The Manual

01 · At the desk

Begin a piece

Meet Morgan Vale, who has four thousand words about salt caravans and no idea what the essay is for. This manual follows that draft, Salt Roads, from a brief to a proof.

1. 01Keep the brief in sight
2. 02Read a note where it was written
3. 03Decide on a proposed edit

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Step 1 of 3

Keep the brief in sight

The drawer at the upper left holds the dossier Morgan filed for Salt Roads: reader, goal, tone, the lot. Open it when a sentence starts drifting and you want to remember who it was for. Write is the page you type on. Home, directly above it, holds type, heading and list controls. Close the drawer and the page takes the room back.

Illustrated with a sample draft and staged editorial feedback.

Read all the steps

1. Keep the brief in sight. The drawer at the upper left holds the dossier Morgan filed for Salt Roads: reader, goal, tone, the lot. Open it when a sentence starts drifting and you want to remember who it was for. Write is the page you type on. Home, directly above it, holds type, heading and list controls. Close the drawer and the page takes the room back.
2. Read a note where it was written. A coloured dot and a soft underline mean an editor has something to say about those exact words. Select either to open the note beside the passage, with the editor standing on it. Press the microphone to argue it out loud, the speaker to hear it read, or write back in the box underneath. Strike it from the ⋯ menu once you've dealt with it, or press the arrows to open the whole note on the board. The manuscript never moves while you read.
3. Decide on a proposed edit. Some marks carry a replacement, not just an opinion. Select the dot to see the change as one passage: Morgan's cut words struck through, the editor's new ones inked in, the reason underneath. The tick accepts and stamps it; the struck S keeps the original. Closing the card leaves the decision for later, which is a perfectly good decision.

1. Keep the brief in sight. The drawer at the upper left holds the dossier Morgan filed for Salt Roads: reader, goal, tone, the lot. Open it when a sentence starts drifting and you want to remember who it was for. Write is the page you type on. Home, directly above it, holds type, heading and list controls. Close the drawer and the page takes the room back.
2. Read a note where it was written. A coloured dot and a soft underline mean an editor has something to say about those exact words. Select either to open the note beside the passage, with the editor standing on it. Press the microphone to argue it out loud, the speaker to hear it read, or write back in the box underneath. Strike it from the ⋯ menu once you've dealt with it, or press the arrows to open the whole note on the board. The manuscript never moves while you read.
3. Decide on a proposed edit. Some marks carry a replacement, not just an opinion. Select the dot to see the change as one passage: Morgan's cut words struck through, the editor's new ones inked in, the reason underneath. The tick accepts and stamps it; the struck S keeps the original. Closing the card leaves the decision for later, which is a perfectly good decision.

Twyne is a writing desk with an editorial room attached. You write on the page. A small cast of editors reads in the margin, each with a different job, and nothing they say changes a word until you say so. Three habits make the room worth having:

1. Say what the piece is for. The dossier holds the reader, the goal and the shape of the piece. Editors with a brief give better notes than editors guessing.
2. Write first, read notes later. Your draft saves on this device as you type. The editors, the grade and the research read it on their own when you pause; there is nothing to press. The margin holds feedback beside the passage it belongs to, and waits until you look up.
3. Revise on your own terms. Follow a note to its passage, argue with it, ask a different editor, or check the galley proof. Every change is yours to make or refuse.

Go to the writing desk →

02 · At the desk

The dossier

Morgan's first draft of Salt Roads was beautiful and pointless. The dossier is where you admit what a piece is supposed to do, so the editors can tell you whether it does it.

1. 01Give it a working name
2. 02Say what should change in the reader
3. 03Attach material and say why it matters
4. 04Refile when the piece changes its mind

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Step 1 of 4

Give it a working name

Start with a title you can stand to say out loud. It does not have to be final. Next walks you through ten numbered sections, from Working Title and Form through Reader, Intent and Voice to Particulars, Prior Material and References; you can also pick any numeral directly. The working copy on the left fills in as you answer and grades each answer's strength, so you can see where the brief is still soft.

Read all the steps

1. Give it a working name. Start with a title you can stand to say out loud. It does not have to be final. Next walks you through ten numbered sections, from Working Title and Form through Reader, Intent and Voice to Particulars, Prior Material and References; you can also pick any numeral directly. The working copy on the left fills in as you answer and grades each answer's strength, so you can see where the brief is still soft.
2. Say what should change in the reader. Section IV, Intent, asks what the piece should accomplish. Answer with a change, not a topic: 'make the central argument feel inevitable' gives an editor something to test; 'about salt caravans' does not. The Goal box in the working copy updates as you type, and the strength note under it tells you if the answer is still vague. Reader, Voice, Non-Negotiables and Landing work the same way.
3. Attach material and say why it matters. Morgan's field notes from the harbour are the kind of thing the room should be able to read. Choose Document or Link, give it a title, and write one line about why it belongs. Add to dossier puts it in the working copy. Send to press files the whole brief, references included.
4. Refile when the piece changes its mind. Halfway through, Morgan realised the tone needed to be drier. Choose Refine dossier at the desk, open the section that changed, and rewrite it. Send to press files a new edition and the editors use it on their next pass. Back to desk leaves the current filed copy in place.

1. Give it a working name. Start with a title you can stand to say out loud. It does not have to be final. Next walks you through ten numbered sections, from Working Title and Form through Reader, Intent and Voice to Particulars, Prior Material and References; you can also pick any numeral directly. The working copy on the left fills in as you answer and grades each answer's strength, so you can see where the brief is still soft.
2. Say what should change in the reader. Section IV, Intent, asks what the piece should accomplish. Answer with a change, not a topic: 'make the central argument feel inevitable' gives an editor something to test; 'about salt caravans' does not. The Goal box in the working copy updates as you type, and the strength note under it tells you if the answer is still vague. Reader, Voice, Non-Negotiables and Landing work the same way.
3. Attach material and say why it matters. Morgan's field notes from the harbour are the kind of thing the room should be able to read. Choose Document or Link, give it a title, and write one line about why it belongs. Add to dossier puts it in the working copy. Send to press files the whole brief, references included.
4. Refile when the piece changes its mind. Halfway through, Morgan realised the tone needed to be drier. Choose Refine dossier at the desk, open the section that changed, and rewrite it. Send to press files a new edition and the editors use it on their next pass. Back to desk leaves the current filed copy in place.

Before the room opens, it asks a short series of questions. They feel like paperwork and they are the opposite: a dossier is the difference between an editor saying "this paragraph is weak" and an editor saying "this paragraph loses the reader you said you were writing for." Answer briefly and honestly. You can change any answer later.

Ten sections, and what each is really asking:

• Working title. A name the room can use. It does not have to be the final one.
• Form. Essay, memo, chapter, dispatch, proposal. The shape sets expectations about length and manners.
• Reader. One real person, not a demographic. "A friend who hates travel writing" beats "general readers."
• Intent. What should be different in the reader when they finish? This is the question Morgan could not answer, and the one that fixed the essay.
• Voice. How it should feel to read, not just how it should sound.
• Non-negotiables. Sources to keep, jargon to avoid, the anecdote that must survive every cut.
• Landing. How you will know the draft has done its job. "The reader can picture the journey" is a test an editor can apply.
• Particulars. A few follow-up questions drawn from your own answers, to sharpen the softest ones.
• Prior material and References. Earlier drafts, field notes, links: anything the room should read, with a line on why it matters.

The working copy grades each answer as you type, from vague to specific, and counts how many answers are carrying weight. A red mark is not a failure. It is the room telling you which question it would ask first.

03 · At the desk

The House & collections

Salt Roads is the second of five coastal essays. Morgan is not going to type the same reader into five dossiers.

1. 01Write the House defaults and a Charter
2. 02Give the series its own direction
3. 03See which layer won
4. 04Trace a change back to its filing

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Step 1 of 4

Write the House defaults and a Charter

Open House and select the House card in The cabinet. Fill Reader, Aim or Tone with what is true of everything you write here; each new piece inherits them unless it says otherwise. Add a Charter article for a standard you want enforced, and choose Must or Prefer to say how hard.

Read all the steps

1. Write the House defaults and a Charter. Open House and select the House card in The cabinet. Fill Reader, Aim or Tone with what is true of everything you write here; each new piece inherits them unless it says otherwise. Add a Charter article for a standard you want enforced, and choose Must or Prefer to say how hard.
2. Give the series its own direction. Select a collection, here Journeys & Returns, to set a tone or reader that only this series needs. Under Folios in this collection, check a folio to move it in. A folio belongs to one collection at a time, so moving Salt Roads here takes it out of wherever it was.
3. See which layer won. Select a folio and scroll to its context. Every field carries a source stamp saying where it came from; crossed-out values show what the folio overrode. What the models read is the merged brief and Charter exactly as the editors receive it, before any tool adds its own instructions. If something surprising is in there, this is where you find out.
4. Trace a change back to its filing. The register lists every change to intent and standards, with its old and new value and where it was filed. Filter by Dossiers, Collections or Charters when you want to know why the editors started asking about something new.

1. Write the House defaults and a Charter. Open House and select the House card in The cabinet. Fill Reader, Aim or Tone with what is true of everything you write here; each new piece inherits them unless it says otherwise. Add a Charter article for a standard you want enforced, and choose Must or Prefer to say how hard.
2. Give the series its own direction. Select a collection, here Journeys & Returns, to set a tone or reader that only this series needs. Under Folios in this collection, check a folio to move it in. A folio belongs to one collection at a time, so moving Salt Roads here takes it out of wherever it was.
3. See which layer won. Select a folio and scroll to its context. Every field carries a source stamp saying where it came from; crossed-out values show what the folio overrode. What the models read is the merged brief and Charter exactly as the editors receive it, before any tool adds its own instructions. If something surprising is in there, this is where you find out.
4. Trace a change back to its filing. The register lists every change to intent and standards, with its old and new value and where it was filed. Filter by Dossiers, Collections or Charters when you want to know why the editors started asking about something new.

The House is everything you would otherwise repeat: the reader you usually write for, the standards you always hold, the tone of the whole enterprise. A collection narrows that for a series. A folio is one manuscript with its own dossier. Context flows downward, and the most specific layer wins:

1. HouseYour reusable audience, purpose and standards.
2. CollectionShared context for a series of related pieces.
3. FolioOne manuscript, with its own dossier.

A filled-in folio field overrides its collection, which overrides the House. Leave a field blank and it inherits. Working titles belong to each folio alone. Charter articles are the exception: they accumulate, so a House rule applies to every piece even when a collection adds rules of its own.

Dossier

The brief that tells the room what a piece is for.

Charter

Standards you require or prefer, at House, collection or folio level. "Every claim grounded in a concrete scene" is a Charter article.

Edition

A saved version of the dossier, with its source and reason.

Amendment

A proposed change to the dossier, usually offered from the margin. It takes effect only when you file it.

Open the House to arrange collections, inspect what a folio inherited, and read the register of changes. "What the models read" is the assembled dossier and charter exactly as the editors receive it; each tool adds its own instructions and excerpts on top. The Engine room holds developer diagnostics and nothing a writer needs.

04 · At the desk

Writing in flow

Morgan writes in long runs and resents anything that interrupts one. The room is built to wait.

1. 01Choose what runs on its own
2. 02Follow a card back to its passage
3. 03Ask for silence yourself
4. 04Come back when you're ready

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Step 1 of 4

Choose what runs on its own

Open the editorial board and select Tools. Automatic focus watches your typing pace and hushes the room during a sustained run. Automatic review decides whether the editors read at all; turning it off pauses review and everything that depends on it. Margin tools and Cover lookups have their own switches, so you can keep one without the other.

Illustrated with a sample draft and staged editorial feedback.

Read all the steps

1. Choose what runs on its own. Open the editorial board and select Tools. Automatic focus watches your typing pace and hushes the room during a sustained run. Automatic review decides whether the editors read at all; turning it off pauses review and everything that depends on it. Margin tools and Cover lookups have their own switches, so you can keep one without the other.
2. Follow a card back to its passage. Cards wait in the margin beside the passage they belong to. Hover or keyboard-focus one and a bracket draws the connection on the page. Select it to open the conversation without the manuscript moving an inch.
3. Ask for silence yourself. When you can feel a paragraph coming, choose Zen in the status bar at the lower right of the manuscript. The drawer and board close and the marks fade from the page. View, above the page, keeps Outline, Shortcuts and Layout within reach. Nothing is deleted; the room is holding its notes until you come back.
4. Come back when you're ready. Choose Zen again to let the room back in. Escape leaves a focus the desk entered on its own. Either way the draft stays exactly where you left it, wide on the page with the proposal still marked.

1. Choose what runs on its own. Open the editorial board and select Tools. Automatic focus watches your typing pace and hushes the room during a sustained run. Automatic review decides whether the editors read at all; turning it off pauses review and everything that depends on it. Margin tools and Cover lookups have their own switches, so you can keep one without the other.
2. Follow a card back to its passage. Cards wait in the margin beside the passage they belong to. Hover or keyboard-focus one and a bracket draws the connection on the page. Select it to open the conversation without the manuscript moving an inch.
3. Ask for silence yourself. When you can feel a paragraph coming, choose Zen in the status bar at the lower right of the manuscript. The drawer and board close and the marks fade from the page. View, above the page, keeps Outline, Shortcuts and Layout within reach. Nothing is deleted; the room is holding its notes until you come back.
4. Come back when you're ready. Choose Zen again to let the room back in. Escape leaves a focus the desk entered on its own. Either way the draft stays exactly where you left it, wide on the page with the proposal still marked.

While you work, Twyne can bring comments, sources, books, records and echoes of your earlier writing into the margin, each beside the passage it concerns. Nothing pops up over the page. Hover or focus a marker to see what it connects to; select it to open the conversation in the same margin.

A quieter page

Automatic focus reads your typing cadence. When you have been writing steadily for a while, it quiets the room: new cards wait, controls recede, and the page is the only thing left. Pause, or reach for the room, and it comes back. You can also enter focus yourself with Zen in the manuscript status bar, and leave it with Esc.

Help when you need it

When a passage stalls, the margin may offer a single connection or a short way into the next sentence. These are offers, not corrections; ignore them and they go away. If what you are writing drifts from the dossier, the room may propose an amendment. It never rewrites the brief behind your back.

Why two passages are side by side

Halfway through Salt Roads, Morgan writes about the salt merchant's ledger, and a card appears: Earlier in this piece. Unpaid promise. The opening said the ledger would explain the road, and nothing has explained it yet. The card names the relationship (an unpaid promise, a tension, an echo, a repetition, or the same subject) and says in a sentence why it matters. It shows both passages; select either to go to it.

A relationship is a reading, not a fault. Some promises are meant to stay open. Choose That's the connection if the reading is right, or Not how I read it to set the card aside for good. A card matched only on shared words says so, rather than pretending to know more.

05 · At the desk

The piece

Some problems only show up across the whole draft: the voice that shifts, the name spelled two ways, the character who vanishes for a chapter.

1. 01Open The piece
2. 02Look at the evidence, then preview the fix
3. 03Change it, knowing you can change it back
4. 04Tell it when you meant it
5. 05Follow a person through the sections

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Step 1 of 5

Open The piece

In the Compositor, choose Review, then The piece; the small score beside the manuscript opens it too. It gathers shifts in stance, spelling variants, exceptions to your own style, and gaps between a name's appearances, each tied to the passages that caused it.

An actual local walkthrough with a fictional manuscript. These checks and fixes work without a model; the overall score shown is an estimate.

Read all the steps

1. Open The piece. In the Compositor, choose Review, then The piece; the small score beside the manuscript opens it too. It gathers shifts in stance, spelling variants, exceptions to your own style, and gaps between a name's appearances, each tied to the passages that caused it.
2. Look at the evidence, then preview the fix. Open Editorial 'we' in an 'I' essay. The flagged passages come first; the other plural and singular uses are folded underneath so you can see the pattern in full. Hover or keyboard-focus a proposed fix and the page shows it in place. The preview is only a preview; the draft hasn't changed.
3. Change it, knowing you can change it back. Choose Make it I for one passage, or Make all for the whole list. The manuscript and the consistency measure update together. Your usual Undo reverses it, and a batch is a single undo step. A 'we' that means an actual group of people is left alone.
4. Tell it when you meant it. Hollis and Hollins look like a typo and are in fact two people. Choose Hollis is a different name and the finding stands down. That choice stays with this folio on this device. Check these again brings the finding back; a new spelling that matches neither can still be flagged.
5. Follow a person through the sections. Open a presence finding to see which headed sections mention a recurring name. Select a passage to go there; the Presence lens marks the names on the page. A section where someone vanishes is a question about structure, not an instruction to add a cameo. Escape clears the focus; Escape again closes the desk.

1. Open The piece. In the Compositor, choose Review, then The piece; the small score beside the manuscript opens it too. It gathers shifts in stance, spelling variants, exceptions to your own style, and gaps between a name's appearances, each tied to the passages that caused it.
2. Look at the evidence, then preview the fix. Open Editorial 'we' in an 'I' essay. The flagged passages come first; the other plural and singular uses are folded underneath so you can see the pattern in full. Hover or keyboard-focus a proposed fix and the page shows it in place. The preview is only a preview; the draft hasn't changed.
3. Change it, knowing you can change it back. Choose Make it I for one passage, or Make all for the whole list. The manuscript and the consistency measure update together. Your usual Undo reverses it, and a batch is a single undo step. A 'we' that means an actual group of people is left alone.
4. Tell it when you meant it. Hollis and Hollins look like a typo and are in fact two people. Choose Hollis is a different name and the finding stands down. That choice stays with this folio on this device. Check these again brings the finding back; a new spelling that matches neither can still be flagged.
5. Follow a person through the sections. Open a presence finding to see which headed sections mention a recurring name. Select a passage to go there; the Presence lens marks the names on the page. A section where someone vanishes is a question about structure, not an instruction to add a cameo. Escape clears the focus; Escape again closes the desk.

Useful without a model

The piece runs on this device, with no model and no cost. It watches first-person stance, similar names, and the conventions your draft mostly follows: spelling, small numbers, quotation marks, dashes and list punctuation. It also maps where each recurring name appears across the headed sections. A finding is a pattern worth a look. Whether it is a problem is your call.

Choose Stance, Names, Style or Presence to see that lens on the page. Open a finding for its passages and the actions it offers. On a narrow screen the desk sits below the writing area, and Close gives the space back to the draft. Zen hides it while you write.

Know what the score means

The ≈ sign marks an estimate. Consistency can move as you revise, because local rules re-count; that movement is not a new editorial opinion. Score details separates the measures made by rule from those made by review. An overall estimate appears at about 150 words.

Confirm with a full read asks for a fresh editorial reading of the current draft. It needs automatic review switched on, at least 500 words, and a signed-in model service. The desk says so when a request cannot run. Edit again afterwards and the score becomes an estimate until the new draft has been read.

06 · At the desk

Writing instruments

A sentence that is almost right. A paragraph that sounds like one you wrote earlier. A scene with no sound in it. Each gets a tool that opens beside the words, not instead of them.

Select text in the manuscript and the tools that fit it appear. Compare a revision works on one sentence; Hear it read, Threads, Scene bench and Task desk sit under More. The Compositor also opens Task desk from Review. Close a tool, or press Escape, and the page is back.

Compare a revision

Put the cursor in a sentence, or select it, and choose Compare a revision. The original stays fixed at the top. Below it is a copy for you to change, and the sentence in its paragraph, showing the changes word by word. Switch to Revision or Original to read the paragraph either way. Fragments and more than one sentence are fine; nothing is generated for you, and grammar never blocks your own wording.

Use revision makes the change as one edit, so one Undo puts the original back, and returns you to the page. Bold, italics, links and notes outside the words you changed are kept. If a change would cut through a note or mix formatting, the bench says so and leaves the page alone; copy the revision and make that edit yourself. Keep original, or Escape, closes the bench without touching the manuscript. If the sentence or its paragraph changes while the bench is open, Use revision stops working and your revision stays there to copy.

Read the difference is optional, and only when you ask. It sends the original, your revision and the paragraph to your connected prose model once, and shows at most two changes in what a reader would understand, each quoting the words it is about. It does not rewrite, rank the versions or call a change safe. If it returns nothing, that is all it means; if you edit the revision, read it again. Selecting more than one sentence, or text that appears twice without a selection, is refused rather than guessed. Hear it in context reads the sentence before, your revision and the sentence after.

Follow a thread

Threads pairs exact sentences from the manuscript that may be talking to each other. Hover or keyboard-focus a pair to mark both passages; choose a sentence to go to it. Local checks find repeated wording, shared vocabulary and possible references. A relation stays unverified until the judgement service has read it; a model reading names its source and shows how sure it is.

For an exact repeat, you can remove either occurrence as one undoable edit. Repetition is sometimes the point, so leaving both is always an option. If the passage changes, reopen the instrument before trusting its earlier reading.

Follow an entity through the piece

In the instrument desk, choose Entities. Select a name candidate to see every mention across the sections and read the source passages. The index is local and literal: it can include places or ordinary capitalised words, and a candidate is not a confirmed character. Spelling variants are grouped by a local rule.

Choose a reading, then Read with judgement model to inspect relationships by section, compare a named attribute such as the colour of a coat, or try blind dialogue attribution. The blind reading hides speaker tags and is allowed to answer Unknown. Every result keeps its exact evidence and full distribution. A possible contradiction is a lead to chase, and a model's confidence is not a grade for your characterisation.

Read paragraphs; keep your choices

Open Paragraph readings in The piece to see each paragraph's scores and narrating tense. Local English cues and Jev readings are labelled separately so you know which is which. Inspect distributions and context shows the exact paragraph behind a reading, including a split or uncertain result. These readings stand apart from the whole-piece grade and its estimate.

Keeping a deliberate style or name exception saves the existing uses in the folio's Charter. New drift can still be flagged. Check these again removes the exception. A save notice tells you if the choice could only be kept on this device.

Invite an editor into the work

Compare a revision, each Threads pair and Scene bench offer Ask the room. Your judgement model, Jev when selected, reads the passage, your working proposal and the tool's question, then chooses the editor most likely to help. It may choose no one. You can also pick an editor yourself.

The chosen editor replies in Marginalia, with their portrait and name above the critique. The saved question keeps the original passage separate from any unapplied wording or scene idea, so the editor knows what is on the page and what is only proposed. The reply uses your writing model and your provider settings govern the charge. If the source changes before the request is filed, reopen the instrument. The manuscript stays yours.

1. 01Ask without leaving the bench
2. 02Carry on with a familiar face

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Step 1 of 2

Ask without leaving the bench

Compare a revision, each Threads pair and Scene bench carry an Ask the room button. Your judgement model reads the passage, the unapplied wording and the tool's question, then picks the editor most likely to help. It may pick nobody, which is an answer too. You can also name an editor yourself. The original passage and the proposal travel as separate context, so the editor knows which is which.

Actual app screenshots with a fictional manuscript and explicitly simulated model responses. They demonstrate the interaction and attribution, not live Jev selection or the quality of a generated critique. The first screenshot was taken with the earlier Sentence bench, before it became Compare a revision.

Read all the steps

1. Ask without leaving the bench. Compare a revision, each Threads pair and Scene bench carry an Ask the room button. Your judgement model reads the passage, the unapplied wording and the tool's question, then picks the editor most likely to help. It may pick nobody, which is an answer too. You can also name an editor yourself. The original passage and the proposal travel as separate context, so the editor knows which is which.
2. Carry on with a familiar face. The reply arrives in Marginalia with the editor's portrait, name and role above it. Passage and invitation details shows the saved source, the proposal and the record of how the editor was chosen. The selection score describes the model's confidence in its choice of editor; it says nothing about your writing. Nothing in the manuscript changes until you change it.

1. Ask without leaving the bench. Compare a revision, each Threads pair and Scene bench carry an Ask the room button. Your judgement model reads the passage, the unapplied wording and the tool's question, then picks the editor most likely to help. It may pick nobody, which is an answer too. You can also name an editor yourself. The original passage and the proposal travel as separate context, so the editor knows which is which.
2. Carry on with a familiar face. The reply arrives in Marginalia with the editor's portrait, name and role above it. Passage and invitation details shows the saved source, the proposal and the record of how the editor was chosen. The selection score describes the model's confidence in its choice of editor; it says nothing about your writing. Nothing in the manuscript changes until you change it.

Leave a question at the Task desk

Some questions need more than a margin note: "does the ford scene contradict the field notes?" Choose Writing review or Research selected account resources, confirm the reference passage, and describe what would help. For research, enable resource access in Account sources and choose up to three texts. The task reads those and only those; it does not search the open web.

Sign in with Not Organic and sync the folio before queueing. Once your account accepts the request, the work continues on the server after you close the tab, using your hosted model and account credit. Come back to this folio's Task desk for the status, the result, the saved passage and the source excerpts. If the draft has moved on, read the earlier context before acting on the answer.

You can cancel unfinished work. A request already with a provider may still finish and incur its charge, but its result is discarded. Mark a returned result Useful or Not useful and add a comment; the feedback is saved with the task. Results are proposals, never edits.

Keep a few tools on your device

From Task desk, choose On-device tools. Passage connections, Words in context and Say it are separate English-language packs, each with its download size shown. Download & load is an explicit choice, with Stop download and Remove pack beside it. Model files come from Hugging Face and the shared runtime from jsDelivr; keep the page open for the first load. Once installed, these tools use no account credit, and your passages and recordings never leave the device.

Passage connections compares nearby passages you choose. Its similarity score is an invitation to read closer; it does not prove a repetition or a missing transition. For Say it, install the speech pack, select a sentence, then record up to a minute or pick an audio clip. Review the transcript before using it as a candidate wording. Browsers can clear or evict storage, so a pack may one day need downloading again.

See what a scene gives you

Scene bench takes stock of a passage by sense: place, time, light, sound, movement and pressure, each backed by exact quotes from your selection. The local English scan names the cue it found. A cue it did not find may still be there in a form it does not recognise. An optional judgement reading can select evidence and assess pressure; its service and cost appear before you ask for it. Hear the passage uses your narration player.

1. 01See what's on the page
2. 02Park an idea next to the evidence

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Step 1 of 2

See what's on the page

Select a passage and open Scene bench. Place, time, light, sound, movement and pressure each quote the exact sentences that supply them, and Find in passage jumps to the quote on the page. A local cue is a word the scan recognised; no cue found means it found nothing, which is a prompt to look, not proof of absence. Here, sound is doing the least work.

The actual Scene bench component with a fictional passage. This example uses local English cues and a writer-added idea; no model reading or media generation is shown.

Read all the steps

1. See what's on the page. Select a passage and open Scene bench. Place, time, light, sound, movement and pressure each quote the exact sentences that supply them, and Find in passage jumps to the quote on the page. A local cue is a word the scan recognised; no cue found means it found nothing, which is a prompt to look, not proof of absence. Here, sound is doing the least work.
2. Park an idea next to the evidence. Under Try a detail, add the thing you want to try, a bell beyond the doorway, without putting it in the draft. Save this idea keeps it on this device, attached to this exact passage, with Remove idea beside it. Prepare sound brief, or an image or motion brief, copies the original passage and your labelled additions, kept separate, for use in another tool. Copy brief sends nothing anywhere. Generate picture is a separate, optional panel and stays off until you turn it on.

1. See what's on the page. Select a passage and open Scene bench. Place, time, light, sound, movement and pressure each quote the exact sentences that supply them, and Find in passage jumps to the quote on the page. A local cue is a word the scan recognised; no cue found means it found nothing, which is a prompt to look, not proof of absence. Here, sound is doing the least work.
2. Park an idea next to the evidence. Under Try a detail, add the thing you want to try, a bell beyond the doorway, without putting it in the draft. Save this idea keeps it on this device, attached to this exact passage, with Remove idea beside it. Prepare sound brief, or an image or motion brief, copies the original passage and your labelled additions, kept separate, for use in another tool. Copy brief sends nothing anywhere. Generate picture is a separate, optional panel and stays off until you turn it on.

07 · The editorial room

Your editors

Five resident voices, each reading for something different. No single editor is right about everything, which is rather the point of having five.

♠Mlle. Sceptique

The Devil's Advocate

She tests the premise your conclusion depends on. Bring her an argument that feels persuasive and ask where it could fail.

Try asking

What is my weakest assumption, and what is the strongest objection to it?

Unproven.
« Everyone knows » assumes the jury already agrees. It does not. Earn it.
Who, exactly, is everyone?

♥Sœur Encourageante

The Patron of Strengths

She finds the sentence, image, or turn worth protecting. Before a heavy revision, ask what gives this draft its life.

Try asking

Which passage should I preserve, and how can its strength guide the revision?

Look — she counted the stairs out loud. You already know how to do this — you did it here, without trying — and now you can do it again, on purpose, in the opening.
Trust that instinct.

♦Professeur Athenæum

The Scholar

He distinguishes an assertion from its evidence. Bring him a claim, a statistic, or a slippery term to find exactly what support is owed.

Try asking

Which claim needs a source, a definition, or a clearer limit?

N.B. — the example establishes (a) possibility, not (b) prevalence; cf. your own caveat two pages later.
Owed: a rate; its denominator; a date.

✦M. Le Stylo

The Copy Chief

He reads for the ear and reaches for the smallest effective cut. Ask him about a sentence that drags or a paragraph that repeats itself.

Try asking

Where does the rhythm stall, and what is the smallest cut that fixes it?

'in order to' → 'to'. Twice more below.
'very unique' → 'unique'.
Net: −4 words.

♣Le Lecteur

The Target Reader

He reads as the audience named in your dossier. Ask where his attention changes and what he expected to learn next.

Try asking

Where did you lose the thread, and would you keep reading?

Opening: I'm in. Second paragraph: still with you. Third: I've lost the thread, and I'm skimming for a name I recognise.
Turn the page? Not yet — tell me who this is about.

You will come to know them by their faces. The same portraits accompany each editor's critiques, margin replies and rubric readings, so a glance tells you whether it was the sceptic or the copy chief who objected. A custom editor without a portrait signs with their initials. From any writing instrument, Ask the room brings one of them into the question you are already working on.

They read without being asked

Morgan never convenes the room. Once a draft reaches 500 words, the editors read it on their own the first time Morgan pauses. After that they come back whenever about 200 words are new or rewritten and the page has been quiet for a minute. A rewrite counts as much as new material, so tightening the harbour section brings fresh notes. They read only the paragraphs that changed, along with a sketch of how the draft has been moving.

Those notes arrive marked in passing, lighter than the notes you ask for. There are at least five minutes between readings and a limit per session, because this spends model calls without a click. Get notes is still there when you want the whole room now. Read as I write, in the room settings, turns the automatic reading off.

Every quotation leads somewhere

When Professeur Athenæum quotes three lines of Salt Roads in one note, each quotation is underlined and goes to its own passage, not to the first one. Twyne matches the words literally. It ignores curly quotes, capitals and spacing, and follows a quotation with an ellipsis in it. If the same phrase appears twice, the words around the quotation in the note decide which one is meant.

A quotation that could be either, or that is no longer in the draft because Morgan has since rewritten it, gets a dotted underline instead of a link. Hover over it to see why. Twyne would rather leave a quotation unplaced than send you to the wrong sentence, and it checks again every time the draft changes.

Meant as written, or for later

The abrupt ending of the ferry scene is deliberate, and Mlle. Sceptique will not stop pointing it out. Choose intentional on her note. Choose later for a note you agree with but will deal with after this draft. Either way, that editor will not raise the same passage again until its words change. The settled note steps back on the page, and selecting the label again undoes the decision. Decisions are kept on this device.

Arrange your room

1. 01Set each editor's remit
2. 02Add the editor the piece is missing
3. 03Choose the model behind each job

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Step 1 of 3

Set each editor's remit

Open Room of Editors from the drawer, or Edit cast from the board's Cast tab. For each editor choose comments, sentence or paragraph: that is the largest unit they are allowed to rewrite. Morgan lets M. Le Stylo touch sentences and keeps Mlle. Sceptique to comments, because her job is the argument, not the wording. Select may propose to stop an editor offering edits at all. Edit revises an editor; the arrows change the order they read in.

Sample editor and model configuration. No model connection is shown.

Read all the steps

1. Set each editor's remit. Open Room of Editors from the drawer, or Edit cast from the board's Cast tab. For each editor choose comments, sentence or paragraph: that is the largest unit they are allowed to rewrite. Morgan lets M. Le Stylo touch sentences and keeps Mlle. Sceptique to comments, because her job is the argument, not the wording. Select may propose to stop an editor offering edits at all. Edit revises an editor; the arrows change the order they read in.
2. Add the editor the piece is missing. Salt Roads is full of routes and distances, and nobody in the room checks them. Select New editor and describe The Route Reader: a name, a role, how they talk and what they look for. Biography, editorial doctrine and voiceprint make the perspective concrete enough to hold. Upload portrait gives them a face, or leave No portrait and they sign with initials. Add sample notes so you can hear them, pick a colour for their marks, and Create. Cancel leaves the cast as it was.
3. Choose the model behind each job. In Preferences, enable advanced configuration and configure a provider; Per-Feature Models appears. Expand Read My Draft, which is what the room uses for its notes, and choose a provider and model. Temperature and Max tokens tune that one feature. Reply Thread, rewrites and full analysis each have their own row, so a cheaper model can answer replies while a careful one reads the whole draft. Reset to defaults removes an override.

1. Set each editor's remit. Open Room of Editors from the drawer, or Edit cast from the board's Cast tab. For each editor choose comments, sentence or paragraph: that is the largest unit they are allowed to rewrite. Morgan lets M. Le Stylo touch sentences and keeps Mlle. Sceptique to comments, because her job is the argument, not the wording. Select may propose to stop an editor offering edits at all. Edit revises an editor; the arrows change the order they read in.
2. Add the editor the piece is missing. Salt Roads is full of routes and distances, and nobody in the room checks them. Select New editor and describe The Route Reader: a name, a role, how they talk and what they look for. Biography, editorial doctrine and voiceprint make the perspective concrete enough to hold. Upload portrait gives them a face, or leave No portrait and they sign with initials. Add sample notes so you can hear them, pick a colour for their marks, and Create. Cancel leaves the cast as it was.
3. Choose the model behind each job. In Preferences, enable advanced configuration and configure a provider; Per-Feature Models appears. Expand Read My Draft, which is what the room uses for its notes, and choose a provider and model. Temperature and Max tokens tune that one feature. Reply Thread, rewrites and full analysis each have their own row, so a cheaper model can answer replies while a careful one reads the whole draft. Reset to defaults removes an override.

Changing the model

Each editor is only as good as the model reading for them. A careful, precise model makes Mlle. Sceptique sharper. A warmer one makes Sœur Encourageante more generous. In Preferences you can assign different models to different jobs, and the room adapts.

08 · The editorial room

The galley proof

Salt Roads got a B. That is not information. The reasons under the grade are.

1. 01Open the weakest criterion first
2. 02Grade what you actually care about
3. 03Hear the editors disagree
4. 04Check the arithmetic

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Step 1 of 4

Open the weakest criterion first

Open the editorial board, choose Rubric, then Criteria. The grade and the weakest criterion sit above the marks. Select a criterion, here Evidence, and it unfolds into an explanation and a Try this next move. That sentence is the real product; the letter is just a summary of it. Grade again asks for a fresh reading of the saved draft.

Illustrated with a sample draft and staged editorial feedback.

Read all the steps

1. Open the weakest criterion first. Open the editorial board, choose Rubric, then Criteria. The grade and the weakest criterion sit above the marks. Select a criterion, here Evidence, and it unfolds into an explanation and a Try this next move. That sentence is the real product; the letter is just a summary of it. Grade again asks for a fresh reading of the saved draft.
2. Grade what you actually care about. Below the criteria, open Change what's graded. Untick anything that doesn't matter for this piece and use the weight controls to say what matters most. Morgan adds Sense of place, with a sentence describing it, and selects Add. Suggest asks the editors for criteria you might not have thought of. Changing weights re-scores immediately; a new criterion needs a fresh reading.
3. Hear the editors disagree. Choose Editors for each editor's own rationale, with their portrait and role above it. When M. Le Stylo and Professeur Athenæum score the same passage differently, the gap between them is usually where the revision is. Criteria returns to the marks; Passages opens the saved-draft review. After a quick check the editors read the new version on their own, at most once every ten minutes; until they finish, the tab says soon. Ask them now reads it straight away.
4. Check the arithmetic. Choose Full report and find What the rubric counted. Length, structure, pacing, evidence, vocabulary and paragraph shape are measured on this device, with word, paragraph, sentence and citation counts beside them. They cost nothing and they never lie, but they also cannot tell whether a claim is true. Use them to sanity-check a reading, not to replace one.

1. Open the weakest criterion first. Open the editorial board, choose Rubric, then Criteria. The grade and the weakest criterion sit above the marks. Select a criterion, here Evidence, and it unfolds into an explanation and a Try this next move. That sentence is the real product; the letter is just a summary of it. Grade again asks for a fresh reading of the saved draft.
2. Grade what you actually care about. Below the criteria, open Change what's graded. Untick anything that doesn't matter for this piece and use the weight controls to say what matters most. Morgan adds Sense of place, with a sentence describing it, and selects Add. Suggest asks the editors for criteria you might not have thought of. Changing weights re-scores immediately; a new criterion needs a fresh reading.
3. Hear the editors disagree. Choose Editors for each editor's own rationale, with their portrait and role above it. When M. Le Stylo and Professeur Athenæum score the same passage differently, the gap between them is usually where the revision is. Criteria returns to the marks; Passages opens the saved-draft review. After a quick check the editors read the new version on their own, at most once every ten minutes; until they finish, the tab says soon. Ask them now reads it straight away.
4. Check the arithmetic. Choose Full report and find What the rubric counted. Length, structure, pacing, evidence, vocabulary and paragraph shape are measured on this device, with word, paragraph, sentence and citation counts beside them. They cost nothing and they never lie, but they also cannot tell whether a claim is true. Use them to sanity-check a reading, not to replace one.

The static features are the part of the proof that never guesses: sentence length distribution, type-token ratio, citation density, paragraph shape. They are computed on this device, cost nothing and call nothing. They give you a cold, honest picture of the draft's mechanics, and nothing at all about whether it is any good.

Quick check

When the signed-in service is available, the default check makes one typed judgement request against your enabled criteria, custom ones included. You get a grade without separate verdicts from the five editors. If the quick check is unavailable, Twyne falls back to the room reading.

The editors' reading

The grade arrives on its own. Once the draft has 500 words and you pause, Twyne runs the quick check. The editors then read the new version themselves, at most once every ten minutes, and the grade stays on screen while they work. Until they finish, the Editors tab says soon rather than showing a zero. Choose Ask them now there if you would rather not wait. When the quick check refreshes after an edit, the editors' notes stay, marked as being about an earlier version until they read the new one. Each editor gives a score and a rationale, and the places where they disagree are usually where the revision is. This path combines editorial verdicts with the static features. Its Target Fit check caps the shape scores when a piece misses the audience or purpose in its dossier, because a beautifully built essay for the wrong reader is still the wrong essay.

What the letters mean:

• A range. Publishable or nearly so. Polish.
• B range. A solid draft with clear, fixable problems. This is where Salt Roads sits.
• C range. Doing the work, but a real pass is still needed.
• D to F range. The important next pass is still ahead.

09 · The editorial room

Margin conversations

Every argument about a passage happens next to the passage. Your notes, the editors' notes, and the replies between them.

1. 01Open the note at its anchor
2. 02Keep the thread in one place
3. 03Bring in the right editor
4. 04Resolve it, and reopen it if you were wrong

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Step 1 of 4

Open the note at its anchor

Select the coloured mark beside a passage to open its note. The quoted phrase at the top is the anchor; the thread belongs to it. To start a note of your own, select a passage, choose Comment, write it, then Place note. In a note you started, the reply field is already yours.

Illustrated with a sample draft and staged editorial feedback.

Read all the steps

1. Open the note at its anchor. Select the coloured mark beside a passage to open its note. The quoted phrase at the top is the anchor; the thread belongs to it. To start a note of your own, select a passage, choose Comment, write it, then Place note. In a note you started, the reply field is already yours.
2. Keep the thread in one place. Select Reply. The message lands beneath the original note and the field clears for the next turn. Everything about this passage stays here, with the passage. The board's Marginalia tab lists the same pending notes if you'd rather work through them as a queue.
3. Bring in the right editor. A question about whether an image is earned is a question for Professeur Athenæum. In the board's Marginalia tab, find the note and choose Ask an editor, pick the editor, then Send to editor. Their reply arrives in the same thread. Cancel closes the picker. The scholar shown here is an example; no request was sent for this illustration.
4. Resolve it, and reopen it if you were wrong. Select Resolve when the question is settled. The status turns green and the thread stays readable. Reopen puts it back in the pending work with the whole conversation intact. Erase is the only control that actually throws the note away.

1. Open the note at its anchor. Select the coloured mark beside a passage to open its note. The quoted phrase at the top is the anchor; the thread belongs to it. To start a note of your own, select a passage, choose Comment, write it, then Place note. In a note you started, the reply field is already yours.
2. Keep the thread in one place. Select Reply. The message lands beneath the original note and the field clears for the next turn. Everything about this passage stays here, with the passage. The board's Marginalia tab lists the same pending notes if you'd rather work through them as a queue.
3. Bring in the right editor. A question about whether an image is earned is a question for Professeur Athenæum. In the board's Marginalia tab, find the note and choose Ask an editor, pick the editor, then Send to editor. Their reply arrives in the same thread. Cancel closes the picker. The scholar shown here is an example; no request was sent for this illustration.
4. Resolve it, and reopen it if you were wrong. Select Resolve when the question is settled. The status turns green and the thread stays readable. Reopen puts it back in the pending work with the whole conversation intact. Erase is the only control that actually throws the note away.

Select any passage and choose Comment to leave a note in the margin. Notes belong to the folio and travel with it. Each one can hold replies, and Ask an editor invites a particular voice into the thread when you want a second opinion on your own doubt.

Select a passage marker to unfold its thread beside the manuscript. Reply, ask an editor or resolve it there. One conversation is in the foreground at a time; on a narrow screen its card stays anchored to the passage. Press Esc to close it. A reply you have not sent survives switching threads during the visit, but not a reload, so send it or lose it.

10 · The editorial room

Research & citations

The 1911 survey, the tide table, the book Morgan keeps paraphrasing. The Apparatus notices them and keeps them in order.

1. 01Let it find what's already in the text
2. 02Build the bibliography beside the draft
3. 03Switch styles and copy the list

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Step 1 of 3

Let it find what's already in the text

Open The Apparatus from the drawer. Detected in the manuscript lists the URLs and author-year citations it has spotted in your draft. Use look up to see what a reference points at, and Add to bib to keep it. Detection recognises the shape of a citation, not its truth, so check the source before you depend on it.

Illustrated with a sample draft and saved sample references. Detection and citation formatting run locally.

Read all the steps

1. Let it find what's already in the text. Open The Apparatus from the drawer. Detected in the manuscript lists the URLs and author-year citations it has spotted in your draft. Use look up to see what a reference points at, and Add to bib to keep it. Detection recognises the shape of a citation, not its truth, so check the source before you depend on it.
2. Build the bibliography beside the draft. Your bibliography holds the sources saved for this folio. A cited in draft marker shows which saved link the manuscript actually uses. Choose APA and every entry reformats. Drop removes a source from the list without touching the manuscript.
3. Switch styles and copy the list. The magazine wants Chicago. Select it above Your bibliography and the entries change in place while the detected list stays put. Copy all puts the formatted bibliography on the clipboard. Read the entries once before they go into a finished piece; a formatter can only format what it was given.

1. Let it find what's already in the text. Open The Apparatus from the drawer. Detected in the manuscript lists the URLs and author-year citations it has spotted in your draft. Use look up to see what a reference points at, and Add to bib to keep it. Detection recognises the shape of a citation, not its truth, so check the source before you depend on it.
2. Build the bibliography beside the draft. Your bibliography holds the sources saved for this folio. A cited in draft marker shows which saved link the manuscript actually uses. Choose APA and every entry reformats. Drop removes a source from the list without touching the manuscript.
3. Switch styles and copy the list. The magazine wants Chicago. Select it above Your bibliography and the entries change in place while the detected list stays put. Copy all puts the formatted bibliography on the clipboard. Read the entries once before they go into a finished piece; a formatter can only format what it was given.

The Apparatus does three things: finds sources, keeps them, and cites them. As you write it recognises DOIs, URLs, ISBNs and author-year references in the text. You can also search by query; the panel returns a shortlist with title, author, publisher and a snippet. Save what matters to the bibliography and ignore the rest.

The bibliography is formatted in the style you choose, MLA, APA or Chicago, and switches instantly when an editor changes their mind. Copy the whole list to the clipboard in one go.

Research that runs itself

Morgan does not ask for sources. A short while after Morgan stops typing, the Apparatus reads the draft and picks out what a careful reader would want backed up: the figure about the salt trade, the line quoted from the 1911 survey, the year the harbour closed. It searches for each one and files what it finds under the claim that prompted it. With your own model configured, that model picks the claims. Signed in without one, Twyne finds them in the text and Jev confirms which really need a source. In fiction, invented events are left alone.

The panel always says what it is doing: reading the draft, searching, or why it is idle. It might be waiting for a pause, the draft might be too short, there might be no claims that need a source, or every claim may already be covered. Each claim in Deep trace explains its result. Found means sources are on file, so check that they support your wording. No match means the search ran and found nothing, so the claim may need softer wording or a source of your own. Failed means the search broke, which is not the same as finding nothing. Twyne tries a failed search again on its own after thirty seconds, two minutes and ten minutes; retry is there if you want it sooner. Go to the claim shows the sentence in the manuscript.

11 · The editorial room

Your account & Live

A name for the editors to address you by, and a way to talk to one out loud when typing is too slow.

1. 01Find your account menu
2. 02Choose the face readers will see
3. 03Hear the draft read back
4. 04Check the voice desk before you talk

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Step 1 of 4

Find your account menu

Select your name and picture in the masthead. Preferences holds your settings, My Desk your activity, and Privacy ledger an honest account of where your writing goes. The menu shows a display name only; your email never appears here.

Account and credit states use a sample profile. Narration and Live are shown before starting a session.

Read all the steps

1. Find your account menu. Select your name and picture in the masthead. Preferences holds your settings, My Desk your activity, and Privacy ledger an honest account of where your writing goes. The menu shows a display name only; your email never appears here.
2. Choose the face readers will see. In Preferences, claim a writer handle and the optional public profile unlocks. Upload a picture up to 5 MB or choose one of the portraits, write a display name and a bio, then Save profile. View your public profile shows the page exactly as a reader gets it.
3. Hear the draft read back. Morgan catches clumsy rhythm by ear. In Write, open Review and select ♪ read. It reads the selection, or the whole draft when nothing is selected. The same ribbon holds Version history, The piece, Task desk, Find and Grammar. Once a reading starts, the narration player takes over pause, seek, voice and stop.
4. Check the voice desk before you talk. Select Talk to open the voice desk and choose an editor from the portraits; Le Lecteur is a good first listener because he reads as your audience. The desk shows your wallet balance and a See plans link. Start talking stays disabled until there is credit to spend, which is why it is grey here. Minimize keeps the desk nearby; × closes it. During a conversation, any edit the editor proposes waits for Apply edit or Discard.

1. Find your account menu. Select your name and picture in the masthead. Preferences holds your settings, My Desk your activity, and Privacy ledger an honest account of where your writing goes. The menu shows a display name only; your email never appears here.
2. Choose the face readers will see. In Preferences, claim a writer handle and the optional public profile unlocks. Upload a picture up to 5 MB or choose one of the portraits, write a display name and a bio, then Save profile. View your public profile shows the page exactly as a reader gets it.
3. Hear the draft read back. Morgan catches clumsy rhythm by ear. In Write, open Review and select ♪ read. It reads the selection, or the whole draft when nothing is selected. The same ribbon holds Version history, The piece, Task desk, Find and Grammar. Once a reading starts, the narration player takes over pause, seek, voice and stop.
4. Check the voice desk before you talk. Select Talk to open the voice desk and choose an editor from the portraits; Le Lecteur is a good first listener because he reads as your audience. The desk shows your wallet balance and a See plans link. Start talking stays disabled until there is credit to spend, which is why it is grey here. Minimize keeps the desk nearby; × closes it. During a conversation, any edit the editor proposes waits for Apply edit or Discard.

Sign in with Not Organic to carry your account, hosted credits and plan across devices. Your name and picture identify you in the room; your email stays in private account settings and appears nowhere else. You can keep writing locally without ever signing in.

Talk opens a voice conversation with an editor, from the compositor, from one of their comments, or from the narration player. Live shows captions, lets you mute the microphone, and can find passages or propose edits as you speak. A proposed edit waits for your approval before it touches the manuscript. Switching folios ends the conversation. Captions and microphone audio are not saved.

Live needs a Pro plan or available Twyne welcome credit. A conversation reserves up to $0.50; delegated language requests cap at $0.05 each on top. The voice desk shows these limits before you start, which is why it is worth reading.

12 · Your work

Manuscript & source tools

Headings, tables, a footnote, a pull quote set just so. The page is a real page, and when it is not enough there is the source underneath it.

Move through the manuscript

1. 01Insert a heading from the keyboard
2. 02Move a whole section
3. 03Find the tic and decide the replacement

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Step 1 of 3

Insert a heading from the keyboard

Put the cursor in an empty paragraph and type /. The insert menu opens; keep typing to filter it, so /heading shows the three levels. Choose Heading 2 for a section inside the piece and type its title. H₁, H₂ and H₃ on the Home toolbar do the same thing. Real headings matter: the outline, the proof and the exports all follow them.

Read all the steps

1. Insert a heading from the keyboard. Put the cursor in an empty paragraph and type /. The insert menu opens; keep typing to filter it, so /heading shows the three levels. Choose Heading 2 for a section inside the piece and type its title. H₁, H₂ and H₃ on the Home toolbar do the same thing. Real headings matter: the outline, the proof and the exports all follow them.
2. Move a whole section. Open View, then Outline, and select a heading to jump there. To reorder, close the outline and drag the six-dot handle beside a heading onto another heading; drop above or below to choose where it lands. The section travels with everything under it, as one undoable move. Here The ford has moved ahead of The departure, which is where it always belonged.
3. Find the tic and decide the replacement. Open Review, then Find. Enter the word and write a replacement beneath it. The counter shows which match you're on and how many there are; arrows, Enter and Shift+Enter walk through them. Whole word stops 'harbour' matching 'harbours'; Match case and Regular expression are there when you need them. Replace changes this match, Replace all changes every one. Morgan is swapping two 'harbour's for 'port' and leaving the rest.

1. Insert a heading from the keyboard. Put the cursor in an empty paragraph and type /. The insert menu opens; keep typing to filter it, so /heading shows the three levels. Choose Heading 2 for a section inside the piece and type its title. H₁, H₂ and H₃ on the Home toolbar do the same thing. Real headings matter: the outline, the proof and the exports all follow them.
2. Move a whole section. Open View, then Outline, and select a heading to jump there. To reorder, close the outline and drag the six-dot handle beside a heading onto another heading; drop above or below to choose where it lands. The section travels with everything under it, as one undoable move. Here The ford has moved ahead of The departure, which is where it always belonged.
3. Find the tic and decide the replacement. Open Review, then Find. Enter the word and write a replacement beneath it. The counter shows which match you're on and how many there are; arrows, Enter and Shift+Enter walk through them. Whole word stops 'harbour' matching 'harbours'; Match case and Regular expression are there when you need them. Replace changes this match, Replace all changes every one. Morgan is swapping two 'harbour's for 'port' and leaving the rest.

Type / at the start of a block to open the insert menu. The outline jumps between headings, and dragging a heading's section handle moves that section with everything under it in one undoable edit. Find and Replace understands whole words, case and regular expressions.

Tables and images

1. 01Draw the table size
2. 02Shape it after it exists
3. 03Describe the picture, then size it

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Step 1 of 3

Draw the table size

Put the cursor where the table goes, then open Insert, then Table. Move across the grid to preview rows and columns and select the last square to insert that shape. With the keyboard, focus the grid, resize with the arrows and press Enter. The pick shown makes a 3 × 3 table with a header row. Select a cell to type; Tab moves to the next.

Read all the steps

1. Draw the table size. Put the cursor where the table goes, then open Insert, then Table. Move across the grid to preview rows and columns and select the last square to insert that shape. With the keyboard, focus the grid, resize with the arrows and press Enter. The pick shown makes a 3 × 3 table with a header row. Select a cell to type; Tab moves to the next.
2. Shape it after it exists. Select inside the table and Table tools appears. Rows and Columns add above, below, left or right, delete, and toggle headers; Cells merges and splits when the selection allows. Hover any icon for its name. Set Width, alignment and Style, then type a Caption and leave the field to keep it. The lower controls handle shading, alignment and borders for the selected cells. Banded rows and a Journey stages caption are enough for this one.
3. Describe the picture, then size it. Insert, then Image, takes a file or a URL. Select the inserted image and its inspector opens. Alt text is for the reader who can't see it: say what the picture shows, not that it's a picture. Caption is the visible line underneath. Choose Left, Centre or Right, then a width of 25, 50, 75 or 100 percent, or drag the slider for something in between. Everything applies to the selected image only.

1. Draw the table size. Put the cursor where the table goes, then open Insert, then Table. Move across the grid to preview rows and columns and select the last square to insert that shape. With the keyboard, focus the grid, resize with the arrows and press Enter. The pick shown makes a 3 × 3 table with a header row. Select a cell to type; Tab moves to the next.
2. Shape it after it exists. Select inside the table and Table tools appears. Rows and Columns add above, below, left or right, delete, and toggle headers; Cells merges and splits when the selection allows. Hover any icon for its name. Set Width, alignment and Style, then type a Caption and leave the field to keep it. The lower controls handle shading, alignment and borders for the selected cells. Banded rows and a Journey stages caption are enough for this one.
3. Describe the picture, then size it. Insert, then Image, takes a file or a URL. Select the inserted image and its inspector opens. Alt text is for the reader who can't see it: say what the picture shows, not that it's a picture. Caption is the visible line underneath. Choose Left, Centre or Right, then a width of 25, 50, 75 or 100 percent, or drag the slider for something in between. Everything applies to the selected image only.

Tables come with a size picker, captions, row and column tools, cell shading, alignment, borders and reusable visual presets. Images can be dropped, pasted or chosen from disk; select one to set its alt text, caption, alignment, width and see its upload status. Online images are stored with the folio. Deliberately offline work keeps an inline copy instead.

Source and proof

1. 01Edit the source, safely
2. 02Pick up where you stopped
3. 03Apply it and read the proof

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Step 1 of 3

Edit the source, safely

Select Source to see the native Typst behind the manuscript: = headings, *bold*, _italic_, - lists and #footnote[…], the way anyone who knows Typst would write it. The ribbon offers formatting, lists, footnotes, figures, packages, comments, line wrapping, navigation and Save .typ. Type # for a list of Typst functions. Everything you change here stays in a source draft on this device until you select Apply source. Discard throws the draft away and returns to the applied manuscript.

Read all the steps

1. Edit the source, safely. Select Source to see the native Typst behind the manuscript: = headings, *bold*, _italic_, - lists and #footnote[…], the way anyone who knows Typst would write it. The ribbon offers formatting, lists, footnotes, figures, packages, comments, line wrapping, navigation and Save .typ. Type # for a list of Typst functions. Everything you change here stays in a source draft on this device until you select Apply source. Discard throws the draft away and returns to the applied manuscript.
2. Pick up where you stopped. An unfinished source draft survives a reload on the same device. Find opens Find and Replace; Go to line jumps straight to a line number. If compilation reports an error, Source underlines the exact spot and marks its line; the draft stays editable until you fix it, and nothing broken gets applied. To use a Typst Universe package, select Package (or type #import @preview/) and pick one from the list. Twyne downloads it the first time and keeps it for offline use.
3. Apply it and read the proof. When the source compiles, Apply source makes it the manuscript. Proof typesets the pages when you open it; −, + and Fit change the view, and Preview PDF exports it. Go back to Source to adjust. The status line says the save is on this device; it does not promise the change has reached your account.

1. Edit the source, safely. Select Source to see the native Typst behind the manuscript: = headings, *bold*, _italic_, - lists and #footnote[…], the way anyone who knows Typst would write it. The ribbon offers formatting, lists, footnotes, figures, packages, comments, line wrapping, navigation and Save .typ. Type # for a list of Typst functions. Everything you change here stays in a source draft on this device until you select Apply source. Discard throws the draft away and returns to the applied manuscript.
2. Pick up where you stopped. An unfinished source draft survives a reload on the same device. Find opens Find and Replace; Go to line jumps straight to a line number. If compilation reports an error, Source underlines the exact spot and marks its line; the draft stays editable until you fix it, and nothing broken gets applied. To use a Typst Universe package, select Package (or type #import @preview/) and pick one from the list. Twyne downloads it the first time and keeps it for offline use.
3. Apply it and read the proof. When the source compiles, Apply source makes it the manuscript. Proof typesets the pages when you open it; −, + and Fit change the view, and Preview PDF exports it. Go back to Source to adjust. The status line says the save is on this device; it does not promise the change has reached your account.

The Typst workspace lets you edit the source directly and read a paginated proof. A source draft recovers on this device after a reload. Apply a valid draft to update the folio; if another device has changed the base in the meantime, resolve that conflict first. An invalid draft is never applied and stays there for you to fix.

Shape the page

1. 01Choose paper and a writing width
2. 02Dress the opening
3. 03Set margins and running heads

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Step 1 of 3

Choose paper and a writing width

Open View, then Layout. Piece type comes first: Essay here, and the choice sets the styles the proof uses. Then pick Letter, A4 or Legal, and Portrait or Landscape. Match paper sizes the text block to the sheet; Custom column gives narrow, normal and wide measures instead. One, two or three columns, with a gap control once you have more than one. The example is A4, Portrait, Match paper, one column. The margin sliders lower down set the space around the text.

This walkthrough uses the Layout controls to set running heads. Editable header and footer bands are not shown in the current writing canvas.

Read all the steps

1. Choose paper and a writing width. Open View, then Layout. Piece type comes first: Essay here, and the choice sets the styles the proof uses. Then pick Letter, A4 or Legal, and Portrait or Landscape. Match paper sizes the text block to the sheet; Custom column gives narrow, normal and wide measures instead. One, two or three columns, with a gap control once you have more than one. The example is A4, Portrait, Match paper, one column. The margin sliders lower down set the space around the text.
2. Dress the opening. Under Opening initial, choose Off, Plain or Illustrated. Illustrated offers the Original and Alternate botanical collections; both Plain and Illustrated come in small, medium and large. Page border offers None, Plain, Botanical, Engraved or Illuminated. The example takes a small Illustrated initial from the Original collection and a Botanical border. Close the panel and look at the whole page before you decide; ornament is easy to overdo.
3. Set margins and running heads. Scroll down in Layout for Left, Right, Top and Bottom margins; Margin guides draws the text boundary on the page. Under Running heads, switch on Show running header and Page numbers as you need them, then type the Header line and Footer line. These become the folio's running text. Here they read Salt Roads · Field notes and Working manuscript. Save as PDF… at the foot of the panel is the quickest way to see them in place, since the writing canvas doesn't show editable header bands.

1. Choose paper and a writing width. Open View, then Layout. Piece type comes first: Essay here, and the choice sets the styles the proof uses. Then pick Letter, A4 or Legal, and Portrait or Landscape. Match paper sizes the text block to the sheet; Custom column gives narrow, normal and wide measures instead. One, two or three columns, with a gap control once you have more than one. The example is A4, Portrait, Match paper, one column. The margin sliders lower down set the space around the text.
2. Dress the opening. Under Opening initial, choose Off, Plain or Illustrated. Illustrated offers the Original and Alternate botanical collections; both Plain and Illustrated come in small, medium and large. Page border offers None, Plain, Botanical, Engraved or Illuminated. The example takes a small Illustrated initial from the Original collection and a Botanical border. Close the panel and look at the whole page before you decide; ornament is easy to overdo.
3. Set margins and running heads. Scroll down in Layout for Left, Right, Top and Bottom margins; Margin guides draws the text boundary on the page. Under Running heads, switch on Show running header and Page numbers as you need them, then type the Header line and Footer line. These become the folio's running text. Here they read Salt Roads · Field notes and Working manuscript. Save as PDF… at the foot of the panel is the quickest way to see them in place, since the writing canvas doesn't show editable header bands.

Notes and equations

1. 01Add a footnote and come back to it
2. 02Set an equation inline or on its own line
3. 03Draw the route as a diagram

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Step 1 of 3

Add a footnote and come back to it

Put the cursor after the passage and choose Insert, then Footnote or Endnote. Write the note in the dialog and confirm. To revisit it, activate the reference on the page, or focus it and press Enter. Note text edits the note; Kind converts a footnote to an endnote or back. Previous and Next step through the notes, Reference jumps to the passage, Delete removes it. Footnotes and endnotes collect separately beneath the manuscript.

Read all the steps

1. Add a footnote and come back to it. Put the cursor after the passage and choose Insert, then Footnote or Endnote. Write the note in the dialog and confirm. To revisit it, activate the reference on the page, or focus it and press Enter. Note text edits the note; Kind converts a footnote to an endnote or back. Previous and Next step through the notes, Reference jumps to the passage, Delete removes it. Footnotes and endnotes collect separately beneath the manuscript.
2. Set an equation inline or on its own line. In a new paragraph, type /equation. Inline equation sits inside a sentence; Equation block gets a line to itself. Select the inserted equation to open its LaTeX editor, type the expression and watch the preview. Render equation keeps it; Cancel drops the draft. Select a rendered equation again to edit it. The inline one here is v = \frac{d}{t}; the block editor is previewing d = v t.
3. Draw the route as a diagram. Open Insert, then Diagram, and type Mermaid. A route can be as short as graph LR, then A[Departure] --> B[Ford] and B --> C[Market] on their own lines. The preview renders beside the source, so check the labels and arrows before Insert diagram. Cancel leaves the manuscript alone; Cmd/Ctrl+Enter inserts without reaching for the mouse.

1. Add a footnote and come back to it. Put the cursor after the passage and choose Insert, then Footnote or Endnote. Write the note in the dialog and confirm. To revisit it, activate the reference on the page, or focus it and press Enter. Note text edits the note; Kind converts a footnote to an endnote or back. Previous and Next step through the notes, Reference jumps to the passage, Delete removes it. Footnotes and endnotes collect separately beneath the manuscript.
2. Set an equation inline or on its own line. In a new paragraph, type /equation. Inline equation sits inside a sentence; Equation block gets a line to itself. Select the inserted equation to open its LaTeX editor, type the expression and watch the preview. Render equation keeps it; Cancel drops the draft. Select a rendered equation again to edit it. The inline one here is v = \frac{d}{t}; the block editor is previewing d = v t.
3. Draw the route as a diagram. Open Insert, then Diagram, and type Mermaid. A route can be as short as graph LR, then A[Departure] --> B[Ford] and B --> C[Market] on their own lines. The preview renders beside the source, so check the labels and arrows before Insert diagram. Cancel leaves the manuscript alone; Cmd/Ctrl+Enter inserts without reaching for the mouse.

Inline and display equations accept LaTeX and render on this device. Footnotes and endnotes are edited beside their references. The running header and footer live under View, then Layout, and the proof is where you check their placement. Notes and equations survive HTML and Markdown export intact.

13 · Your work

Folios, export & publishing

One piece per folio. Salt Roads, its outline and a scratch file of cut paragraphs share a collection and nothing else.

1. 01Pick a piece from the Library
2. 02Take a copy in the format someone asked for
3. 03Look before you publish
4. 04Compare before you restore

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Step 1 of 4

Pick a piece from the Library

Open Library and select a folio card to return to that manuscript. Sort reorders the cards. The House link above them opens the shared context and standards that sit over every piece.

Publication and checkpoint recovery are shown at their review controls; neither action was submitted.

Read all the steps

1. Pick a piece from the Library. Open Library and select a folio card to return to that manuscript. Sort reorders the cards. The House link above them opens the shared context and standards that sit over every piece.
2. Take a copy in the format someone asked for. Open File and choose PDF, Typst source, Markdown, HTML, Word or plain text. Include persona comments carries the editors' notes into the Markdown, HTML, Word and plain-text copies. Twyne backup (.json) is the one to keep somewhere safe: it restores the whole piece. Import brings a document or a backup back in.
3. Look before you publish. File, then Share, shows the title and every destination before anything leaves. Publish now creates a public reading view; anyone with the link can read it. Download page for my domain saves a standalone page you host yourself. PDS and Micropub are separate destinations with their own connection controls.
4. Compare before you restore. In Write, open Review, then Version history. Twyne saves checkpoints as you write; Save checkpoint keeps one before a risky pass, with an optional line saying what it is for. Choose an earlier checkpoint to see what changed, described in a sentence and passage by passage. Restore checkpoint asks first: Save current and restore protects today's draft before swapping; Keep current manuscript backs out.

1. Pick a piece from the Library. Open Library and select a folio card to return to that manuscript. Sort reorders the cards. The House link above them opens the shared context and standards that sit over every piece.
2. Take a copy in the format someone asked for. Open File and choose PDF, Typst source, Markdown, HTML, Word or plain text. Include persona comments carries the editors' notes into the Markdown, HTML, Word and plain-text copies. Twyne backup (.json) is the one to keep somewhere safe: it restores the whole piece. Import brings a document or a backup back in.
3. Look before you publish. File, then Share, shows the title and every destination before anything leaves. Publish now creates a public reading view; anyone with the link can read it. Download page for my domain saves a standalone page you host yourself. PDS and Micropub are separate destinations with their own connection controls.
4. Compare before you restore. In Write, open Review, then Version history. Twyne saves checkpoints as you write; Save checkpoint keeps one before a risky pass, with an optional line saying what it is for. Choose an earlier checkpoint to see what changed, described in a sentence and passage by passage. Restore checkpoint asks first: Save current and restore protects today's draft before swapping; Keep current manuscript backs out.

Folios are separate documents with separate dossiers. Switch between them from the drawer. Each keeps its own word count, last-updated time and, if you want, its own layout settings.

Export a folio as Markdown, standalone HTML, plain text, PDF, Word, Typst source, or a full Twyne backup: a JSON file with the brief, the folios and their content. All of it is under File in the masthead.

Share publishes a public reading view of a folio. Anyone with the link can read it and nobody can edit it. Unpublish takes it down at once.

Publish to your PDS by connecting Bluesky or another ATProto provider in the Share dialog. That connection is separate from your Not Organic sign-in. Twyne files a Standard.site publication and document in your own repository, serves a verifiable public reading page, and updates the same record when you publish again. Unpublishing removes the document from your PDS.

PDF (Typst) compiles the manuscript on this device with bundled fonts, equations and diagrams included, and reports any source or asset problem before the export. You can also download the .typ source. Private editorial annotations are stripped from the exported copy; your saved source keeps them.

What a revision did

Twyne saves checkpoints on its own as you write, and whenever you ask for a grade. Version history describes each comparison in a sentence, written from the changes themselves: Rewrote three passages and cut one. The changes reach passages M. Le Stylo had notes on. Each changed passage is labelled Rewritten, Cut or New passage, with the before and after text together. When a rewrite reaches a passage an editor had a note on, the note is shown beside it. That shows the change reached the passage, not that it answered the note.

Save checkpoint takes an optional line saying what the revision was for, such as "pay off the ledger promise", and that line names the checkpoint afterwards. The word and passage counts are still there under Size of the change. Restore always saves the current draft first.

14 · Your work

Bring your own key

Morgan already pays for a model and would like the editors to use it. Three steps, once.

1. 01Turn on Bring Your Own Key
2. 02Add the provider
3. 03Set a sensible default
4. 04Override one feature, leave the rest

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Step 1 of 4

Turn on Bring Your Own Key

In Preferences, switch on Bring Your Own Key to reveal provider configuration. The switch alone changes nothing about how the room reads; you still need a configured provider before your own models are used.

Provider and model names are illustrative. API key fields are empty; no provider request or paid model run is shown.

Read all the steps

1. Turn on Bring Your Own Key. In Preferences, switch on Bring Your Own Key to reveal provider configuration. The switch alone changes nothing about how the room reads; you still need a configured provider before your own models are used.
2. Add the provider. Select Add provider, pick one from the catalog or Use a custom OpenAI-compatible provider, and enter a name, the API key and any required endpoint. Choose the Generation API your server speaks. Cancel discards the form. The key stays in this browser; remote requests pass through Twyne to the provider you named.
3. Set a sensible default. Under Default Models, choose the model a provider should use unless told otherwise. Refresh models fetches its current list. Connection details live separately in AI Providers. The browser voice model is a narration option, not a writing model, and needs its on-device voice pack.
4. Override one feature, leave the rest. Expand a row in Per-Feature Models to give that job its own Provider and Model. Morgan points Read My Draft at a slower, more careful model and leaves everything else on the default. Temperature and Max tokens can stay on auto. Reset to defaults removes the override for that row only.

1. Turn on Bring Your Own Key. In Preferences, switch on Bring Your Own Key to reveal provider configuration. The switch alone changes nothing about how the room reads; you still need a configured provider before your own models are used.
2. Add the provider. Select Add provider, pick one from the catalog or Use a custom OpenAI-compatible provider, and enter a name, the API key and any required endpoint. Choose the Generation API your server speaks. Cancel discards the form. The key stays in this browser; remote requests pass through Twyne to the provider you named.
3. Set a sensible default. Under Default Models, choose the model a provider should use unless told otherwise. Refresh models fetches its current list. Connection details live separately in AI Providers. The browser voice model is a narration option, not a writing model, and needs its on-device voice pack.
4. Override one feature, leave the rest. Expand a row in Per-Feature Models to give that job its own Provider and Model. Morgan points Read My Draft at a slower, more careful model and leaves everything else on the default. Temperature and Max tokens can stay on auto. Reset to defaults removes the override for that row only.

Add a provider. In Preferences, switch on Bring Your Own Key and add an OpenAI, Anthropic or Google key. For anything else, Groq, Together, Rivet, a local server, choose the OpenAI-compatible option and give it the base URL.

Test the key. Choose Test key on the provider card. A successful check proves the key reaches the model list, and lets you refresh the models you can pick from.

Pick models per feature. The per-feature grid assigns different models to the room, the rubric and the other tools. Spend the expensive model where reading quality matters and leave the rest on something cheaper.

Supported providers:

• OpenAI
• Anthropic
• Google
• OpenAI-compatible (Groq, Together, Rivet, local servers, …)

15 · Your work

Privacy & your data

The manuscript is yours. Here is exactly where it goes, and where it does not.

1. 01Choose which writing facts are public
2. 02Keep the private details folded
3. 03Know the difference between saved and synced
4. 04Restore from a backup you kept

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Step 1 of 4

Choose which writing facts are public

In Preferences, under the optional profile, find Public writing statistics. Each switch shares one fact. Writing streak set to Private hides it. Desk piece count shares a number without naming any folio. AI usage and costs never appear on a public profile.

The linked-account Settings image uses a sample Not Organic profile with its Private email disclosure closed.

Read all the steps

1. Choose which writing facts are public. In Preferences, under the optional profile, find Public writing statistics. Each switch shares one fact. Writing streak set to Private hides it. Desk piece count shares a number without naming any folio. AI usage and costs never appear on a public profile.
2. Keep the private details folded. Your Not Organic account's Settings shows the public identity and the recovery state. Private email is a disclosure you open only when you need the address and close again after. The Recovery badge describes the account, not a manuscript backup.
3. Know the difference between saved and synced. Open Privacy ledger from the account menu. It lists what stays on this device, what leaves and where to. Manuscripts and checkpoints live in this browser; account sync has its own line. A Saved label means the device has it, not that another device does. Review privacy settings returns to Preferences.
4. Restore from a backup you kept. File, then Twyne backup (.json), writes a copy outside the browser. To recover, choose File, then Import, and pick the .twyne.json file. Import makes that content active, so export anything you want to keep first. Close leaves the current manuscript alone. Clearing browser storage can erase local work; the backup is the insurance.

1. Choose which writing facts are public. In Preferences, under the optional profile, find Public writing statistics. Each switch shares one fact. Writing streak set to Private hides it. Desk piece count shares a number without naming any folio. AI usage and costs never appear on a public profile.
2. Keep the private details folded. Your Not Organic account's Settings shows the public identity and the recovery state. Private email is a disclosure you open only when you need the address and close again after. The Recovery badge describes the account, not a manuscript backup.
3. Know the difference between saved and synced. Open Privacy ledger from the account menu. It lists what stays on this device, what leaves and where to. Manuscripts and checkpoints live in this browser; account sync has its own line. A Saved label means the device has it, not that another device does. Review privacy settings returns to Preferences.
4. Restore from a backup you kept. File, then Twyne backup (.json), writes a copy outside the browser. To recover, choose File, then Import, and pick the .twyne.json file. Import makes that content active, so export anything you want to keep first. Close leaves the current manuscript alone. Clearing browser storage can erase local work; the backup is the insurance.

API keys are saved in your browser's IndexedDB. A remote BYOK request passes through Twyne's server relay, which forwards your key and the request to the provider you chose and keeps neither. Local model endpoints are called directly.

Drafts and folios are saved in your browser profile. Signing out does not erase that local copy. Signing in to an account that has no cloud snapshot can sync the existing local work into it, and signed-in sync is what gives you the same work on another device.

AI calls send draft text to whichever model is reading. With your own key, that is the provider you chose, through the relay for remote endpoints. Hosted calls go through Convex and Not Organic, where provider processing and content-logging consent are managed.

Published pieces are the only ones anyone else can read. Nothing becomes public until you publish it. Sharing and collaboration grant exactly the access you choose, through their own controls.

16 · Your work

Keyboard shortcuts

Choose the labels for your keyboard. The same shortcut registry powers this guide and the desk.

The film follows your language choice in Preferences. French readers see the French edition, including narration and on-screen text; English and other languages use the English edition. With Automatic selected, Twyne follows your browser’s language preferences.