Editorial Council · The Review Roominteractive tour
Where the findings meet the manuscript
The council's analysis doesn't end as a report — it ends as a review room. Your manuscript opens in a real word processor; every finding is highlighted on the exact passage it concerns; and approving a correction writes it into the document as a tracked change, the same markup a human editor would leave. Below is a working replica of that room, loaded with real findings from a real pipeline run on The Call of the Wild. Click things. Prefer to watch first? The animated demo drives the room for you.
Chapter I, five findings, three panes
Start in the middle: click a bubble to filter, click a finding to open it in the correction panel, then Approve it and watch it land in the text as a tracked change. Every finding below is verbatim pipeline output on Jack London's text — including ones the council gets arguably, or plainly, wrong, because an honest demo beats a staged one. Triage exists because the judgment stays with you.
Chapter I. Into the Primitive
“Old longings nomadic leap,
Chafing at custom’s chain;
Again from its brumal sleep
Wakens the ferine strain.”
Buck did not read the newspapers, or he would have known that trouble was brewing, not alone for himself, but for every tide-water dog, strong of muscle and with warm, long hair, from Puget Sound to San Diego. Because men, groping in the Arctic darkness, had found a yellow metal, and because steamship and transportation companies were booming the find, thousands of men were rushing into the Northland. These men wanted dogs, and the dogs they wanted were heavy dogs, with strong muscles by which to toil, and furry coats to protect them from the frost.
Buck lived at a big house in the sun-kissed Santa Clara Valley. Judge Miller’s place, it was called. It stood back from the road, half hidden among the trees, through which glimpses could be caught of the wide cool veranda that ran around its four sides. The house was approached by gravelled driveways which wound about through wide-spreading lawns and under the interlacing boughs of tall poplars.
· · ·
Buck had accepted the rope with quiet dignity. To be sure, it was an unwonted performance: but he had learned to trust in men he knew, and to give them credit for a wisdom that outreached his own. But when the ends of the rope were placed in the stranger’s hands, he growled menacingly. He had merely intimated his displeasure, in his pride believing that to intimate was to command. But to his surprise the rope tightened around his neck, shutting off his breath. In quick rage he sprang at the man, who met him halfway, grappled him close by the throat, and with a deft twist threw him over on his back. Then the rope tightened mercilessly, while Buck struggled in a fury, his tongue lolling out of his mouth and his great chest panting futilely.
In-browser replica of the desktop review room, for this tour. The real thing puts LibreOffice Writer in the left pane, serving your actual .docx — approved corrections become native tracked changes in the document, and your source file is never modified. Finding text is verbatim; the short italic definitions beneath each are the site's own glosses. The run's structural catches live in the full annotated review. Nothing you do here is saved.
Six things to know about the room
…steamship and transportation companies were
boomingpromoting the
find…
A tracked change, exactly as it lands in the document: the old wording struck out, the new wording inserted, both attributed and reversible. (Whether this particular edit deserved approving is debatable — the mechanics are the point.)
The sentence-level dimensions of the full Call of the Wild run — 111 of its 153 findings; the rest live in the structural layers. Triage a finding and its bubble count drops — the map is a to-do list, not a scoreboard.
One bubble per dimension, counts = open work
Click a bubble to filter the list to that dimension; click again to widen back out. Every finding is reachable from the list below the map — nothing hides behind the visualization.
The same colors mark the highlights in the manuscript, so you can read the left pane like a heat map: gold for style, blue for grammar, purple for continuity.
Approve — your revision lands as a tracked change.
Maybe — parked, kept in the open count.
Dismiss — closed; the bubble count drops.
Try it above on finding “he knew” — the council flags it as a filtering verb, but here it's a relative clause (“men he knew”), not a perception filter. That one earns a Dismiss. The tool keeps score; you keep the pen.
Triage, not autocorrect
Each finding opens with the original passage, the clerk's reasoning with its craft citation, and an editable revision box. Nothing applies itself — every change passes through your hands, and a stepper walks you through the open findings so a 150-finding review is a sequence, not a scavenger hunt.
Definitions ride along: every rule links to a glossary entry grounded in the craft literature it came from, so “filtering verb” is a lesson, not jargon.
The working outline the council built from The Call of the Wild — with 7 orphaned foreshadowing seeds flagged pending review.
The brief, the outline, the pacing curve
The double-ringed bubbles at the top of the map open the structural layers: the editorial brief, a working outline (chapters and scenes, plot threads, foreshadowing seeds from plant to payoff, arc beats), a per-chapter pacing read (speed, dialogue density, anomalies), the character-arc ring, and the worldbuilding graph.
Dimensions with nothing to show simply don't appear — the map only ever displays work that exists.
The parts strip for an 83,000-word, 22-chapter novel (Strike Zone) — 529 findings served in three chapter-scoped parts.
Parts, not pagination
Past twelve chapters, the room serves the manuscript in 8-chapter working parts so the word processor stays responsive at book length. Jumping to a finding in another part switches parts and lands on the passage. The longest manuscript through the room so far is Jane Eyre — 184,376 words across 38 chapters.
samples/manuscripts/peter_pan/ — a complete worked example in the
review-room pilot repo: source text, 194 findings, ready to open in the room.
Bring-your-own-findings: drop an
editorial_findings.json beside any manuscript you have the rights to, and
the room serves it. The analysis pipeline and the review room are separable pieces.
Your machine, your manuscript, your keys
The review room is a small local server plus your own LibreOffice — no accounts, no uploads, no telemetry. It ships with a public-domain sample so you can try the whole loop before pointing it at your own book.
Every manuscript that's been through the room
Four novels have been served in the review room to date — three public-domain classics and one modern novel analyzed with its rights-holder's authorization. The numbers are from the actual runs.
The Call of the Wild
- 153 findings anchored to exact spans
- 1 un-anchored finding — flagged, not silently dropped
- The manuscript in the replica above
Peter Pan
- 194 findings
- Ships with the review-room pilot as the bundled sample
- The first room most users will open
Jane Eyre
- 389 findings
- The scale test — the longest manuscript through the room
- Served in chapter-scoped parts
Strike Zone
- 529 findings staged · 521 anchored
- Served in 3 parts · outline + pacing layers live
- The novel no model showed any memory of
→ The brief-only gallery — five novels, five readings — includes Dorian Gray, Silas Marner, and Tom Sawyer, analyzed by the same pipeline before the review room existed.
A real word processor, not a preview
In the desktop pilot the left pane is LibreOffice Writer, serving a working copy of your actual manuscript with track-changes forced on. Findings are highlighted on the exact spans they concern — the pipeline anchors each finding to its verbatim quote, and anything it can't anchor is flagged as un-anchored rather than silently dropped.
Approvals are native tracked changes. You review them later the way you'd review any human editor's markup — accept, reject, or rewrite. The original file is never touched.