Another significant factor about reputation is that editors know they can depend on me to get a finished manuscript to them before the deadline. In the publishing business that dependability factor is important. For example, I did 35 books for one publisher. Years later I learned why they turned to me. Their primary ghostwriter—who was a far better writer than I was—never met her deadlines.
Another factor beyond one publishing house: Most editors know what goes on within the industry. And they sometimes complain to each other about bad relationships. They also rave about the exceptional ones.
Even in those instances where the writer's name doesn't appear on the by-line, people inside the publishing industry know. Whether it's ghosting for Joel Osteen or Joyce Meyer, editors and agents know who wrote their books.
I've developed some name recognition and insiders know who actually wrote those books. That's what counts.
Another thing is that even when I didn't get my name on a book's cover, I still listed those titles on my resume, which is one of the things to include when we propose a book to a publisher.
Collaborating builds my reputation as a writer.