The Editor

Write a poem and you get stanzas and line breaks; write a screenplay and you get scene headings and dialogue; write fiction, an essay, or an article and you get the formatting and the prose metrics calibrated for that form. A formatting bar sits above the page the whole time you write, carrying headings, alignment (including justify), lists, tables, a highlighter, superscript and subscript, links, drop caps, and footnotes. The page itself stays a clean, single column you can lose yourself in. It is free for every writer, and it is built to hold a novel, not just a chapter. We do not promise that, we measure it: the editor is tested against a 200,000 word manuscript, 5,000 paragraphs kept in a single piece, and a keystroke typed into the middle of it costs about 2 milliseconds of work, with no dropped frames. A short story costs about 0.7. So a book fifty times longer asks about three times as much per key, and both are a small fraction of a single frame. You never have to chop a book into little files to keep the app happy.

A word processor

Pick from a serif, Georgia, Times, Garamond, a sans-serif, Arial, or a monospace face, then set line spacing, the space before and after a paragraph, and independent left and right page margins. A ruler above the page lets you drag those margins and each paragraph’s first-line, left, right, and hanging indents, with eighth-inch snapping and arrow-key nudges. Want one passage in a different face? Select it and change just that range. Whatever you choose travels into the published view and into your Word, PDF, and HTML exports, with Garamond embedded in the PDF, so a double-spaced manuscript reads the same everywhere, and Print is right there when you need a hard copy. Word, PDF, HTML, Markdown, and JSON exports are free for everyone. Two premium formats, Word Online and EPUB, come with a paid Pro plan and carry the same formatting. With Pro, or during your trial, you can also choose from about 1,800 more fonts, in the editor, Imprint, Cover Studio and your Creator Site.

The formatting bar

Open a screenplay and the bar comes up with eleven controls instead of twenty-five: no drop caps, no font picker, no bulleted lists, because the format decides all of that for you. Open a chapter of a novel and it is all there, because prose reaches for all of it. You do not have to set any of that up. If our idea of what you need is not yours, open Customize this bar, switch any group of controls on or off, and move the ones you keep into the order you want them. It sticks on every piece and every machine you sign in from. On a laptop the bar sits along the foot of the screen; on a phone or a tablet it sits at the top, above your page and clear of the keyboard, which is the one part of a small screen that does not vanish the moment you start typing.

The Meridian, on your prose

The Meridian measures your writing against benchmarks built from published work in the type you picked. Most of what it finds lives in the report: readability, sentence variety, how much of the page is dialogue, the shape of your paragraphs, and a good deal more. Nine of those patterns it can also pin to the exact words behind them: adverbs, passive voice, filler intensifiers, hedges, clichés, nominalizations, filter verbs, repeated openings, and sentences that run long. Each wears its own color, drawn right on the page, and you choose which ones to show. Hover a mark on a wide screen, or tap it on a phone, and a card tells you what it is and why it is there. A mark is a place to look, not a fault to remove, and whether it earns its place is your call. The same layer carries the Sentinel, which watches a draft for continuity: names that drift, point of view, tense, timeline. You pick which engine draws. Nothing runs on its own. The Meridian marks your prose when you ask it to, and clears when you edit, so a color on the page always describes the draft in front of you.

Focus, spotlight, and sprints

Press the focus shortcut and the room clears, the toolbar and chrome step back, and only the page remains. Turn on the paragraph spotlight and every block but the one your cursor sits in dims, the way iA Writer reads, so your eye never wanders up the page. Start a sprint of five, ten, fifteen, or twenty-five minutes, with an optional word target, and a small pill counts down your time and the words you have written, then sums up your words, your pace, and whether you hit the goal. And you can set a word goal on a piece that the progress meter greens the moment you reach it. Focus mode and the spotlight are free for everyone. Timed sprints come with Pro, and your free trial counts.

Inkbreaker Radio

Seventeen stations cover the range from silence to cinematic, built from Creative Commons instrumentals plus brown, pink, and white noise that runs on your device. Every station is free for every writer, including the music our partners bring, because music nobody can hear does an artist no good. The radio always shows what is playing and who made it, with links to the artist, the source, and the license. Ambient soundscapes and the mixer that layers them come with Pro. In a Chapter sprint, one Pro writer can share their station with the whole room for the session; everyone chooses whether to listen.

Find, replace, and notes to yourself

Open find and replace and you get a live match count, next and previous, match case, whole word, regular expressions, and replace all, in a bar that overlays the toolbar without pushing your page around. Whole word is the one that matters when you rename a character: a search for Ann finds Ann and leaves Anne, announced, and the Annals of the Second Age exactly as they were. There is also a revision pass for editing yourself, the way you would track changes with an editor: turn it on and each edit waits as a proposal, so you can read back what you did and keep or drop each change one at a time, with your base draft untouched until you accept it. Notes to yourself are private margin annotations: select a span, write a note, and it anchors to those words; a side panel lists every note so you can jump to it, edit it, mark it resolved, or delete it. The notes are yours alone and never enter the piece, so they never publish. They do travel with a Word export, as native Word comments in the margin, because they are your own words about your own draft. Find and replace is free for everyone. The revision pass and margin notes come with Pro, and your free trial counts.

Track changes

It works the same when the hands are not yours. Invite a collaborator into a piece and their edits can arrive as tracked suggestions for you to accept or decline, so a second pass never overwrites the draft. The marks travel too: export to Word and pending changes arrive as native Word revisions, ready for an editor who lives in Word to settle them there. The revision pass is free for every writer.

Inline comments

Comments are free for everyone. Each one can hold a short back-and-forth, so a reply lands under the comment it answers instead of starting a new thread. When a note has been dealt with, mark it resolved and it steps back, dimmed and out of the way, until you want to look again. You decide whether a piece takes comments at all, and you can turn them off at any time without losing the ones already there. Comments live alongside your work, never inside it. They stay out of what you publish, and out of what you export: a comment belongs to the reader who wrote it, so it is not carried into a file you might send on.

Real-time co-editing

Track changes is part of Pro, and your free Pro trial includes it. Real-time co-editing is available when you subscribe. A co-author edits directly; a suggester proposes changes against your working copy while your published piece stays clean.

Collaborations

Invite a collaborator into a piece, hand off or revoke access, and find every shared piece in one folder. Pair it with real-time co-editing to write together, or trade tracked suggestions on your own time.

Accessible reading and voice

Choose OpenDyslexic, designed to make letters easier to tell apart for dyslexic readers, or Atkinson Hyperlegible, the high-legibility face from the Braille Institute built for low vision. Have any passage read back to you, or write by talking with your device’s own voice, both free and running on your device. It all sits alongside adjustable size, spacing, and margins, pairs with focus mode, and turns on or off whenever you like. Because it lives in your view alone, your manuscript and your exports keep the typeface you chose for them.

Your whole desk, one tap away

Star the pieces you keep coming back to and they gather in one place, free for everyone. Jump from one piece to another and the editor changes in place without a full reload, saving your work as it goes, so you never lose your spot. The desk itself lists every piece with where it stands, how long it is, and when you last worked on it, so a book of sixty scenes fits on a screen. Choose My order and a handle appears on every row, by pointer or by keyboard, and the order you make is the order it keeps. When the backlog grows, a full-screen file manager lets you drag pieces between folders and move many at once. Opening the desk panel inside the editor is a Pro convenience, and your free trial counts. Folders and collections are free for everyone; worlds come with Pro.

Draft two is a thing you can keep

Every scene remembers which drafts it appeared in and how long it was in each, so you can see a chapter go from 4,200 words to 2,900 and open the older version whenever you want it. If the earlier one was better, pull it back: your current text is saved to version history first, so a restore is never a one-way door. A draft also keeps the chapters you later cut, which is the moment you most want to read them. Saving and restoring are Pro; reading the drafts you already saved is not, so a lapsed subscription never puts your own history out of reach.

Your book, read back to you

Each scene shows the one-line summary you wrote for it, then the viewpoint, the characters who appear, and the length read straight off the page. The gap between the two is where revision starts. It points out the scenes with no summary, no clear viewpoint, a viewpoint that changed from the scene before, or a length nothing like the rest of the book, and it measures that against your own writing, never a fixed rule. Every note is a fact about the page or a gap you left, never a judgment about quality.

The whole suite, right in the editor

Open any of these tools as a panel beside your draft. Pull a character’s entry while you write a scene, check a date, or run the Sentinel, without losing your place. One source of truth, no tab-switching.

Chapter Planner

Switch between a board and a list, set a point of view, status, and word target on any chapter, and layer Dwight Swain’s scene and sequel craft onto a card when you want that depth. Link the plan to your manuscript and it rides beside the draft, with a jump to any chapter and a "you are here" marker as you write. It is part of Pro.

Scene Header Linter

For each one it points at the line, names the problem, and hands you a corrected heading to copy. It reads your draft and never changes a word of it, so the page stays yours. Run it on a finished script or a scene you wrote two minutes ago.

Page Count Estimator

Pick a two, three, four, or five act structure and it shows the target page range for each act beside your own. A first act that runs long or a third act that comes in thin shows up here, while it is still easy to fix.

Poetry Studio

Every layer turns on or off, so the page stays as plain or as busy as you want it. The reading is done by ear, the same honest estimate as the Stress and Rhyme tools, and it updates the moment you change a word. It is the whole craft of a poem in one view.

Rhyme Finder

Filter by syllable count to keep only the rhymes that fit your line, and read perfect rhymes and near rhymes in separate lists so a slant rhyme is a choice, not an accident. Inside the editor, click a word to drop it straight into your poem at the cursor.

Form Atlas

Pick a form and check your poem against it line by line. The Atlas tracks the hard parts for you, the refrains that thread through a villanelle and the six end words that rotate through a sestina, and flags what does not yet fit. Inside the editor it can drop a labeled scaffold into your draft to write into.

Revision Lens

Each line is marked end-stopped or running on, so you can see the rhythm of the breaks. The senses you have touched and the ones you have not are laid out plainly, and any worn phrase is flagged. It never rewrites a word.

Inverted Pyramid Analyzer

You get a structure score with a plain reading, Strong, Solid, or Developing, a check of the five Ws, badges for your lead sentence and its length, and a paragraph-by-paragraph read of where the density drifts. A short list of what to tighten points at the exact places to cut or move. Paste a draft or load a piece, and it reads it on the spot. It is part of Pro.

Fact Placeholder Tracker

Each marker shows its type, how urgent it is, and where it sits in the piece. Resolve one with a note, undo it, or mark a false positive gone. Scan a single piece or a whole folder at once, with each hit tagged to its piece. When you are ready to report, copy the unresolved ones out as a plain checklist. It is part of Pro.

CTA Strength Analyzer

It names the single highest-impact fix across all your CTAs in a callout up top, then walks each one weakest-first with a concrete line to try. It also flags manufactured urgency, the fake countdown that reads as a trick. Paste copy or load a piece, and it reads it on the spot. It is part of Pro.

Format Fit Checker

For each format you get a pass, close, or over verdict and only the measures that matter for it, plus a read on the structural signals a strong piece of that copy usually has. Check against one format or several at once and get a single line on how the set holds up. Paste copy or load a piece, and it reads it on the spot. It is part of Pro.

Bring in everything you’ve written

Drop in a single manuscript or a whole backlog and Inkbreaker reads it: Word, ODT, EPUB, PDF, RTF, Markdown, plain text, HTML, spreadsheets, or a zip of all of it at once. It also opens the formats writers switch over from: Scrivener, Final Draft, Fountain, yWriter, Plottr, and AO3. A long document splits into chapters on its headings, and you choose where each piece lands. When it finds characters, places, and factions in the text, it offers to file them into a world. Fields it does not recognize are kept with the piece, so nothing is flattened on the way in.

Write from anywhere

The editor and your whole desk work on a phone, a tablet, and a desktop, and stay in sync across them. Draft on the train, revise on the couch, publish when you sit down. Formatting you write on one travels to the others, so a highlight, a table, a drop cap, or a footnote you set on a laptop still reads right in your hand. There is a desktop app too, from the Mac App Store and the Microsoft Store, signed by Apple and Microsoft so it installs without a scary warning.

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For writers 18 and up, on every device.

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