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AI Staff, Virtual Offices, and the Publishing Scam You Can’t Believe Is Real

Brandie Richardson

Self‑publishing has opened the floodgates for writers around the world. But where there’s opportunity, there’s also exploitation. In the last year investigators and consumer watchdogs have uncovered real, sophisticated scams targeting aspiring authors using AI‑generated publishing companies, cloned websites, virtual offices, stolen testimonials, and fake staff profiles. These aren’t blog rumors — these are documented cases with real victims and real financial loss.

A Network of AI “Publishers” That Isn’t What It Seems

Investigations in Australia, the UK, and New Zealand have exposed what appears to be a coordinated scam network posing as legitimate publishers. These websites — with names like Melbourne Book Publisher, First Page Press (UK), Aussie Book Publisher, Oz Book Publishers, and BookPublishers.co.nz — are built to look professional at first glance. They use:

AI‑generated executive photos
Polished “meet our team” pages
Prestigious virtual office addresses
Testimonials that look real
Catalogs claiming books they never published

These elements make them appear legitimate — until you dig deeper. The companies use cloned sites and names nearly identical to real publishers, borrow real business numbers, and push publishing packages that cost hundreds or even thousands of dollars.

One real aspiring author — identified only as Andrea — nearly fell for the scheme in Australia. After exchanging messages and joining a video call with someone claiming to be a publishing executive, she was told to pay A$88 to secure an Australian Business Number (ABN) linked to the operation. After paying, she quickly realized something was very wrong and tried to dispute the payment — only to receive threatening messages attempting to discourage her from contesting it.

Fake Testimonials and Stolen Credibility

To build trust, these scam sites often feature glowing testimonials — but the testimonials aren’t real. In some cases, they’ve:

Taken real author images and adapted the names slightly
Reprinted book covers without permission
Claimed credit for publishing real books that belong to others

For instance, a legitimate Australian children’s author’s photo and identity were repurposed as a fictional “happy client” on one of the fake publishers’ websites. These sites even mix real published titles into their portfolios, implying involvement that never existed.

Deception Tactics: Virtual Offices and Cloned Sites

Scammers also exploit virtual office services, listing high‑end addresses in Melbourne, London, or other major cities to create the illusion of a real publishing house. Some sites claim years of history (“established in 1999”), yet registry records show they were created recently — a classic counterfeit tactic.

Once initial trust is established, they begin upselling:

“Publishing packages” ranging into the high thousands
“Marketing and promotional services”
“Distribution plans” with vague deliverables

Often the promised outcomes — book launches, press coverage, bookstore placement — never materialize. Many victims report that after paying, communication dries up. Others are given vague excuses about “processing delays” when they follow up.

Not an Isolated Incident — Scams All Over Author and Publishing Communities

While the Melbourne Book Publisher case is one of the most detailed investigations, real authors continue to share similar experiences in online communities like Reddit’s r/selfpublish and r/writers:

Some authors report being contacted by companies claiming to be “KDP Publisher” — implying an official link to Amazon’s Kindle Direct Publishing — only to discover it was a third‑party outfit asking for unnecessary fees.
Others were approached by “Penguin Publishers” or versions of big publisher names designed to trick them into thinking they were dealing with major industry houses.
One writer was asked for access to their Amazon account password by a supposed publisher — a major red flag indicating malicious intent.

Each of these examples illustrates a common theme: scammers use professionalism as camouflage.

Red Flags: How to Spot an AI‑Driven Publishing Scam

If you’re approached by anyone offering to publish, promote, or represent your book, ask yourself:

1. Does the “publisher” use AI‑generated photos?
AI headshots often look too perfect — uniform lighting, ambiguous backgrounds, and eerily generic features. If you can’t verify the person elsewhere (LinkedIn, industry networks), that’s a red flag.

2. Does the website name closely resemble a real publisher?
Scammers frequently pick names nearly identical to legitimate ones on purpose — e.g., “Melbourne Book Publisher” vs. Melbourne Books.

3. Are their testimonials actually real?
Look up author names and book credits independently. If the supposed published books don’t list the publisher in question, or if the author denies the testimonial, it’s likely fake.

4. Is there pressure to pay upfront fees quickly?
Reputable publishers rarely require authors to pay large upfront sums — especially for “guaranteed distribution” or “book launches.”

5. Do they list a virtual office with no real staff verification?
If staff bios have no verifiable history, or contact info is only a virtual address and email form, be suspicious.

6. Do they cite industry names like Amazon, Penguin, or Simon & Schuster without official affiliation?
Scammers will misuse big brand names to lend credibility. Official publishers and agents rarely reach out unsolicited.

Conclusion: When AI Looks Legit But Isn’t

AI has given scammers new tools to build professional‑looking façades faster than ever. They can generate staff photos, forge testimonials, and clone legitimate websites — all to lure writers into paying for nothing more than digital smoke and mirrors. Authors need to stay vigilant, verify everything independently, and always err on the side of caution.

Next in this blog series, we’ll dive into other real scams that exploit author dreams — from vanity presses to bogus awards and fake film deal offers. But one lesson shines through every case: if it sounds too good to be true, it probably is.

March 8, 2026 0

What Are Beta Readers and Why Every Author Should Use Them

Brandie Richardson

Once a manuscript has grown beyond the rough drafts and major rewrites, it’s ready to meet a new set of eyes: beta readers. These are the readers who experience your story much like your eventual audience will, helping you understand how your book lands in the real world.

What Are Beta Readers?

Beta readers are trusted individuals who read a manuscript that is structurally complete. Unlike early-stage alpha readers, beta readers focus on the overall reading experience. They pay attention to things like:

• Story pacing and engagement
• Character consistency and believability
• Emotional impact and readability
• Clarity of plot and story arcs

They are not professional editors, so they typically do not correct grammar, punctuation, or line-level mistakes. Instead, they provide insight into how a typical reader reacts, what resonates, and what might be confusing or unfulfilling.

Why Do You Need Beta Readers?

Even after multiple revisions, a manuscript is still filtered through the author’s perspective. Beta readers give you fresh eyes—the perspective of someone experiencing the story without prior knowledge of your intentions. This feedback helps you identify subtle issues that could slow reader engagement, weaken emotional impact, or obscure key story points.

Beta readers can also validate what’s working well. Positive reactions highlight the strongest parts of your story, showing you where your narrative truly connects with readers. This can be especially helpful when planning marketing angles or understanding what will resonate with your target audience.

Choosing Beta Readers

The ideal beta readers are attentive, honest, and willing to give constructive feedback. They can be fellow writers, avid readers in your genre, or members of writing groups. Diversity in beta readers can provide a range of perspectives, ensuring you see how your story might be received by different types of readers.

It’s often helpful to provide beta readers with guidelines or questions, such as: “Did you understand the character’s motivation here?” or “Were there moments that felt confusing or slow?” Clear guidance ensures the feedback you receive is actionable and focused.

Key Takeaway

Beta readers act as your manuscript’s first real audience. They reveal how your story reads in practice, helping you fine-tune pacing, character development, and emotional impact before professional editing or publication.

Investing in beta readers is a smart move for any author who wants to launch a polished, engaging book. Their feedback helps you create a story that connects, resonates, and leaves readers eager for more.

March 7, 2026 0

Why Alpha Readers Matter: Early Feedback for Authors

Brandie Richardson

Alpha Readers: What They Are and Why Your Manuscript Needs Them

Every book begins in the quiet of a writer’s mind, but at some point, it needs to leave that private space. Even the most careful author can become too close to their own manuscript to see where the story works—and where it doesn’t. That’s where alpha readers come in.

What Are Alpha Readers?

Alpha readers are the first people outside the author to read a manuscript while it’s still in the early stages of development. Think of them as trusted guides, stepping into a story that is still finding its shape. The manuscript may have rough patches, incomplete sections, or moments that aren’t fully developed. That’s normal—it’s their job to help spot those areas.

Unlike editors or professional reviewers, alpha readers focus on big-picture feedback. They notice whether the plot is clear, if the pacing feels right, whether characters’ actions make sense, and where the story may confuse or frustrate a reader. They can also highlight parts that shine, moments that are particularly engaging, or scenes that spark strong emotional reactions.

Alpha readers aren’t tasked with polishing grammar, fine-tuning sentences, or catching typos. Instead, they provide early insight into how real readers experience your story, giving the author a chance to revise before moving on to more formal stages of editing.

Why Do You Need Alpha Readers?

Even the most experienced writer can get lost in their own story. It’s easy to overlook plot holes, uneven pacing, or confusing character motivations when you already know how the story is supposed to unfold. Alpha readers act as fresh eyes, helping the author see the manuscript the way a first-time reader would.

Their feedback can save time and frustration down the road. Catching major story issues early means fewer expensive or time-consuming revisions later. It also helps ensure that your manuscript is clear, engaging, and emotionally resonant before you invest in professional editing.

Another key benefit of alpha readers is perspective. They can represent different types of readers, offering insight into how your story might be received by a range of audiences. Whether you want reactions from fellow writers, fans of your genre, or even general readers, alpha readers give you a window into the audience experience.

Choosing Alpha Readers

Alpha readers don’t need professional credentials—they just need honesty, attentiveness, and a willingness to give constructive feedback. Many authors recruit friends, fellow writers, or members of writing groups. The important thing is that they approach the manuscript with fresh eyes and a thoughtful mindset.

Key Takeaway

Alpha readers are the first audience your manuscript will ever meet. They help reveal blind spots, highlight strengths, and guide revisions before your story moves toward publication. By investing in this early feedback, authors give themselves the chance to shape a stronger, clearer, and more engaging book—before the work reaches editors, proofreaders, or the public.

Engaging alpha readers early is one of the smartest steps a writer can take. It’s not about criticism—it’s about insight, clarity, and creating a story that truly resonates.

March 7, 2026 0

Marketing Your Book: The Difference Between Traditional and Digital Strategies

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Marketing a book is about making sure the right readers find it—but the way you reach those readers can look very different depending on the strategy you choose. For authors and small publishers, understanding the difference between traditional marketing and digital marketing can mean the difference between a quiet launch and a successful one.

Traditional Marketing: The Classic Approach

Traditional marketing refers to the offline methods that have been used for decades to promote books and other products. This includes tactics like:

• Print advertising (magazines, newspapers, flyers)
• Bookstore events or signings
• Press releases and media coverage
• Mailing campaigns or newsletters
• Trade shows and literary festivals

These strategies have a long track record and can lend credibility to a book. A feature in a newspaper or a well-known literary magazine can give your book an instant sense of authority. Physical events like signings and readings allow authors to connect personally with readers—a powerful way to build a loyal audience.

However, traditional marketing also has drawbacks. It can be costly and time-consuming, and it’s often difficult to measure results with precision. Tracking exactly how many readers saw an ad, attended an event, or bought a book as a direct result can be tricky.

Digital Marketing: The Modern Reach

Digital marketing, on the other hand, is all about online channels and platforms. Common tactics include:

• Social media promotion (Facebook, Instagram, TikTok, LinkedIn)
• Email newsletters
• Paid ads (Google Ads, Amazon Ads, social media ads)
• Blogging and SEO-driven content
• Virtual events and online book tours

The biggest advantage of digital marketing is measurability and reach. You can see who clicked your link, who visited your page, and who bought your book. Social media also allows for highly targeted campaigns—you can reach readers who already enjoy books in your genre, follow similar authors, or live in a specific location.

Digital marketing is also more flexible. Campaigns can be adjusted in real-time based on results, and many tools are available for authors on a budget. Even small authors can build meaningful online communities with consistent, authentic engagement.

Which Should You Choose?

The answer is rarely “one or the other.” Traditional marketing builds credibility and personal connection, while digital marketing provides reach, measurable results, and ongoing engagement. Most successful authors and small publishers use a combination of both.

For example, a book signing at a local bookstore (traditional) can be paired with social media promotion and follow-up email campaigns (digital) to maximize audience engagement. Even a modest budget can go a long way when the strategies complement each other.

Key Takeaway:

Understanding the difference between traditional and digital marketing helps authors make smart choices with their time, money, and energy. Traditional marketing builds visibility and authority in the real world. Digital marketing allows you to target, measure, and engage in ways that were impossible even a decade ago. Combining the two creates the most powerful launch and long-term strategy for your book. For authors willing to plan carefully and invest thoughtfully, mastering both approaches ensures your book gets seen, remembered, and recommended—offline and online.

March 7, 2026 0

Editing vs Proofreading: Why Your Manuscript Needs Both

By Brandie Richardson

In the journey from rough manuscript to finished book, there are several stages where a story is refined and strengthened. Two of the most commonly discussed are editing and proofreading. While they are sometimes used interchangeably in casual conversation, they serve very different purposes in the publishing process.

Understanding the distinction helps authors know what kind of support their manuscript needs and when to seek it.

Editing focuses on improving the quality and clarity of the writing itself. It looks at how the story is told, how ideas are presented, and how effectively the manuscript communicates with the reader. Depending on the type of editing involved, this stage may address everything from large structural issues to the finer details of sentence flow.

At the broader end of the spectrum, editing may involve examining story structure, pacing, character development, or the organization of ideas. An editor might point out where the narrative slows down, where a character’s motivations need to be clearer, or where a chapter could be strengthened to improve tension or readability.

At a more detailed level, editing can also involve refining language. This might include adjusting awkward phrasing, tightening sentences, improving transitions, and ensuring the tone remains consistent throughout the manuscript. The goal is not to change the author’s voice, but to help the writing express that voice more clearly and effectively.

In short, editing shapes the manuscript itself.

Proofreading, on the other hand, happens at the very end of the process. By the time a manuscript reaches proofreading, the story and the writing should already be finalized. The focus is no longer on improving the narrative but on catching small technical errors that may have slipped through earlier revisions.

Proofreaders look for things like spelling mistakes, punctuation errors, missing words, formatting inconsistencies, or small typographical issues. These are the kinds of details that can distract readers or make a finished book appear less polished if they remain in the final version.

Because proofreading deals with surface-level corrections, it is typically the last step before publication. Once proofreading is complete, the manuscript should be ready for printing or digital release.

The difference between these two stages is largely about scope.

Editing looks at the manuscript with a wide lens. It asks whether the writing is clear, engaging, and effective. Proofreading uses a magnifying glass, scanning for small errors that remain after all other revisions are complete.

For authors, one common misunderstanding is assuming proofreading alone will fix deeper issues in a manuscript. While a proofreader can correct spelling and punctuation, they are not usually tasked with restructuring sentences, refining pacing, or addressing narrative problems. If those issues exist, they are best addressed during the editing stage.

That is why the order of these services matters. Editing strengthens the manuscript first. Proofreading then ensures the final version is clean, professional, and ready for readers.

Both stages play an important role in producing a polished book. Editing helps a manuscript become the strongest version of the story the author intends to tell. Proofreading provides the final layer of precision that ensures nothing distracts from that story once it reaches the page.

Together, they form the finishing steps that transform a manuscript into a professional, publication-ready work.

March 7, 2026 0

Understanding Alpha and Beta Readers: The First Audience Your Story Will Ever Have

By Brandie Richardson

Every book begins as a private world. At first, it exists only between the author and the page, shaped through long stretches of drafting, revising, and refining. Eventually, though, every manuscript reaches a point where outside perspective becomes essential. Writers know their stories intimately, sometimes so intimately that it becomes difficult to see where a new reader might feel confused, disengaged, or unexpectedly delighted.

This is where alpha and beta reading become an important part of the writing process.

Alpha and beta readers both provide feedback before a manuscript moves into professional editing or publication, but they participate at different stages and with slightly different goals.

Alpha readers are often the first people outside the author to read the manuscript. At this stage, the story may still be rough around the edges. Plot threads might need tightening, character motivations may still be evolving, and certain scenes might exist more as scaffolding than finished structure.

Because of this, alpha readers focus primarily on the big picture. They react to the story as it unfolds and help identify areas where the narrative may not yet be working as intended. They might notice where the pacing drags, where a character’s decision feels unclear, or where the story seems to skip over information readers need to understand what’s happening. In many ways, alpha readers help test the foundation of the story before the author invests time polishing the details.

After revisions have strengthened the manuscript and the narrative structure is complete, beta readers typically step in.

Beta readers experience the story much closer to the way a general audience would. At this stage, the manuscript should have a clear beginning, middle, and end, with most structural issues already addressed. Beta feedback tends to focus on the overall reading experience: whether the story is engaging, whether the pacing holds attention, and whether the emotional beats land the way the author intends.

They may comment on whether the opening pulls them in, whether certain scenes feel slow or rushed, and whether the ending feels satisfying. When several beta readers respond similarly to the same moments in the story, those patterns can provide valuable insight into where a manuscript may still benefit from revision.

When authors begin looking for alpha and beta readers, they often have two main options: volunteer readers or professional readers.

Volunteer readers are extremely common and can be a valuable resource. Friends, writing group members, fellow authors, and early fans often enjoy being part of the creative process. Their reactions can feel very similar to the responses of everyday readers encountering the story for the first time.

The advantage is clear. Volunteers are usually easy to find, enthusiastic about helping, and typically free. For many writers, especially early in their careers, volunteer readers provide a supportive way to begin gathering feedback.

However, volunteer feedback can vary widely in depth and reliability. Some readers provide thoughtful, detailed notes, while others may offer only general reactions. Personal relationships can also influence how feedback is delivered. Friends and family may soften criticism out of kindness, while fellow writers might focus heavily on stylistic preferences that don’t necessarily reflect how typical readers would experience the story.

This is where professional alpha or beta readers can make a meaningful difference.

Professional readers approach manuscripts with experience and a structured method of analysis. Because reviewing manuscripts is part of their work, they tend to provide more detailed feedback, clearer explanations, and observations grounded in storytelling principles rather than personal taste alone. They can identify patterns in pacing, character development, and narrative structure that less experienced readers might overlook.

Another advantage is consistency. Professional readers usually provide organized reports, actionable suggestions, and predictable timelines, which can help authors plan their revision process more effectively.

Of course, professional feedback does involve an investment. Yet many authors find that this stage can be one of the most valuable places to invest in their manuscript. Early, informed feedback can prevent larger problems from carrying forward into editing or publication, where revisions often become more complex and costly.

That does not mean volunteer readers have no place in the process. In fact, many successful authors use a combination of both. Volunteer readers provide a range of genuine reader reactions, while professional readers offer deeper analysis and experienced insight. Together, they create a more complete picture of how the story is functioning.

In the end, alpha and beta readers represent the first audience a manuscript ever meets. They step into the story before it reaches the wider world, helping the author see the work through fresh eyes. For writers who want to give their manuscript the strongest possible foundation, thoughtful feedback at this stage can make a remarkable difference. Whether through trusted volunteers, professional readers, or a blend of both, investing in early critique helps ensure the story that finally reaches readers is the strongest version it can be.

March 7, 2026 0

The Role of ISBN Numbers in Publishing: What Every Author Should Know

Books have always needed a way to be identified. Titles can be similar, authors sometimes share names, and books exist in many different formats. That’s where the ISBN comes in. Think of it as a book’s fingerprint in the global publishing ecosystem.

An ISBN, or International Standard Book Number, is a unique 13-digit identifier assigned to a specific edition and format of a book. A paperback edition gets its own ISBN. A hardcover edition gets another. The ebook version usually gets one as well. Even a revised edition of the same book receives a new ISBN because it is technically a different product in the marketplace.

These numbers serve an important practical purpose. They allow bookstores, distributors, libraries, and online retailers to track and manage books accurately. When a bookstore orders inventory, they don’t search by title alone. They use the ISBN to ensure they receive the exact edition they intended. Libraries use ISBNs in catalog systems, distributors use them to track sales and inventory, and online retailers rely on them to make sure the right book appears in the right listing. In short, the ISBN is the universal language the book industry uses to identify and move books through the supply chain.

For authors pursuing independent or small-press publishing, ISBN ownership becomes more than just a technical detail. It affects how a book is recorded and who is listed as the publisher of record.

Some publishers and publishing platforms offer free ISBNs as part of their services. While this can be convenient, these numbers are rarely truly “free” in the long-term sense. In most cases, the publisher is the official owner of that ISBN, not the author. This means the publisher or platform is listed as the book’s publisher in industry databases and distribution systems.

A related practice that authors sometimes encounter involves recycled or reassigned ISBN numbers. These are ISBNs that a publisher or service has previously registered within their block and then assigns to multiple authors over time. While the number itself is technically valid, it belongs to the publisher’s catalog, not the author’s publishing identity. From a distribution perspective, the book becomes part of that company’s publishing inventory rather than an independent publication tied directly to the author.

For some writers, especially those publishing a single project through a specific platform, this arrangement may not cause immediate problems. However, it can limit flexibility later. If an author wants to move the book to another distributor, establish their own publishing imprint, or maintain full control over how the book appears in industry records, a platform-owned ISBN can become a complication.

Owning your own ISBN changes that dynamic.

When an author purchases their own ISBN through their national ISBN agency, they become the publisher of record for that book. The metadata, publishing imprint, and distribution records all tie back to the author or their imprint name. This provides long-term control over the book’s identity in databases used by retailers, libraries, and distributors.

It also offers greater portability. Because the ISBN belongs to the author, the book can move between printers, distributors, or sales platforms without losing its identity. The author can change service providers while keeping the same ISBN attached to the same edition of the book.

Another benefit is professional branding. Authors who plan to publish multiple books often create a small publishing imprint under which their works are released. Owning the ISBNs allows that imprint name to appear in book industry listings, which can lend credibility and consistency across titles.

There is also a practical cataloging advantage. Because each format and edition requires its own ISBN, authors who plan to release multiple formats often find it economical to purchase ISBNs in blocks. This ensures every version of their work remains fully under their control.

In the end, the ISBN may look like a simple string of numbers, but it represents a book’s identity within the publishing world. While free or platform-provided ISBNs can be useful in certain circumstances, authors who want full ownership of their publishing footprint generally benefit from obtaining their own. A fresh ISBN registered to the author ensures that the book’s identity, distribution flexibility, and publishing record remain exactly where many writers prefer it to be: in their own hands.

March 7, 2026 0

Location, Location, Location!

In our second blog post, we discussed the benefits of starting your story plan with the time frame that it takes place in. Now that you’ve settled on the when of your story, it’s time to move on to where it takes place.

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The location of your setting is going to impact what types of characters to include, the contributing details of everything from the clothing that they wear to the food that they eat, and the dialect that they speak as well as the mundane details such as the name of the town and which street the burned-out drycleaner’s abandoned storefront sits on.

Side Note: What is a contributing detail?

If your story takes place in London, as our sample in the introduction did, you’re more likely to find characters sipping tea in a parlor or drinking room temperature beer and eating blood pudding in a pub than you would if your story is set in 1960’s New York, for example. Conversely, if your story takes place in 1980’s Texas, a large reunion on the family ranch is going to seem more relatable if the characters are chowing down on barbeque than it would if they were passing around a sushi platter. These are the types of things I refer to as contributing details. They aren’t the meat-and-potatoes of the storyline, but they do offer a layer of relatability that readers rely on for context.

Moving on…

Is your setting a real place or an imaginary one?

(For the purposes of this post, an imaginary town set in an existing city, state, or country is considered a real location.)

Many writers assume that it is less work to create an imaginary world than it is to spend the time researching real locations. There are times where it makes better sense to create a storyverse from scratch, as it were – such as The Lord of the Rings or The Harry Potter books – but for authors who are not writing in a science fiction or fantasy realm, the benefits of using a real setting can out-weigh the convenience of not having to research a location.

When you use a real place as a basis of your setting, you are able to weave historic and location details as well as social and civic information into your writing to lend an air of authenticity and realism. For example, in your story about a modern-day person escaping from a kidnapping ring in the south, you could have them following the trail of the underground railroad using a sightseeing map they found skittering along the ground as they snuck out of a window that their captors forgot to lock.

On the other hand, when you create your own storyverse from scratch, you have to create the entire backstory of the location(s) in the book as well or the story could end up leaving the reader with questions that you didn’t anticipate.

How many locations can one book have?

When you choose a location for your book, it can be as broad or as narrow as you wish as long as the story doesn’t move beyond the borders.

What does that mean, exactly?

It means that when you, the author, set up a specific location in your story, the majority of your action should take place in the location you have spent the most time preparing your reader for.

In our example, we used the dank, dimly-lit alleys of a high-crime section of London. Now, that doesn’t mean that most (or all) of our action has to take place behind Bow Street Number 4, but it does mean that the author has to choose – and be prepared to work through – a specific setting plan.

While not the only possibilities, the standard options are as follows:

The most common setting profile is that the story takes place primarily in the city of London. There may be short reaches outside of the city – to the surrounding countryside or even to neighboring countries – but the story will begin and end in the city of London.
This is usually the easiest plan to work with as it only requires the in-depth description (and the related research) of one location.
The flash-back method allows the author to use the initial description of Viago skulking in the dark, crime-ridden part of London and then relocate the story to a different part of the country or even to another continent entirely.

This is a less common approach and requires not only in-depth research on the introductory location and the actual story location, but will also need a reasonable explanation for the relationship between those locations.

For example: if the prologue to the story fades out on our rough-around-the edges private dick waiting to pounce on potential evil-doers in the early morning hours in London. Then the first chapter opens with a description of Viago in a suit and tie, sitting at the second desk as a criminal prosecutor in a Scottish courtroom. Your readers will struggle to connect with the story unless you provide a viable tie-in.

The third and least common method involves having multiple primary locations for your story. This is also the most difficult and time-consuming option.

To expand on our example above, imagine our story opened with Viago in the London alley, but this time, in addition to his thin t-shirt and cheap running shoes, he is also wearing a knit mask pulled down over his face and has a pair of rusty handcuffs stuffed into the pocket of his fake leather jacket as he glares at the rain-soaked news article in his hand. He grits his teeth as he reads the headline that screams “London petty thief escapes Scottish justice for the third time!”.

Suddenly our down-on-his-luck private investigator looks suspiciously like a masked vigilante and it would make more sense to turn to chapter one and find him in an abutting country (Scotland) working as a prosecutor who, frustrated with trying to punish the criminal element that crosses the border at will, spends some nights taking justice into his own hands.

You can see how this story plan will work, but it will also require twice the preparation, research, and, yes, twice the actual words making their way to paper, to be successful. (If I didn’t explain this clearly, please comment and I’ll be sure to respond.)

Choosing the location (or fine-tuning your created location)

To be sure that your location fits your storyline, consider the following questions:

Did this location exist when your story took place? Or can you tweak the storyline to make the history fit?
Could my events actually happen there?

I don’t mean the actual story; after all, that’s why we call it fiction. Consider the hard attributes of the location that you chose (weather, access to natural resources, etc.) and try to picture the storyline unfolding. If you can’t, its unlikely that your readers can.

For example: If your story is about a couple that meets on a mountain hike and forms an unlikely romance as they weather a blizzard together after their guide is eaten by a mountain lion, Hawaii might not be a good choice. Conversely, if your story takes place on a cruise ship that has been commandeered by terrorists and taken out to sea, it probably needs to begin in an area that has a sea port instead of, say, Iowa.

Does the actual history or your created backstory support the attitudes and behaviors of the characters in it? If your story is placed in an area that is known for xenophobic or racist attitudes, having a colorblind society would be great, but isn’t going to be realistic.

(Side note: This, of course, is something that can be addressed through your storyline.)

Do the details that are important to your story work here? Do (did) the real people in that area dress, speak, act, or <insert verb here> the way your characters do? This is a good place to consider the issues like sushi in Texas or blood pudding in New York.

Now that you have your when and your where, in our next post we’ll puzzle through who is there. Keep on writing!

February 8, 2018 0

All in Good Time (The when of story planning)

Welcome to week two in our 2018 Writing a Novel Blog Series!

Identifying the when that your story takes place in as the first step in your book’s outline allows other aspects of the story to fall into line more easily. Not only does it guide you toward the clothing, behaviors, and speech patterns that will allow your characters to blend into the story seamlessly, it will also save you time by directing you to specific areas of research.

Remember our sample from last week? Consider the section in bold print.

“Viago skulked in the dank, dimly lit alley behind the Bow Street Runners headquarters of London’s Bow Street Number 4, as it was known through the seedy underbelly of the city. He’d been crouched in the same spot for what seemed like hours, waiting for the flood of thieves and pickpockets that he knew would be coming. The air around him was wet. The mist that would become the morning dew already thick in the air. It clung to his wavy, shoulder-length hair and dripped down the back of his neck to saturate the thin t-shirt inside his cheap fake-leather coat, making him wish he’d thought to grab the thick woolen scarf he’d received for Christmas.

He bounced on the balls of his feet, his toes barely cushioned against the stone roadway by the worn rubber soles of his shoes, trying to increase his body temperature as he waited for his mark. He was still alone – of that he was certain – unless one considered the occasional clop-clop of the horse’s hooves as the delivery men made their early rounds through the city streets or the even less-common backfire from a horseless carriage.”

Creativity is a fantastic tool, and one of the joys of writing fiction is that the author is not restrained by rigid boundaries. That said, creative license can’t be used to alter real life facts unless the author is clearly creating a unique universe. Specifically to this point, automobiles did not exist in London at the same time as the Bow Street Runners. This may seem nit-picky and unimportant, but the smallest detail can ruin a book for a reader.

In Viago’s story, the author had chosen the time frame as eighteen-hundreds England. However, by not settling on a specific time frame before the author began writing, they allowed themselves a bit too much freedom to imagine, and it resulted in the research not being narrowed down far enough. Had they narrowed it down further to a specific year, or even decade, a google search would have allowed an excellent starting point.

If your story is centered in a real-life event – two athletes from warring nations falling in love while competing in the 2012 Summer Olympics, for example – identifying your when presents no challenge and you can move on. Ditto for authors who are creating their own universe. But if your story is set in a real time and place, you’ll want to decide on a century and then make a second list to help narrow it down.

When:

Length of time?

This might seem silly, but it can make a huge difference. Does your story take place in a single day? Over a long weekend? Through the course of a year? Or over the lifetime of one or more of the characters?

What decade, century, year is it? (Hint: you only need one answer!)

From one year to the next, there have always been changes in the clothing styles, the type of work that people undertook, and the leisure activities that they engaged in, but for stories set in modern times, you will actually do the longevity of your book a favor by not leaning too heavily on social details. For example:

“Brian shifted in his Batman sleeping bag. The lumpy cotton stuffing was doing even less to protect his forty-year-old back from the racks in the concrete sidewalk than it was to keep the twenty-degree weather at bay. Still, he reasoned with himself, once the store opened and he held his newly-released iPhone 6 in his hand, the discomfort would all be worth it.”

You see how the addition of the iPhone’s series (6) immediately points out the lag between when the story was published (or written) and when you read the passage? With one little change – the deletion of the detail – the story becomes timeless. After all, it’s not like iPhones are going away any time soon!

“Brian shifted in his Batman sleeping bag. The lumpy cotton stuffing was doing even less to protect his forty-year-old back from the racks in the concrete sidewalk than it was to keep the twenty-degree weather at bay. Still, he reasoned with himself, once the store opened and he held his newly-released-and-long-awaited iPhone in his hand, the discomfort would all be worth it.”

Once you move past the pesky social lives of the time, there are also legal, political, religious, and economic variances to consider. Throughout history, these have usually been spread more widely apart on a timeline than the social changes.

Depending on the country, political changes can be anticipated at somewhere between two and ten-year intervals, whether that is a 4-year presidential upset in the United States or a modern-era English Parliament election every five years. The more significant economic changes usually begin within a year of political transition, whether that is a new democratic leader or a death in a monarchy or dictatorship.

Legal changes can be harder to anticipate, but a good rule of thumb is to anticipate them within a year of significant political changes and within six months to two years of a major criminal event or social tragedy (think a terrorist attack or a plane crashing due to over-tired pilots).

Religious changes are the most widely spaced events on a social timeline. I am not aware of any generally accepted algorithm for anticipating them, but they tend to slowly evolve over decades or longer.

All of that matters for one reason. Once you have narrowed your when down to your specific time frame, you can pinpoint the significant events that took place before, during, and after it and use that information to bolster your setting, your character’s backgrounds, and your sub-plots.

When you fill in your when list, don’t limit yourself to the events of the country, hamlet, or town that you are anticipating your story taking place in. Your main character may be a Texas mail-order bride from Russia, but its always possible that the reason she allowed herself to be sold was that her husband was killed in the terrorist bombing in Moscow’s Metro in 2010, right?

When you prepare your when, you can do it in any format that you like, but my preference is to start with a simple outline:

When:

Duration:

Year:

Political:

Legal:

Economical:

Religious events:

This list can also come in handy when you’re working on character backstories, you might want to hold onto it until we reach our who post! Up next week, it’s all about location, location, location when we decide where the story takes place!

January 8, 2018 0

because your story deserves to be told.