Whatever your goal is. Positive goal
39:43
is work with the lease and and just watch your
39:50
your life h change and you'll you'll find the find
39:58
a lot of its success to release. So yeah, so
40:02
at least crinchel dot com rae yes, yeah, so ah,
40:09
thanks for speaking with us today. It's been wonderful.
40:13
Speaker 5: Thank you, Michael, thank you for your time. I appreciate it.
40:18
Speaker 4: Thank you everybody for listening today, and we'll talk to
40:21
you next time.
40:25
Speaker 2: Help.
40:48
Speaker 4: I don't know.
41:02
Speaker 5: That this is days.
41:10
Speaker 1: A reason to be.
41:18
Speaker 3: Sad.
41:18
Speaker 2: Me back Little Choice SHOs. We can't t.
41:28
Speaker 5: Wait, so.
41:34
Speaker 3: Will.
42:48
Speaker 1: The show has been produced by Depictions Media. Please contact
42:53
us at depictions dot media for more information