unwrite User Guide

How to use this guide

What this guide covers, how plan-specific parts are marked, and where to get help inside the Studio.

This is the guide for paying accounts. Everything here works on Pro and on Teams unless a note says otherwise. It walks through the whole of the unwrite Studio, from setting up a piece to getting it out the door, and it assumes you are signed in to a Pro or Teams account.

Who this guide is for

If you write on unwrite, this guide is yours whether you are on Pro or on Teams. Two shortcuts before you start. If you were invited only to review a teammate's work, you do not need most of this guide: go straight to the Review & Approval section, which has a section for reviewers. If you are a Teams admin, this guide covers everything you do as a writer and a teammate; only setting up the team, managing users, and billing live in the separate Teams admin guide.

How plan-specific parts are marked

Most of the guide applies to both plans. Where something is different, or where you could lose work or a credit, you will see one of these marks.

Getting help inside the Studio

Three help surfaces sit at the bottom of the left sidebar, under the plan and credits row. Reach for these before you go looking elsewhere.

• Tours & tips: replayable walkthroughs. Studio tour shows where everything lives, Editor tour shows how to review, revise, and finish a piece, and Writing tips gives step-by-step pointers as you write.
• Send feedback: a short note that reaches the unwrite team directly.
• Get help: opens an email to hello@unwrite.ai, prefilled with your account address so we can find you faster.

For what has changed, open Settings and go to Release notes, which lists every release newest first and shows the version you are on. New features also announce themselves through the notification bell.

If you are on Teams, start here

Teams adds a second way of working on top of everything Pro does. This matrix maps each part of the guide to what changes on a Teams plan; jump straight to a section from the left column.

Your first ten minutes

From signing in to opening a finished sample piece, so you know the ground before you spend a credit.

Signing in

Open the Studio and you will land on the sign-in screen. There are three ways in. Continue with Google is one click. Email me a link instead sends a one-time sign-in link to your inbox. Or enter your email and password and press Sign in. A password manager will offer to fill the last one.

Keep me signed in on this device is a checkbox, and it is off by default: leave it unticked on a shared computer and your session lasts a working day rather than a month. If you forget your password, use Forgot your password? to get a reset link.

The one-time setup screens

The very first time you sign in, two short screens stand between you and the Studio. First, Agree to the Terms to continue: tick the box next to I have read and agree to the Terms of Service, then press Agree and continue. There is no way past this except signing out, and the button stays disabled until the box is ticked.

Second, a Welcome to unwrite screen asks for your first and last name and, for accounts created with an emailed link, a password. If you signed up with Google, the password is optional because Google is already your way in. Fill it in and press Continue, and the Studio opens.

If you were invited to a team

A Teams admin brings you on with an emailed invite, headed You're invited to join the [team name] team on unwrite (or your team, if the team has not been named yet). The link works once and expires in 7 days. Open it and you land on a page headed Join the [team name] team. The invite is locked to the address it was sent to, so sign in as that address: signed out, the button reads Sign in as [email] to join and emails you a sign-in link; signed in as someone else, the page says so and offers Sign out so you can come back in as the invited address. Once your address matches, press Join the [team name] team.

What you see next depends on the role your admin chose. A member or admin sees You're on the team, with the note that your writing now draws from the shared team credits, and Go to the studio. Someone invited only to review sees You're a reviewer for the [team name] team, a note that you will get an email whenever a teammate sends you a piece, and Go to unwrite. If that is you, skip ahead to Review & Approval (A7), which has a section written for you.

The dashboard: Your pieces

The Studio opens on Your pieces, your home base. Each piece is a card showing its title, type, word count, a status pill, and when you last touched it. Start something new from the amber New piece card, or from Write your first piece when the dashboard is empty. The left sidebar holds your workspaces and folders, one global search, and, at the bottom, your plan and credits.

Each card has a menu (the three dots) with Save as setup, Duplicate setup, Move to, Archive, and Delete. Select turns on checkboxes for acting on several pieces at once, and Archived shows pieces you have set aside.

What the status pills mean

See a sample piece first

Before you spend anything, press See a sample piece on the empty dashboard. It opens a finished blog post with a live Editorial Review already run, at no credit cost. As the note under the button says, the sample opens a finished draft with a live Editorial Review. It is the fastest way to see the editor, the review, and how flags and fixes work without committing an idea of your own.

Four promises to rely on

Four rules shape everything unwrite does. Keep them in mind and the rest of the product makes sense.

1. It writes in the voice you give it. unwrite imitates the writing sample, or the saved voice, you hand it, so give it real writing that sounds like the target rather than your most formal prose. No sample, no voice match.
2. It cites only what it can verify, and flags what it cannot. When a claim cannot be traced to a reliable source, unwrite marks the gap rather than inventing a number, and it will not fabricate a citation to fill a hole.
3. Every draft is reviewed before you see it. Each piece arrives with an automatic Editorial Review against a fixed standard, and you can check any claim against its source with the one-click Source check.
4. Nothing leaves without you. unwrite drafts and checks; you decide. Every edit is yours to keep or undo, and a piece is copied or exported only when you do it.

Pieces, credits, and what things cost

The whole money model: one charge per piece, what adds to it, what never costs, and how Pro and Teams differ.

A piece and a credit

A piece is one finished document: a blog post, an article, a white paper, a book, and so on. A credit is what it costs to create one. You are charged once per piece, at the moment unwrite first generates its draft. After that, re-drafting the piece and generating the remaining sections of a long-form piece are free. You never pay twice for the same piece.

What a piece costs

Short-form pieces cost one credit. Long-form costs more, because it is drafted section by section. These are the base costs, shown on each type card as you set up a piece.

When a piece costs more

Two things can raise a piece above its base cost, and setup shows you both before you generate.

Length. The base credit buys the type's usual length. If you set a target well past that, each additional block of the standard length adds one credit, up to four times the usual size. This applies to blog posts, articles, thought leadership, press releases, and Something else.

Research. unwrite can research and verify web sources for you, up to eight per piece. The first three are included. Beyond that, each additional block of three researched sources adds one credit, so four to six researched sources add one credit and seven or eight add two. Sources you provide yourself never add anything; the surcharge is only for sources unwrite finds and checks for you.

Saved voice slots cost credits

Paid plans include three personal saved voice profiles, so you can reuse a voice instead of pasting a sample each time. You can add more, at two credits each, up to six total. Buy one from Settings, under Voice profiles, when you save a voice past your included three. The button reads Add the slot · 2 credits.

Your plan includes 3 saved voices. Add another slot for 2 credits, one time? It stays yours, synced to your account.

What never costs a credit

Most of what you do inside a piece is free. You are only charged when unwrite generates a draft.

• The automatic Editorial Review that arrives with every draft.
• The one-click Source check that verifies your claims against their sources.
• Revisions, up to ten per piece.
• Fix it, the passage-level rewrites in the review.
• Re-drafting a piece, or generating the remaining sections of a long-form piece.
• Reopening an outline and redrafting from it (your current version is saved first).
• Moving, filing, archiving, workspaces, folders, and saved setups.

A few reviews are included up to a per-piece cap, then cost one credit each. Second reads are included five times per piece, or twice on a piece long enough to be read in parts. Continuity reads, on books, are included twice. Past those caps, an extra Second read or Continuity read is one credit.

Plan credits and bought credits

Your monthly plan credits reset on your billing day. Bought credits, added through a top-up, never expire and are spent only after your plan credits run out. You can top up at $5 per credit, a minimum of three at a time and up to a hundred at once. Top up from Settings, under Account & Billing, with Add credits.

Watching your balance

The bottom of the sidebar always shows your plan and how much is left, for example 12 of 15 credits, with any bought credits shown as extra. When your balance drops to a fifth or less of your monthly allowance, a calm amber bar appears with the number left, the date they reset, and an Add credits button. It stays until you dismiss it or the balance refills.

Pro and Teams, side by side

Both plans write with the same engine and include the same per-piece editing. They differ in credits, users, and the shared tools Teams adds.

Paying annually is billed once a year and works out to about two months free versus paying monthly. If you are in the euro zone, prices show in euros (Pro is 45 euros a month, Teams is 119 a month, and a credit is 5 euros).

On Pro, you can move up to Teams in place with Upgrade to Teams in Settings, under Account & Billing. unwrite credits the unused part of your Pro plan and charges the prorated difference on your next invoice. The details of billing, upgrading, and the shared pool are in Plans, billing, and credits, and, for admins, in the Teams admin guide.

Setting up a piece

The new-piece wizard walks you through a short setup, one screen at a time, and nothing costs a credit until a draft is generated.

When you start a new piece, unwrite opens a short wizard: pick the deliverable, choose how you are starting, write the brief and gather your material, set your voice, add positioning, and (for long-form) approve an outline. You can leave at any step and come back; everything you type is saved to your account as you go. A piece is charged once, at the moment it drafts, and re-drafts are free. The steps below are the desktop flow. See "On a phone" at the end for what changes on a small screen.

Step 1: Pick the deliverable

The wizard opens on What are we writing? Pick a card: Article, Blog post, Thought leadership, or Press release, with Something else set apart below them as a full-width catch-all. Each card shows what it costs, so you see the price before you commit; Thought leadership shows a range because its cost depends on the sub-type you choose next. This is the single most important choice on the wizard, because the deliverable sets the cost and tunes how unwrite plans, drafts, and reviews the piece. For what each type is and the fields it asks for, see A4, "Choosing what to write."

Above the gallery, Start from a saved setup lets you reuse a client-and-author setup you saved earlier: voice, positioning, material, and house style, already in place. Blank setup is the default. Pick more than one and you choose where each part comes from: one setup supplies the voice, author, positioning, and house style, while sources and banned words combine from every setup you tick, and a live "Your combined setup" panel shows exactly what Continue fills in. A saved setup carries no deliverable type, so you still choose the card fresh each time. If you have not saved one yet, a short note tells you how (finish a piece's setup, then "Save as setup" at the end of the positioning step).

Step 2: Choose your starting point

After you pick a card, Where are you starting from? appears with three choices:

• From scratch: unwrite plans and drafts it from your brief.
• I have an outline: paste or upload your plan, and unwrite builds from it.
• I have a draft to improve: bring an existing piece, and it runs through the unwrite Editorial Engine automatically.

Improving a draft is free on every plan. unwrite loads the draft into the editor and runs the review; you are charged only if you generate new writing later. Add your draft in Your material and tag it Draft to improve. If the draft you bring in reads like a different deliverable than the card you picked, unwrite offers to switch right here (covered in A4).

Step 3: The brief and your material

On What are we writing about?, the brief is required (a few words is enough to continue). Type or paste it, dictate it with the microphone, or, on a computer, upload a document with "Or upload a document or creative brief (PDF, Word, .txt, .md)." What you put here becomes the instructions unwrite follows. Reference documents that unwrite should draw facts from and cite do not go here; they go in Your material, below.

Your material is optional, but it is where the "only your sources" promise lives. Add files, a URL, or pasted text, then set each item's Use as chip so unwrite knows how to treat it:

• Source: unwrite may state and cite it.
• Background: context, never cited.
• Outline: the piece's section plan.
• Voice: a writing sample.
• Customer voice: how your audience talks, echoed but never cited.

A fresh item lands as Background until a quick automatic read moves it to the lane it looks like; the chip is always yours to correct, and only Source items are ever cited.

Add a bibliography

The Add material paste box also takes a whole bibliography. A BibTeX or RIS export is recognized and imported as citable sources; a plain list of DOIs (up to 50 at a time) is looked up and added with real titles and metadata. Duplicates are skipped, and imported references count as your own sources, never as the surcharged researched kind.

Let unwrite find sources

Under Find more verified sources with unwrite, "Search for sources" searches the web for material it can verify and ranks each result's authority. The first 3 sources are included on every plan. On Pro and Teams you can ask for up to 8 with the "Find N sources" selector, and each block of 3 beyond the first 3 adds one credit at draft time (shown as "+N credits at draft"). "Scholarly sources only" restricts the search to peer-reviewed and institutional sources at no extra cost. Research takes a minute or two, and the card narrates what it is doing.

Citations and AP style

Citations and AP style sets two per-piece controls. Citations offers No citations, Inline hyperlinks, Harvard (author-date), MLA (9th ed.), APA (7th ed.), and Chicago (17th ed.); whichever you choose, facts still come only from approved sources. The AP style toggle applies AP conventions, and "What changes?" explains them. The rest of your house style (spelling, numbers, quotes, banned words) is set once for the account in Settings, under Writing defaults.

From this step, "Add voice & positioning" continues the full flow. "Write it now" (or "Jump to Outline" for a long-form piece) is a shortcut that skips voice and positioning and drafts with defaults; reach for it when speed matters more than a close voice match.

Step 4: Voice

Give unwrite a sample of the writing to imitate: paste one to three paragraphs, load a saved voice, or upload a sample on a computer. A sample is required for long-form pieces and must be at least 30 words. For short pieces it is optional, and "Skip, use a default voice" falls back to a professional, conversational register. When you improve a draft, unwrite already writes in that draft's own voice, so a separate sample is optional.

Step 5: Positioning, and saving your setup

Who's it for, and what's the point? collects optional context: the author (which becomes the byline and stays editable later), the target audience, and the angle or key takeaway. Long-form pieces also ask for a central thesis. All of it is optional; the brief can carry the piece on its own.

This is the last screen before drafting begins, so it is also where you can "Save as setup." That captures this piece's voice, positioning, material, and style as a reusable saved setup for your next piece. The brief, thesis, and draft stay with this piece; the setup keeps only what you reuse, and the voice is saved as a reference to your library rather than a copied sample. You can hold up to 100 saved setups. You can also save a setup from the dashboard piece menu and from the editor's Setup panel.

Step 6: Approve the outline (long-form only)

Articles, books and ebooks, white papers, and reports plan before they draft. unwrite builds an outline automatically and shows it on Here's the plan. Change anything. Edit sections directly, adjust each section's target length, or tell unwrite what to change under "Not what you wanted?" and Regenerate. Nothing drafts until you choose "Approve outline & draft." For these section-drafted pieces the length surcharge is calculated from the outline's total words, shown right on this screen. Blog posts, press releases, and short "Something else" pieces skip this step and draft straight away.

On a phone

You can do all of the setup on a phone: pick the deliverable, choose a starting point, write the brief, set your voice, and fill in positioning. Generating the outline or draft and editing the piece happen on a computer, and unwrite hands you off when you reach that point; your work is already saved. One deliverable, the press release, has to be started on a computer.

Choosing what to write

The deliverable you pick on the first wizard step sets the piece's cost and tunes how unwrite drafts and reviews, so it is worth choosing deliberately.

The deliverable is the first thing you choose when you set up a piece (Step 1 in A3), and it does two jobs: it sets the base cost, and it tells unwrite how to plan, draft, and review. Here is what each one is and the setup it asks for.

These are base costs. A longer target or extra researched sources beyond the first 3 can add credits, and the setup screen always shows the total before you generate. See A2 for the full cost model.

Blog post

A short, single-idea post of about 600 to 800 words, for 1 credit. In The post you choose the structure, Continuous narrative or Section subheadings, and whether to "Allow a list where it fits." unwrite writes in prose by default; that checkbox lets one genuine bulleted or numbered list appear where the material really is a scannable set of items.

Article

A longer narrative feature or essay, about 1,500 to 1,800 words, for 2 credits. Like a blog post, you pick Continuous narrative or Section subheadings, but an article is planned first: unwrite builds an outline and you approve it before it drafts (Step 6 in A3).

Thought leadership: book/ebook, white paper, or report

One card, three shapes. After you pick it, What kind of long-form piece? sets the structure, register, and cost:

• Book/ebook: a non-fiction guide in chapters. 5 credits.
• White paper: an evidence-led authority piece in sections. 3 credits.
• Report: a findings-led document with subheadings. 3 credits.

White papers offer quick length presets, Standard (about 2,500 words, 6 to 8 sections) and Short (about 1,200 words, 3 to 4 sections); a short one keeps the same structure and sourcing discipline, it just trims scope. A book or ebook also has an optional Author bio, printed word for word as the About the Author page. All three are non-fiction, built on argument and evidence, and each plans an outline you approve before it drafts.

Press release

A wire-ready announcement, built top to bottom in wire order. In The release you pick the announcement kind (Product or launch, New hire or promotion, Partnership or integration, Customer win, Award, Certification or milestone, Funding, or Something else) and give "The news, in plain facts," which are the only facts the release will state. You can paste approved quotes, boilerplate About paragraphs, a dateline, a media contact, and legal lines. Costs 1 credit.

Everything you supply is reproduced word for word, and anything you leave out becomes a bracketed placeholder for your team, never a guess. Every slot you leave empty becomes a placeholder: an empty quote slot becomes a placeholder naming who should speak and what the quote must do, a missing descriptor stays [COMPANY DESCRIPTOR], and a missing date stays [Month DD, YYYY].

Something else

The catch-all for anything without a template, at 1 credit base. In Something else you tell unwrite how to work under "How should it be drafted?": Short-form drafts in one pass, and Long-form (outline first) plans an outline you approve. You set the target length yourself.

If your imported draft is a different type

When you bring in a draft to improve and it reads like a different deliverable than the card you picked (say, a 10,000-word strategy document dropped in as a blog post), unwrite suggests the switch right in the wizard. Accepting it updates the type, the review, and how the piece is built; "No, keep [type]" leaves your choice as it is.

The editor

Where a piece lives once it is drafted: the paper page, the tools around it, and everything you can change without leaving the page.

The editor opens the moment a piece has a draft. It is one paper page in the middle with three working areas around it. On the left is the "Setup" panel, which holds the settings the piece was written from. In the center is the page itself, with the formatting ribbon and the masthead at the top and the Assistant docked at the bottom. On the right is the review sidebar, where every finding lives. A thin toolbar runs across the top with the piece name, the word count, your credits, version history, "Copy," and "Export." A status line runs across the bottom.

Two names, on purpose. The name field in the top toolbar is the piece's label in your dashboard and sidebar, so it should be something you can scan a list for. The headline a reader sees is separate: you set that in the document masthead at the top of the page. Renaming one never touches the other.

The page and its masthead

The page is set like a finished document: a serif body on warm paper, the way it will read when it ships. At the top sits the masthead, edited right in place. Depending on the piece type it carries a headline, a subhead, a byline, and a short summary. A press release carries a headline and subhead but no byline or summary. Type over any of these fields to change them; they save when you click away. When a generation offered you more than one option, a quiet "Also written for you" row of chips appears under the field. Click a chip to swap in that wording; the one you had stays in the row, one click away.

The formatting ribbon

A single toolbar sits above the page, centered, in four groups with roomy space between them: history, emphasis and links, headings, and lists. It formats whatever you have selected at the moment you click, so it never disturbs a selection you are still dragging.

• Undo and Redo, at the far left, are always available. They also answer to Cmd-Z and Cmd-Shift-Z (Ctrl on Windows).
• Bold and Italic. Keyboard: Cmd-B and Cmd-I.
• Link: add, edit, or remove a web link on the selected words.
• Headings: "Body," "H2," and "H3." The page's main title lives in the masthead, so the ribbon offers only H2 and H3 for headings inside the body. "Body" turns a heading back into normal text.
• Bulleted list and numbered list.

To add a link, select the words first, then click "Link." A small panel opens under the ribbon with an address field and, depending on the state, "Add," "Update," "Remove," and "Cancel." Links must be full web addresses. If you type a bare domain like example.com, unwrite adds https:// for you; email, phone, and page-relative links are not accepted. To change a link that is already there, put your cursor inside it and click "Link." You cannot start a link on an empty selection or across the edge of an existing one, and for the same reason Bold and Italic switch off when your selection crosses a link boundary (the tooltip reads "(not across a link)").

Use a full web address, starting with https://

A helper line sits under the ribbon. Most of the time it reads: "Formatting is yours; regenerating replaces it, like any edit." That is the rule to remember: hand formatting is treated like any other edit, so if you regenerate the draft it is rewritten along with the prose.

Live spelling, grammar, and style

As you type, unwrite checks spelling, grammar, and style continuously. The checking runs entirely in your browser, so nothing is sent anywhere for it and typing never stalls. Notes appear as colored underlines: blue for spelling and grammar, purple for style. Click an underline and a small card opens right at the word with the suggested fix. Click the fix to apply it. On a spelling note you can also "Add to dictionary" so unwrite stops flagging that word, "Dismiss" the note (it stays dismissed on later checks), or "See all in Review" to open the full list in the sidebar.

The Assistant

The "unwrite Assistant" is docked at the bottom of the page. Its input row is always at hand; click into it and the conversation expands upward, click back into the prose and it collapses. Direct the piece in plain language: "tighten the opening," "make paragraph three more skeptical," "lose the second example." You can type or, where your browser supports it, dictate with the microphone button.

The Assistant either answers you or edits the piece, reading which you meant. An edit does not overwrite your text silently: it arrives as marked-up changes on the page for you to review (see the next section). When you ask a question that sounds like it might have been an edit request, the reply offers an "Apply this as an edit" button so you can turn it into a real change with one tap.

Select a passage first and the dock grows an amber strip that names your "Selection:" and offers three one-tap edits scoped to it: "Tighten," "Match voice," and "Expand." Anything you type while a selection is live is scoped to that passage too.

By default every edit lands as markup you approve. If you prefer, open the "Setup" panel and turn on "Apply assistant edits directly" under "Assistant." With it on, edits to text you have highlighted skip the on-page review and apply straight away; a direction typed for the whole draft still always comes back as markup you approve. Either way, every edit saves a version you can restore.

Reviewing edits on the page

When an edit comes back, it shows as track changes right in the prose: additions highlighted, removals struck through. A status strip at the top names the edit and how many changes are left to decide. Hover any change and a card opens with two choices, "Apply" and "Keep original." Decide them one at a time, or use "Apply all" to take everything and "Dismiss" to drop the rest and keep your original text. When the last change is decided, the edit commits itself; you are never asked to re-approve the edit you just requested. The same changes also appear as cards in the review sidebar, so you can work from either place.

Changing the setup after you have a draft

The "Setup" panel on the left holds everything the piece was written from, and you can change it after the fact. At the top it shows the deliverable and your progress toward its length, for example "1,200 of ~2,000 words." When a draft lands well under its target, an advisory appears here. It reports the gap honestly and never pads the writing to hit a number.

This came in at [N] of about [target] words. unwrite writes to quality, not to a word count, and the material here supports about this much. To reach [target], add sources or widen the scope.

Three ways to push a setting change into the piece, from lightest to heaviest. Change a formatting option and a note offers "Apply to this draft," which reformats the current text in place with no regeneration, arriving as markup like any edit. Change the voice or positioning and unwrite offers "Rewrite this draft" to rework the existing prose to match, or "Not now" to keep the new settings for later. At the bottom, "Regenerate from these settings" writes a fresh draft; because that replaces what you have, it asks first ("Regenerating replaces your current draft.") with "Keep this draft" and "Replace & regenerate," and it saves your current draft to version history before it starts, so you can always restore it. Redrafting does not cost a credit; the piece is already paid for.

Extras that appear by type

Some tools show up above the page only for the piece types that use them. For a report, a prompt offers an executive summary: "Reports read best with an executive summary written from the finished content," with a "Generate executive summary" button (it changes to "Regenerate executive summary" if the report changes afterward). For a blog post or article, a search-engine metadata panel offers a meta title and description written from the piece; it never edits the document, it just gives you copyable text, with character counts against Google's limits of 60 for the title and 160 for the description. And whenever your source material changes after a draft was written, a banner offers to bring the writing back in line: "Your sources changed since this draft was written. Re-run the draft to write from the current sources."

Saving and version history

Your work saves on its own. The status line at the bottom right reads "Saved [time] · autosaves on every change" while everything is being kept. There is nothing to press.

unwrite also keeps snapshots. The version button in the toolbar shows the current version number (for example "v7"); click it for the list, "Versions · click to compare & restore." It holds the last ten snapshots, each labeled with what triggered it ("Before: chat," "Before: executive summary," and so on) and its word count. Click any one to compare it against your current draft side by side, then "Restore this version" to bring it back. Restoring is itself reversible: it snapshots your current draft first, and it brings back the matching outline and masthead, not just the body text.

A teammate's piece is read-only

[Author]'s piece, shared in [workspace]. You can read it; only its author can change it.

While a piece is out for review

While a piece is out for review it is held so that what the reviewer sees cannot change under them. Editing is frozen: the page is read-only, the masthead and its alternate chips are locked, the Assistant input is greyed with the placeholder "Out for review," the "Setup" panel's regenerate and rewrite controls are off, the source check will not re-run, and "Fix" is unavailable. A banner at the top of the page says what is happening, and the bottom status line reads "Not saving · this piece is out for review."

This piece is out for review with [reviewer].

What still works: "Copy" and "Export." You can take the current draft out to your clipboard or a file at any time while it is under review; those are reads, not edits, so they are never blocked.

The review

How unwrite checks a draft before it goes out: the editorial review, the claim-by-claim Source check, the independent Second read, and the Continuity read for books.

Every piece you write in unwrite gets read again before you send it. That happens in the Review sidebar, on the right side of the editor. It holds four checks: the editorial review, the Source check, the Second read, and, for books, the Continuity read. Two of them run for you at the right moments; all of them are yours to run by hand any time.

The status chip at the top of the page tells you where the draft stands and opens the sidebar when you click it. It reads "not audited" before the first review, "edited" after you change a reviewed draft, "N total issues · review needed" when there are findings to work through, and "clean read" once nothing is left to look at.

The editorial review

The editorial review reads your whole draft against unwrite's editorial standard: the AI tells, banned phrasings, voice continuity, and structure. It is included on every piece, on every plan, and you can run it as many times as you want.

When a review is owed, an amber "Editorial review needed" row appears at the top of the sidebar. It tells you why: "This draft hasn't been reviewed yet." the first time, or "The draft changed since the last review." after you edit a draft you already reviewed. Press "Run review" (or "Re-run review" if one has run before). If you brought a draft in with "I have a draft to improve," unwrite runs the first editorial review for you the moment the editor opens, so you land on findings, not a blank check.

Findings arrive as cards in the sidebar, sorted under four tabs: "All," "Editorial," "Grammar," and "Style," each with a live count. Each card shows the flagged passage, a short note on what is wrong, and its actions. Click a passage to jump the prose to that spot. "Fix it" asks unwrite to rewrite that one passage in place; it is an AI rewrite, so it takes a moment and runs one at a time, and it is reversible with Undo or from version history. Where a fix is unambiguous across the whole draft (em dashes, for one), a "Fix all N" button clears every instance at once. "Dismiss" sets a finding aside so it stops counting against a clean read and does not return on a re-review. Typography and spelling notes offer an instant one-click correction instead of an AI rewrite, and a repeated proper noun can be silenced with "Add to dictionary" or cleared for this piece with "Clear all N mentions."

A few findings ask for your judgment rather than a rewrite. A whole-piece "Substance" note, a cross-chapter Continuity note, or a fix that already tried and could not change the text shows guidance instead of a "Fix it" button, and you address it by editing directly, then dismissing. A hard AI-tell that the standard will not let stand reads "A hard zero: fix to clear. This one can't be accepted." and has no Dismiss: fix it to clear the count.

When there is nothing left, the sidebar shows a green verdict instead of cards. A draft that never tripped a flag reads "Clean read. No tells found." A draft you worked through reads "Reviewed. Every finding addressed."

The Source check

The Source check is the heart of unwrite's promise that a piece stands on your sources. It pulls the checkable factual claims out of your draft and verifies each one against the sources for this piece, both the material you supplied and any sources unwrite researched. It is included on every piece, on every plan, and it appears in the sidebar as soon as a piece has sources to check against.

When a source-bearing draft finishes generating, unwrite runs the Source check once for you and posts a quiet confirmation: "unwrite checked your claims against your sources automatically. Open the Source check for each verdict and the coverage it reached." After that, run it yourself with the "Check" button, or "Re-check" once one has run. It also re-checks itself automatically after you accept a rewrite, so a fix never leaves a stale verdict behind.

Every claim gets one of four verdicts, and these are the exact words you will see on screen:

Verified / Unsupported claim / Contradicts source / Backed by background, not cited.

"Verified" means a citable source in this piece backs the claim. "Contradicts source" means the piece misstates a source you actually gave it. "Unsupported claim" means no source in this piece backs it. "Backed by background, not cited" is the softer, in-between state: your background material grounds the claim, but background is not a formally citable source, so unwrite tells you rather than either passing or failing it.

The check summarizes at the top of its row. When nothing is flagged it reads, for example, "All 24 checkable claims verified against this piece's sources," and you can expand "See the verified claims" to read each one with a link to its source. When something is flagged it reads, for example, "18 verified · 2 flagged (in the Review area below)." Flagged claims drop into the sidebar as cards you can Fix it or Dismiss: a "Contradicts source" card quotes what the source actually says and links to "view source," and "Fix it" corrects the passage against the sources. A "Backed by background, not cited" card has no Fix it, because there is nothing to correct; it lets you dismiss it or add your own citation.

If you edit the draft after a check, only the verdicts sitting in the wording you changed go stale; the rest keep counting. The row tells you exactly how many and offers a re-check: "The draft changed since the last check. Re-check to re-verify its claims."

The Source check verifies up to 200 claims. That is a real limit worth knowing on a long piece.

One kind of piece is graded differently on purpose. A press release, and any persuasive, own-voice piece, states its own positioning as the author's assertion, not as a citation of an outside source.

The Second read

The Second read is a fresh, independent pass. It re-reads your whole draft cold, line by line, against the methodology, and marks up anything it would still cut. It is the closest thing to handing the piece to a second editor who has not seen your edits. Five reads are included on each piece, and two on a piece long enough to be read in parts, because a read of a long piece is windowed and costs several times a short one. Past the included reads a read still runs; each extra one is 1 credit.

Press "Run" in the Second read row. The row shows how many reads are left, and after the included reads it tells you the next one costs a credit. A companion panel opens while the read runs, with an honest time estimate: a short post takes under a minute, and a long report can take up to five minutes. You can hide the panel and the read keeps going; its results land in the sidebar when it finishes. Canceling uses none of this piece's reads and discards any partial findings.

What comes back depends on length. On a short piece, the Second read proposes a single rewritten draft you accept or reject as a whole. On a piece long enough to be read in parts, it marks its findings in the sidebar instead, and "Fix it" on most findings makes the change in place.

The Continuity read (books)

The Continuity read is for books. It reads every word of your manuscript and compares your chapters against each other: where a term changes meaning between chapters, where a promise made early never pays off, and where a chapter's voice sags below the book's own. It appears only on a book with at least two chapters. Two reads are included per piece; each extra read is 1 credit.

The Continuity read is advisory: its findings arrive as cards you read and act on by editing directly, then dismissing, because a cross-chapter problem cannot be fixed by rewriting one passage. When a read comes back clean, the row confirms it in green: "Your terms, callbacks, and voice hold across all chapters."

Long pieces are read in parts

A book or a long report is too long for any single pass to read honestly, so unwrite slides a window across the whole draft and merges the findings. You will see this while a review runs, in progress like "Reading part 2 of 6" and then "Merging the findings," with the note that "A piece this length is read in parts, and all of it gets reviewed." Every part of the draft is covered; the only visible difference is that a long piece's Second read returns findings in the sidebar rather than one proposed rewrite, and its included Second read allowance is two rather than five.

The audit report

Once you have run the checks, unwrite can hand you a receipt of them: the audit report, titled "Source and editorial audit." It is a companion document, built entirely from what the Source check and the reviews already produced, and it is never folded into the piece itself. It is the record you keep, or share, to show the work behind the writing.

The report opens with the date and a Source check summary, for example "24 claims checked against your sources: 20 supported, 2 contradicted, 2 unverifiable," followed by the claims grouped by verdict (contradicted first, then unverifiable, then background, then supported), each with the deciding source text and link. Below that comes an Editorial findings section, headed "N findings to weigh. These are editorial notes, not blocking errors." It carries the same coverage disclosure the on-screen check shows, and it leaves out claims you dismissed, so the receipt and the sidebar always agree. If nothing has been checked yet, there is nothing to report and the option does not appear.

You download the audit report from the Export menu, where a "Source and editorial audit" section offers it as "Word (.docx)" or "PDF (.pdf)." For the full export dialog, what travels into a file, and the pre-export confirmation, see Getting the piece out (A9).

Review & Approval (Teams)

How to send a piece to a teammate, review one you have been sent, and take a reviewed piece back, using unwrite's second workflow.

Review & Approval is unwrite's built-in sign-off loop, and it is part of every Teams plan. One teammate sends a finished draft to another, the reviewer reads it beside its verified sources and either approves it or sends it back with notes, and the piece stays locked to everyone else until that turn ends. It is the one workflow that lives outside the write-review-export path, so this whole section is Teams-only.

Send a piece for review

Open the piece you want reviewed and look at the top-right of the editor, next to Export. Select Send for review to open a small popover. Pick a teammate under Reviewer, add an optional Note (the placeholder reads "What should they look at?"), and select Send for review. If your Team has no other members yet, the popover says "No teammates yet. Invite one from Team settings." instead of a picker.

1. Open the piece and select Send for review at the top of the editor.
2. Choose a teammate from the Reviewer list.
3. Add a Note if you want to point them at something. It is optional.
4. Select Send for review. The piece locks and your reviewer is notified.

The moment you send, the popover confirms "Sent to [teammate]." and "They'll get an email and a notification." Your reviewer receives both an email (subject: [your name] asked you to review "[title]") and an in-app notification in their bell. The notification carries them straight to the piece, so sending is the whole of it.

While your piece is out for review

Once a piece is sent, it is held. A banner appears at the top of the canvas reading "This piece is out for review with [reviewer].", the footer reads "Not saving · this piece is out for review", and editing is frozen: you cannot type in the draft, use the Assistant, run or re-run the Source check, or use Fix while the review is live. This is deliberate, not an error, and nothing you wrote is lost.

You can pull a piece back with Recall to edit in the hold banner, but only while your reviewer has not opened it yet. The instant they open it, recall closes: the banner switches to "The reviewer has opened it, so it can no longer be recalled. Editing is held until it comes back." and the Recall button disappears. A recalled piece unlocks immediately for you to edit again, and your reviewer gets a courtesy email that you pulled it back (subject: [your name] pulled back "[title]"), with nothing further for them to do.

Find your reviews: the Reviews folder and the bell

Review & Approval keeps track of three separate things, and they surface in different places. Pieces to review, meaning drafts teammates have sent you and are waiting on, live in a Reviews folder in your sidebar (it reads "You're all caught up." when the queue is empty) and also in the Reviews section of your notification bell. Decisions, meaning approvals and change requests on your own pieces, arrive in the bell. Out for review, meaning your own pieces currently with a reviewer, show a small Out for review clock on their rows in your piece list, then Changes requested in amber or Approved in green once a decision lands. The row's Rename and Move items are held while the piece is out.

Review a teammate's piece

Open a review from the bell, the Reviews folder, or the email, and you land on the piece in a focused review page. Up top you see the title, "by [author]", and a verified summary. When every checked claim is backed, that summary is a green chip reading "All N claims verified against the author's sources." When some were not, it is an amber caution reading "N of M claims verified against the author's sources (K not verified)" instead, so a green badge never sits over claims that did not verify.

Below the summary is a claim-by-claim list, "See the N claims the Source check reviewed," that opens automatically whenever something did not verify. Each claim carries its verdict as a chip (Verified, Backed by background not cited, Contradicts source, or Unsupported claim) plus the exact source text and a view source link where one exists. If the check did not cover the whole draft, a notice says so, so the list never reads as the final word. The verdicts mean exactly what they mean in the Source check itself, covered in A6.

What you can do next depends on your role, and this is the one split worth knowing. A member (an Admin or a Member) gets the full suggesting editor: you edit a copy of the draft, every change shows as an amber suggestion the author later accepts or rejects hunk by hunk, and your edits are saved as suggestions, never written into the piece itself. The page even labels this mode "unwrite review · suggesting." A review-only Reviewer gets comments and the decision only, no editing. Both can leave margin comments anchored to a passage, and both make the final call.

1. Read the draft against the claim list and its sources.
2. Select a passage to leave an anchored comment, and reply on or resolve threads.
3. As a member, edit inline; your changes appear as amber suggestions.
4. Approve the piece, or send it back with changes.

To approve, select Approve. unwrite then shows the made-with-AI attestation, and you confirm it with Confirm approval. Approving that attestation is what you are agreeing to:

Made with unwrite AI. Your approval means you reviewed the writing and its sources. It does not certify that a person wrote it.

Once you confirm, the page reads "Approved. The author has been unlocked to publish." To send it back instead, write a line under Request changes ("What should the author change?") and select Send back with changes; as a member your inline suggestions travel with that note. Either decision unlocks the author right away and notifies them by bell and email (subjects: [your name] approved "[title]" or [your name] asked for changes on "[title]").

Get the piece back

When a decision lands, it also shows up right on your piece, not only in the bell. An approval reads "[reviewer] approved this piece." with "It cleared review and is ready to publish." A change request reads "[reviewer] asked for changes." with their note beneath it. Any comments your reviewer left gather in a "From your reviewer" section of the review sidebar, where you can reply and resolve each thread.

If your reviewer used the suggesting editor, you also get a banner: "[reviewer] suggested edits to this piece." with "Review them one change at a time, keeping or rejecting each." Select Review edits and unwrite walks you through each suggested change as a hunk you keep or reject, exactly like reviewing any proposed edit. Accepting them saves normally into your piece.

If you were invited only to review

Some people are added to a Team purely to review, never to write. If that is you, start here: you do not need a writing plan or a piece of your own. You will get an email each time a teammate sends you something, and every review you are assigned also waits in the Reviews folder in your sidebar. Open either one to land on the piece. As a review-only reviewer you can read the draft with its verified sources, leave anchored comments, and approve or send back, the comments-and-decision view described above. The inline suggesting editor belongs to member and admin reviewers; your review is comments and the decision.

Organizing your work

How the Studio sidebar keeps every piece findable: workspaces, folders, search, archiving, the safety net under a delete, and the assets you reuse across clients.

Everything you write lives in the left sidebar of the Studio, under the studio wordmark. Reading top to bottom, you get a search box, Your pieces (your whole library at the top level), then grouped sections: Reviews (Teams only, covered in Review & Approval), Workspaces, Team shared, and Recent. A piece you can select, drag, rename, or file lives somewhere in that tree.

Find anything fast

There is one search box, labeled Search pieces, at the top of the sidebar. Type into it and the sections below give way to a Results list. It matches on a piece's title, its type, the name of its workspace, and the name of its folder, so "Acme" finds every piece filed under an Acme workspace or folder even if the title never says Acme. Each result shows its full location as a path, root first, for example "Acme Corp > Blog > 2026," so you can see exactly where a hit lives before you open it.

Workspaces and folders

A workspace is the top box you sort work into, usually one per client or project. Your plan includes as many workspaces as you want. Create one with the New workspace button (the small plus by the Workspaces heading), give it a name up to 60 characters, and it appears in the list. Click the caret to expand a workspace and see its folders and pieces in place.

Inside a workspace, folders hold related pieces. You can nest folders up to 6 levels deep, and a single workspace holds up to 200 folders. Open a workspace's or a folder's actions menu (the ... control) for + New folder, Rename, and Delete. A folder is for filing.

• File a piece by dragging it onto a workspace or folder row, or from the piece's ... menu.
• Use Move out of workspace in a piece's menu to send it back to the top level (Your pieces). Dragging a piece onto Your pieces does the same.
• Every move raises a short Undo toast at the bottom left for about six seconds ("Moved \"...\" to ..."), so a misdrop is one click to reverse.

Archiving versus deleting

These are two different things, and only one is reversible-with-a-window. Archive (in a piece's ... menu) simply hides a finished piece from your active lists. Nothing about the piece changes, and you can bring it back any time from Settings > Archived pieces with the Unarchive button. Use it to clear the decks without losing anything.

Delete removes the piece from your lists, but on your plan it is not gone: it waits in Recently deleted so you can get it back. The confirmation says so before you commit.

Delete this piece? You can restore it from Recently deleted for 30 days.

Recently deleted: the door back

Open Settings > Recently deleted to see everything you have removed in the last 30 days, both pieces and saved voices. Each row shows how long it has left ("Erased in N days," or "Erased tomorrow" on the last day); the Restore button brings it back to your library. Leave it, and after 30 days it is erased for good. If the list is empty you will see "Nothing deleted in the last 30 days."

The assets you reuse: saved setups and voices

Two kinds of reusable asset live in Settings rather than the sidebar tree. Saved setups (Settings > Saved setups) bundle a client's voice, positioning, material, and style so you can apply them to every new piece in one step; you can keep up to 100, and each row has Edit and Delete. Deleting a saved setup never touches work you already started from it: "Delete the saved setup \"...\"? Pieces you already started from it keep everything it filled in; only the saved setup itself is removed." Voice profiles (Settings > Voice profiles) are the saved voices you write in; your plan includes 3 slots, and you can buy more permanent slots for 2 credits each, up to 6 total. Deleting a voice sends it to Recently deleted and frees its slot right away. Creating setups and voices is covered where you make them, in Setting up a piece and Your account and settings.

Sharing with your team

To share, open your workspace's ... menu and choose Share with the team. A small people glyph appears on the row (Shared with your team), and the workspace appears for every admin and member of your team under Team shared in their sidebar. To reverse it, open the same menu, now reading Make private. Shared workspaces reach the admins and members of your team; a review-only reviewer reaches a piece through Review & Approval instead.

Working inside a teammate's shared workspace

Everyone on the team can read every piece filed in a shared workspace. Opening a teammate's piece shows a read-only page with a Back to the workspace link and a banner naming its author (see The editor). You can also work there: start a new piece with + New piece on the workspace or any folder, drag your own pieces in, and add folders with + New folder. Each person owns what they wrote and the folders they created, so you can rename or delete only your own folders, and only the owner can rename, share, or delete the workspace itself. A piece you file in a teammate's workspace stays yours: it shows in your own Your pieces list with a chip naming that workspace, and your teammates read it without editing it.

Search covers shared work too. Type in Search pieces and the Results list shows teammates' pieces from shared workspaces, each with its workspace, folder path, author, and a read tag, above your own pieces with their locations.

Two shared libraries round out team sharing, both in Settings. The Team shared library for voices (Settings > Voice profiles) holds up to 6 voices the whole team can draft in, shown as N of 6. Add one of your personal voices with Add to team on its row (it then reads added by you), or write a new one with + Add a shared voice; a shared voice needs at least 20 words, and shared voices take none of your personal slots. Team shared setups (Settings > Saved setups) work the same way, up to 50: press Share on one of your own setups and it gains a Shared with team badge, appears for teammates under Team shared setups, and shows in the wizard's picker as Shared by [you]. Make private takes it back. In both libraries the author or a team admin can edit or remove an item.

Getting the piece out

The two ways a finished piece leaves the Studio, what carries into the file, the check that runs before an unreviewed draft goes out, and the audit report you can hand along as a receipt.

When a piece is ready, the Export ▾ button at the top right is how it leaves the Studio. Its menu opens with Copy to clipboard at the top, then the four file formats, so both ways out sit in one place. Whichever you pick pulls the piece exactly as it stands on screen at the moment you click, including any edit that just landed. Beside Export sits a neutral Tools ▾ menu that holds the secondary actions: Adapt, and Suggest SEO metadata when the piece is a blog post or article. (Re-running the draft from changed sources is not here; it appears in the Review sidebar, under the piece's status, whenever your sources change.)

Copy to clipboard

Copy to clipboard, the first item in the Export menu, is the fastest exit and the one most people use to move a piece into a CMS or an email. It writes two flavors to your clipboard at once: rich text for editors that accept it (Google Docs, Gmail, Word, most CMS editors), so headings, bold, italic, and links paste as real formatting rather than literal ## and ** marks; and plain markdown for everything else. The item reads Copied once it has. Copy gives you the body only, ready to paste.

Export to a file

Below Copy, the same Export ▾ menu lists the file formats: Word (.docx), Plain Text (.txt), PDF (.pdf), and Markdown (.md). Each downloads a real file named from your piece's title and today's date. Choose Word or PDF for a finished deliverable, Markdown for a blog or static-site engine, plain text as the lowest common denominator.

What travels into the file

Every format carries the full masthead at the top: the headline as the title, the italic standfirst, and the byline and blurb where the piece type uses them. Bold, italic, links, headings, and lists all export as real formatting in Word, PDF, and the rich Copy. Plain text is the one format that degrades on purpose: headings lose their marks and a link becomes "text (url)" so the destination survives.

For a blog post or article, the search-engine title and description travel too, but never inside the prose: Markdown gets them as YAML front matter a blog engine reads, Word and PDF get them in the file's own document-properties fields, and plain text gets a clearly labeled block at the top. Copy leaves them out, since it pastes into a body. If you edited the piece after generating that metadata, it is left out of the export rather than shipped out of date, and the Export menu tells you why: "Edited since the metadata was written, so it is not in this export. Regenerate it to include it."

DRAFT. NOT APPROVED FOR PUBLICATION

The check before an unfinished piece goes out

Exporting is never blocked, but if a piece still has an unfinished review, or it cites sources whose claims have not been checked against the current draft, a confirmation appears first so you are choosing knowingly. A piece whose review is settled exports instantly and in silence, so seeing this dialog is a sign there is something still worth a look. It never lumps everything together: things that are wrong get their own line under Needs fixing, and judgment calls you may reasonably decline sit under Yours to take or leave.

The buttons are Go back, Export anyway, and, depending on what is outstanding, Review it first (or Take me to the first one) and Run Source check. Export anyway is the primary action, because you asked to export and may have every reason to.

When a piece cites sources that are not yet verified against the current draft, the dialog says so and offers to run the check right there. Click Run Source check and the dialog closes and starts the check; re-open Export once it lands, and the piece exports with nothing left to confirm.

This piece cites sources, and its claims have not been checked against the current draft. Run the Source check to verify them, or export as it stands.

The audit report: your receipt of the checks

Once a Source check or a review has run on a piece, the Export menu grows a Source and editorial audit section offering Word (.docx) and PDF (.pdf), with a one-line note that it is the record of the checks already run. This is a separate companion document, built entirely from checks already run: it lists each claim and its verdict (contradicted and unverifiable first, then background-backed, then supported, with the cited passages and links) and any editorial findings to weigh. It is never folded into the piece itself; it is the receipt you keep or hand to a client or reviewer. The audit report downloads straight away and skips the export confirmation, since it is not the piece.

What you export is yours

Every export and every Copy carries your piece and its masthead, exactly as written, and goes to a client as yours.

Adapt this piece

Turn a finished piece into a new one in the same voice, drawn from its own sources, without touching the original, and at no credit cost.

Once a piece has a draft, Adapt appears in the Tools ▾ menu at the top right of the editor. It opens a short dialog where you set up a new, standalone piece drawn from the one you are looking at. The new piece is its own document from the first word: it does not replace, edit, or reopen the piece you started from, which is left exactly as it was.

Set up the new piece

The dialog asks for three things. Pick the type of piece you want, a blog post, an article, or Something else. Choose a length. And, if you want to steer it, add a one-line direction, for example a fresh angle or a different reader. The direction is optional; leave it blank and unwrite retells the same piece as the type and length you chose.

What carries over

A adapted piece is written in the same voice as the one it came from, so you do not paste a sample or load a profile again. It draws only on the piece you adapted it from and the sources filed with that piece; it does not go looking for anything new. The piece you started from is never touched, and from that moment the two are separate pieces, so editing one never changes the other.

Where it lands, and the checks that run

The new piece appears in Your pieces already drafted, so there is no wizard and no outline to approve. Open it and it behaves like any other draft: unwrite runs its automatic Editorial Review the moment it opens, and, when the piece carries sources, the Source check too, so you land on findings rather than a blank check. From there you edit, review, and get it out exactly as you would any piece; the checks are covered in The review (A6), and exporting in Getting the piece out (A9).

When to use it

Reach for Adapt when you have one finished piece and need another shaped from it. Spin a long report down into a blog post, pull a short summary out of a white paper, or make a version for a different audience, each one in the same voice and standing on the same sources, without going back to the start.

Your account and settings

Everything that shapes how unwrite writes for you, and how you get into your account, lives in one place: Account & settings.

Open Account & settings from the account menu at the bottom of the sidebar. A column on the left lists every area, and the panel on the right is where you make changes. Nothing here has a Save button for the writing preferences: they save the moment you change them.

The settings map

Writing defaults

These apply to every new piece. Citation style and AP style can still be changed per piece in the wizard; the rest are set here once, for your account. You can set a default citation style (No citations, Inline hyperlinks, MLA, APA, Chicago, or Harvard), turn on AP style by default, and choose quotation marks (smart or straight), percentages (spelled out or the symbol), numbers (spell out one to nine, or numerals), spelling (US or UK), contractions (allowed or avoided), headings (Title Case or sentence case), dates (US or international), and whether subheadings are allowed.

Show hint markers turns the small i dots that explain editor features on or off. Writing language is English.

Dictionary and Style rules

Dictionary holds the words the spelling checker should never flag: acronyms, product names, people, terms of art. Add them here, or click Add to dictionary on a spelling note in the editor. Matching is case-insensitive. Remove a word and the checker flags it again.

Style rules is the opposite list: your own crutch words and bans, the tics your ear misses. The Editorial Review flags these in your drafts so you can catch and cut them. You can hold up to 100 words here, and they are checked only on your screen, never sent to the model.

Source material

This is every document, URL, and pasted text across all your pieces, grouped by piece. Drafts cite only from these. For any piece you can Open it, Archive or Unarchive it, or remove a single source with Remove (if the piece is already drafted, you can re-run it from the updated sources).

Sign-in and security

There are three ways into unwrite: Continue with Google, a one-time link emailed to you (Email me a link instead), and a password. Under Sign-in & security you can set a first password or change an existing one, and see when it last changed. Google and the emailed link keep working whatever you set here.

At least 8 characters. Longer is better than complicated.

That is the only rule: length, not punctuation. Changing your password here is housekeeping, so it does not sign out your other devices, and we email you a confirmation. If you have forgotten it, use Forgot it? Reset by email; a reset, unlike a voluntary change, signs out every device.

Data and privacy

Signed in, your work syncs to your account. In this section you can set Your name (how we address you in email), turn Product updates and tips on or off, Clear all local data, Export my data as a JSON file, and Delete my account.

Clear local data only affects the browser you are in. Because your account keeps everything, signing in again brings your pieces, voices, workspaces, and preferences back.

Rate limits

Generation is rate-limited so the service stays fast for everyone. The caps are generous, but a very heavy burst can reach one; if that happens, a generation will not run until the limit resets shortly after, and you can try again then. Your saved work is never affected. The data export is capped the same way, so if it declines, wait a little and try again.

Tours and tips

At the foot of the settings nav are Replay the studio tour and Show writing tips again. You can also open Tours & tips from the sidebar for the Studio tour, the Editor tour, and the writing tips, any time.

Plans, billing, and credits

Your plan, your credit balance, and every money action live in Settings, under Account & Billing.

Open Account & settings from the sidebar, then Account & Billing. The top card shows your plan and what is left; the buttons under it are the actions available to you.

Your plan at a glance

The card names your plan and reads, for example, 12 of 15 plan credits left, with a green meter. If you have bought extra credits, they show alongside as + N purchased. The line underneath states the rule that matters most:

Plan credits reset each billing period; purchased credits never expire.

Add credits

If you run short in the middle of a piece, click Add credits to buy à-la-carte credits in the secure checkout. Credits are $5 each, with a minimum of 3 and up to 100 in one purchase. Bought credits never expire, and they are spent only after your monthly plan credits run out.

Manage billing

Manage billing opens the secure billing portal, where the money details live.

Invoices, payment method, downgrades, and cancellation are handled in the secure billing portal, which opens when you click Manage billing.

Monthly or annual

Annual billing is charged once a year and works out to two months free versus paying monthly. You choose the cycle when you start Pro, with a Monthly / Annual toggle that carries a 2 months free badge on the annual option. To change your cycle after that, use Manage billing.

If a payment fails

If a charge does not go through, a red banner appears at the top of Account & Billing:

Your last payment didn't go through. Update your card to keep your Pro access.

Upgrade to Teams

Upgrade to Teams moves you up in place: $129 a month ($1,290 a year), 50 credits a month pooled across the team, 3 users, plus Review & Approval, shared workspaces, a shared voice library, and shared setups. Click Upgrade to Teams to see the terms before anything is charged.

Teams is $129/month ($1,290/year). You stay on your current billing cycle. We credit the unused part of your Pro plan and charge the prorated difference on your next invoice. Cancel anytime.

1. In Account & Billing, click Upgrade to Teams.
2. Read the terms in the confirmation card, then click Confirm upgrade.
3. The button reads Upgrading… for a moment while your team is set up; the panel then becomes the Teams view. If it has not updated after a moment, refresh the page.

When something looks wrong

unwrite says plainly when something is off; find the exact words you see on screen below, and what to do about them.

Most of these are safety messages, not errors: unwrite would rather stop and tell you than quietly do the wrong thing. Match the message you see to the row below.

Your work is not saving

A piece is locked or out for review (Teams)

When a piece is out for review, the author's editing is held. You will see a banner naming the reviewer:

This piece is out for review with {reviewer}.

Click Recall to edit to pull it back, but only while the reviewer has not opened it yet. Once they have, the banner reads that it has been opened and can no longer be recalled, and you wait for the decision to come back.

Sending a piece for review didn't work (Teams)

Teams messages

You are out of, or low on, credits

When a piece costs more than you have, unwrite tells you the shortfall before it charges anything:

This piece costs 3 credits and you have 1 credit left. Add credits to finish it, or upgrade your plan. Plan credits refresh when your plan renews.

If the period's credits are spent, you see: You're out of credits for this period. Add credits to keep going, or upgrade your plan. Plan credits refresh when your plan renews. Before that, a calm amber bar warns you early, once you drop to a fifth of your allowance or less: You're low on credits, N of M left. They reset on {date}, with an Add credits button. In every case, the fix is Add credits or Upgrade (see A11).

A generation won't run

Generation is rate-limited so the service stays fast for everyone. A very heavy burst can reach a cap; if it does, the generation will not run until the limit resets shortly after. Wait a moment and try again. Your saved work is never affected.

unwrite can't take this one on.

The brief asked for fiction, or for something outside what unwrite writes. Nothing was drafted and nothing was charged. Reframe the brief as a non-fiction piece, or pick a different deliverable, and try again.

A link won't add in the editor

Use a full web address, starting with https://

Enter a full web address; a bare host is accepted and prefixed for you, but mailto, tel, and relative addresses are not. Links also cannot be added on an empty selection or across the edge of an existing link.

An export didn't download

If an export declines with The export is not available right now. Please try again in a little while, or The export could not be downloaded just now. Please try again, or email hello@unwrite.ai, wait a moment and retry; the export is rate-capped like generation. If it keeps failing, email hello@unwrite.ai.

Sign-in trouble

If your password does not work, use Email me a link instead for a one-time link, or Forgot your password? to reset it. If you see You already have an account with this email, try Google or the emailed link. The sign-in screen also carries a Trouble signing in? link to hello@unwrite.ai.

If none of these match what you are seeing, A13 has every way to reach us.

Where to get help

Three ways to reach us live inside the Studio, plus the public FAQ and one email address for anything else.

You do not have to leave your work to get help. The sidebar and the account menu carry everything you need.

• Send feedback: the button at the foot of the sidebar opens a box for a bug, a feature idea, or a content type you wish worked differently. Add your email if you want a reply. It goes straight to our inbox, and every note is read.
• Get help: the account menu at the bottom of the sidebar has a Get help item that opens an email to us with your account already filled in.
• Tours & tips: replay the Studio tour, the Editor tour, or the writing tips any time from Tours & tips in the sidebar, or from the foot of the settings nav.

Answers and what's new

The public FAQ at unwrite.ai/faq answers the common questions: what unwrite writes, how credits work, who owns the writing, and what the editorial review does. Inside the Studio, Release notes in Settings lists every release, newest first, so you can see what changed and when.

Email us

For anything the guide or the FAQ does not cover, a billing question, a stuck piece, or account trouble, write to hello@unwrite.ai. Include the email on your account so we can find you quickly.