You cannot see your own manuscript. You know what you meant, and the sentence on the page loads that meaning every time your eye passes over it.
This finds what your eye slides past: the fact you gave two different values, the promise you set up and never kept, the nine thousand words where nothing changes gear. It does not judge your prose. It shows you what your book says, so you can decide what to do about it.
This is a trial. It is free to run, with no catch and nothing to buy. I built it to find out whether it is actually useful to other writers before I decide what, if anything, comes next.
Every measurement, age, span of time and count in the book, grouped so the two versions of the same fact end up in one column. You never see them together. They live ninety pages apart.
Every name and object plotted start to finish. A lawsuit raised as a threat and never resolved. A bouquet nobody ever explains. You resolved it, just not on the page.
How much of each stretch is happening on the page versus being reported to you. The stretch that never lets up is a pacing problem too, and it is the one nobody tells you about.
The rules your world states, who is hurt and whether it lasts, and whether the danger actually escalates. Optional, and off unless you ask for it.
Waiting for a manuscript.
This page runs the whole scan and shows you everything it finds. What it does not do is keep the record: saving a report, and comparing this pass against your last one so you can see whether the revision worked. Those live in the complete method, below.
Sentences that appear more than once, and images the draft leans on repeatedly. A writer almost never catches these, because on every pass the line reads as the one you meant to write.
Every measurement, age, span of time, weight and count in the draft, grouped so that two versions of the same fact end up next to each other. The tool does not decide which is right. Reading the column is what finds the collision.
This measures one thing: how much of each stretch is happening on the page versus being reported to you. Dialogue, immediate action and present-tense prose sit at the top; past-perfect narration, time skips and summary sit at the bottom. It is scaled to this manuscript's own baseline, not to some universal standard, so it tells you which stretches are slow for you. Good pacing alternates. A long run on one side of the line is the thing to look at.
Where each name and object appears across the manuscript, start to finish. A thread introduced with weight and then dropped is the most common unforced error in a first novel, and it is invisible from inside the draft.
Phrases that address the manuscript from outside the story, filter words that hold the reader one step back from the character, and stock phrasing.
These questions have to be answered against the text, not from memory. If you cannot point at the line, that is the finding. This is the half of a developmental edit a machine has no business attempting.
Fixing them in the wrong order costs months. Line-level fixes feel like progress, produce a visible diff and require no decisions, so that is where the tired writer goes. A weekend later the book is exactly as broken as it was. The governing rule is one line: never polish what you might delete.
The Revision Order is one page. It sets out what to fix first, what to fix last, what each step costs you in time, and why writers reliably get the sequence backwards. Free, and it is the most useful page of the full method.
One page, sent once. You will also get occasional notes on the craft of revision. Unsubscribe in a click, and your manuscript is never part of any of this. It never left your browser.
The scan tells you what your manuscript says. It cannot tell you what any of it means, what to do about it, or what is working and must survive the revision. That is the other half, and it is the half that finishes books, if I build it.
None of this exists yet. It is what the complete method would cover, if the free scan above turns out to be worth building on.
This is a trial run. The scan above is free to use, with nothing to buy. If it turns out to be useful to enough writers, the complete method above is what I would build next.