Leaves dialogue alone
Characters are allowed to speak ungrammatically. Dialogue is read as speech, not as prose to be corrected.
Grammar help that understands fiction
Fiction breaks grammar rules for a living. Fragments carry rhythm. Dialogue is not meant to be grammatical. Dialect is not an error. This checks your prose without flattening the parts that make it yours.
Chapter 1
Mara paused at the old bridge, one hand on the map case, listening for the bell that only rang when someone crossed from the wrong side of the city.
Behind her, Tomas kept his voice low. "If the archive is awake, it already knows we are here."
The lanterns along the canal flickered blue. That meant memory magic, or rain, or a warning left by someone who wanted them alive for one more chapter.
Paige suggestion
Add one concrete cost for using the map before the next scene begins.
Fiction-aware
Fragments and dialect read as style, not errors.
Selection-level
Fix one paragraph without touching the chapter.
You decide
Every correction is a suggestion you can reject.
General-purpose grammar tools were built for business writing, which is why they underline half of every novel. A sentence fragment in a thriller is pacing. A character who says "ain't" is characterisation. Correcting those is not proofreading — it is damage.
Characters are allowed to speak ungrammatically. Dialogue is read as speech, not as prose to be corrected.
A deliberate one-word sentence is a choice. It is not flagged as an incomplete sentence just because it is one.
Tense slips, subject-verb disagreement, dropped words, wrong homophones, and the typos that survive six read-throughs.
Highlight the paragraph that is bothering you and fix just that. Nothing else in the chapter moves.
Start small, choose a direction, then let the workspace carry context into the draft.
Start Writing FreePaste a chapter or import your whole manuscript as a .docx, PDF, or text file.
Run a fix on a highlighted selection, or a full pass over the chapter when you want the wider read.
Anything that was a deliberate choice, you decline. The suggestion goes away and the sentence stays as written.
“Fix the grammar in this paragraph but keep the fragments.”
“Check this chapter for tense slips — I keep drifting into present.”
“Find dropped words and doubled words in this scene.”
General checkers optimise for correct business prose, so they flag the fragments, dialect, and unconventional punctuation that fiction depends on. This is tuned for narrative — it looks for genuine errors and leaves stylistic rule-breaking alone.
Not the way they speak. Dialogue is treated as speech, so a character with poor grammar keeps it. Genuine typos inside dialogue are still worth surfacing.
Both. Quick fixes work on a highlighted selection, chapter edit passes cover a full chapter, and the whole-book pass runs across every chapter — that last one is a paid feature.
Free accounts get a set of quick fixes and one chapter edit pass each day. Paid plans raise both limits and unlock the whole-book passes.
No. Every correction is a suggestion you accept or reject. Your file is not modified until you apply something.
Bring in a finished draft and edit it chapter by chapter.
Line-level edit passes with tracked suggestions.
Measured sentence length, passive voice, and repetition.
What we do with your writing, and what we will not do.
Draft and revise in one place.
What the free tier covers and what paid plans add.