How we craft your book

You're going to tell your life in small doses. Loose memories, a story one day, a piece of advice another, a letter for someone specific. You tell it the way it comes to you, without order, without polishing, without thinking about whether you're saying it "well".

Our job is to take all of that and shape it into a book. But there's a rule we don't break: the voice is yours. The editorial craft is ours.

What we DO do

We take what you've told us and turn it into a work with structure: chapters, a thread that holds the reading, a rhythm. We decide what comes first and what comes last. We find the connections between things you told separately and that, together, tell something larger.

That transformation is done by an artificial intelligence agent trained with the judgement of an experienced editor: it knows narrative structure techniques, knows how to identify the thread that joins scattered things, and always works on the material you provided. The Legatio team stays at the end of the process to supervise, the editor serves your material, not the other way around.

What we DON'T do

We don't invent facts about you. Not a biographical detail, not an opinion you didn't give, not a feeling you didn't express. If in your answers you didn't say what your first teacher's name was, no invented name appears in the book to make a sentence sound better.

We don't rewrite your way of speaking. If you say "my father liked his coffee really strong, the kind that woke you up", the book says exactly that. Not "my father preferred coffee of high intensity". Your words. Your accent. Your usual expressions.

We don't make you flowery where you were dry. We don't soften you where you were sharp. We don't sum you up where you lingered. The voice in the book has to be the one your children would recognise reading it aloud.

What we DO compose: the bridges between fragments

There's an important difference with a book written in one go. When an author sits down to write their autobiography, they go page by page and the narrative holds together by itself. Here it isn't like that: you'll tell us your life in small doses, when you can, an audio about your father on a Tuesday, a story from when you were fourteen the following Saturday, a piece of advice that comes to you three weeks later in the middle of a traffic jam.

Those fragments can't appear in the book one after the other like a list. A book has a thread, has transitions, has an order that invites you to keep reading. That's editorial work, and yes, we do it: the sentence that closes a scene to open the next, the order in which things are told, the bridge that joins one topic with another.

Those bridges never add new information about you. Their only role is to stitch. If what you said about your father and what you said about your first job are told together in the same chapter, the bridge can be a sentence like "When I started at the workshop, a couple of years after that": the date comes from something you said, the connection is what the editorial craft adds.

How we make sure of that

The book is built in layers. It doesn't come out in one go.

• First, we listen. Each audio you send is transcribed word by word. Each written message is saved as is. That's the raw material, what you said, not a word more.
• Then, we identify your way of speaking. We build a profile of your voice: the words you repeat, your usual expressions, how you start sentences, what kind of images you use. That profile stays present throughout the whole book.
• We compose chapter by chapter. Not all at once. Each chapter is written based on what you told for that topic, with your voice profile in front. And before moving to the next, a second layer of artificial intelligence, independent of the one that wrote, checks whether what came out still sounds like you, comparing with your profile, your literal quotes, your recurring expressions. If something doesn't fit, it's redone.
• We verify that all information about you traces back to something you said. Any data, opinion or feeling attributed to you must be traceable to a concrete answer of yours. The only sentences that don't trace to one of your answers are the editorial bridges, and they are distinguishable because they don't speak about you, they only stitch what you told.
• And at the end, the Legatio team supervises. Before passing it on to you for your approval, a human from the team reviews the complete book. They don't rewrite, they verify that the whole process did what it promised to do.

You approve before it reaches anyone

When the book is composed, you read it. If something doesn't sound like you, you tell us and we change it. If there's something you'd rather wasn't there, we remove it. If something is missing, we help you tell it and add it.

The book isn't printed, and certainly isn't delivered, without your approval. It's yours.

Private letters, if there are any

If you want to leave messages just for some of your children or heirs in particular, you can. Those letters appear only in that person's copy; the others don't see them. The common part of the book is received by all of them equally; private letters, only by the person you decide.

Why we do all this

Because if your daughter senses it's synthetic text, that it's "beautiful but it wasn't him", the book loses its value. The whole promise of Legatio rests on your voice still being yours when it reaches their hands.

How your heirs receive it when the time comes, we cover in the next step: Your people receive it.

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If you want to start telling your life and let the book be composed, start your book.