Fictionary Walk-Through, with Founder Kristina Stanley

TL;DR

Fictionary’s editing workflow is built around importing a DOCX with chapter formatting and explicit scene-break characters so the app can reliably segment the manuscript into scenes.

Briefing Cornell Notes

Briefing

Fictionary’s founder Kristina Stanley walked through how the platform turns a manuscript into a scene-by-scene editing dashboard—then uses AI-derived story structure signals to help writers revise with less guesswork. The core pitch: writers can upload a DOCX, get an automatically analyzed story arc and scene breakdown, and then edit using structured “story elements” (hooks, POV clarity, emotional impact, purpose, and more) so revisions stay focused on what each scene must accomplish.

The workflow starts with importing a manuscript in a specific, industry-friendly format: each chapter begins with the word “chapter,” and scene breaks are represented by a unique character (Stanley recommends something like a tilde rather than punctuation that might appear frequently). Once uploaded, Fictionary analyzes the text to generate a story arc view, word counts per scene, and a cast-of-characters list. Because AI won’t perfectly identify every character, the interface lets writers quickly correct the character list—deleting false positives without removing anything from the manuscript, and adding missing characters so later insights remain accurate.

After an initial confirmation pass, writers move to an overview and then into the “evaluate” workspace, where the original manuscript appears on the left and editing happens in the middle while story-element diagnostics appear alongside it. Stanley emphasized that the tool is designed for incremental revision: each scene becomes a manageable unit rather than one overwhelming manuscript edit. On the scene level, writers can tag elements such as the entry hook (what makes the reader keep going), exit hook (what propels the next beat), and closing type of action (dialogue, thought, description, or movement). A key diagnostic is whether a scene can be named in just a few words; if it can’t, the scene may lack focus or a plot-linked purpose and becomes a candidate for cutting or reworking.

The platform also distinguishes between suspense and conflict. Suspense is the anticipation of something bad; conflict is the actual escalation—arguments, physical struggle, or action that changes the situation. Stanley used this distinction to show how writers can diagnose why a scene feels tense but not escalating, or escalating but not gripping.

For higher-level structure, Fictionary includes a “story arc” system inspired by Aristotle’s framework and used across commercially successful storytelling. Writers mark up to five plot-point anchors (with flexibility about where within a scene the anchor sits), and the app redraws the arc as revisions change. The goal isn’t strict formula-following; it’s spotting imbalances—such as a long stretch between inciting incident and plot point that can feel boring, or a steep, rushed climb that can feel shallow.

Stanley also addressed practical concerns raised by users: plot points are limited to five categories even if a story has more beats; advanced mode can be toggled to reduce cognitive load; scenes can be rearranged by dragging chapters; and the tool supports non-linear time patterns by helping writers detect structural patterns rather than auto-generating a timeline. She highlighted that Fictionary integrates with ProWritingAid via a Chrome extension for copyediting inside the workflow.

The session ended with guidance on exporting, reimporting (which overwrites prior edits), and using a two-week free trial. A discount code—pwa25—was offered for a limited time, reinforcing the broader message: the platform aims to make story editing both teachable and actionable, without replacing the writer’s judgment.

Cornell Notes

Kristina Stanley demonstrated how Fictionary helps writers revise by breaking a novel into chapters and scenes, then attaching structured “story elements” to each scene. After importing a DOCX (with chapter formatting and scene-break characters), the system analyzes story arc signals, word counts, and a character list that writers can correct. In the evaluate workspace, writers edit while tagging hooks, POV clarity, closing action types, emotional impact, and—critically—each scene’s purpose and whether it can be named in a few words. A separate story arc view (based on Aristotle’s framework) redraws as plot-point anchors are set, helping writers spot pacing problems like long gaps before major turning points or rushed climaxes. The approach matters because it turns editing into focused, repeatable checks rather than a single, overwhelming pass.

How does Fictionary’s import setup affect what the tool can analyze later?

Import requires a DOCX with chapters starting with the word “chapter.” Scene breaks must use a unique character (Stanley suggested a tilde) so the app can reliably detect where one scene ends—especially important for e-readers where page-bottom breaks can confuse readers. After import, Fictionary analyzes the manuscript to build story-structure data like word count per scene, a cast list, and story-arc-related information. If formatting is off, the app offers a reimport option to try again.

What does “naming a scene in three words” reveal during revision?

Stanley framed it as a focus test. If a writer can’t name a scene in just a few words, the scene may be unfocused, overloaded with unrelated material, or missing a clear plot-linked goal. She connected this to purpose: if the scene can’t be named, it’s often hard to determine its purpose too. In that case, the scene becomes a candidate for cutting or for moving pieces into another scene.

What’s the difference between suspense and intensifying conflict, and how does that show up in editing tags?

Suspense is anticipation—what makes the reader wonder what will happen next (e.g., “whose funeral is it?”). Intensifying conflict is the escalation into action or struggle—arguments, physical fights, or concrete events that change the stakes. Stanley emphasized that suspense keeps readers reading, while conflict delivers the payoff of tension through actual events.

How does the story arc feature work, and what does it help writers catch?

Writers mark plot-point anchors (up to five categories) and the app redraws the arc each time significant edits occur. The arc uses ranges rather than exact timing, and writers can decide whether the suggested placement matches their intent. Stanley described two common failure modes: (1) a long gap between inciting incident and plot point that can feel boring and cause impatience, and (2) a steep, short rise that can feel rushed and shallow. The tool is meant to guide judgment, not enforce a rigid formula.

Why does Fictionary limit plot points to five, and what should a writer do if their story has more beats?

Stanley said the software’s plot-point categories are limited to five, but a story can still contain many scenes within each plot-point phase. The writer’s job is to choose where each plot-point anchor begins or ends within a sequence (e.g., the first scene of a climax sequence or the last). If the story has more turning beats, those can be handled through scene purpose, hooks, and other element tags rather than adding more plot-point categories.

How does Fictionary handle non-linear time (past/present switching) and scene reordering?

The app doesn’t automatically generate a full timeline, but it does help writers detect structural patterns from a high-level perspective. Stanley said chapters can be moved by dragging, and the system redraws elements accordingly. For time-period switching, writers can tag scenes with the relevant time context (e.g., “1884” vs present) and then use story arc and pattern insights to ensure pacing and clarity.

Review Questions

When would a writer leave a story-element field blank (e.g., conflict) versus tagging it, and how does that choice affect later pattern checks?
How can the “entry hook” and “exit hook” tags help diagnose a scene that feels slow or disconnected from the next scene?
What kinds of pacing problems does the story arc redraw help identify, and what does Stanley recommend doing after major scene moves?

Key Points

1
Fictionary’s editing workflow is built around importing a DOCX with chapter formatting and explicit scene-break characters so the app can reliably segment the manuscript into scenes.
2
Writers correct the AI-derived cast list (removing false characters and adding missing ones) because character accuracy drives later character and scene insights.
3
Scene-level revision centers on tagging hooks, closing action types, POV clarity, emotional impact, and—most importantly—each scene’s purpose and whether it can be named in a few words.
4
Suspense and conflict are treated as distinct levers: suspense is anticipation, while intensifying conflict is the escalation into action or struggle.
5
The story arc feature uses Aristotle-inspired plot-point anchors (five categories) with ranges, redrawing as revisions change to flag pacing imbalances like long delays or rushed climbs.
6
Chapters can be rearranged by dragging, and the system updates structural elements accordingly, but writers still need to verify the final arc after large changes.
7
Fictionary integrates with ProWritingAid via a Chrome extension so copyediting can happen inside the same workflow.

Highlights

Scene “purpose” and the ability to name a scene in just a few words act as a practical focus test—when naming fails, plot relevance often fails too.

Suspense is anticipation; intensifying conflict is the actual escalation. Treating them separately helps writers diagnose why tension doesn’t translate into momentum.

The story arc redraws after major edits and uses ranges, letting writers spot pacing problems without forcing a rigid formula.

Fictionary’s advanced mode can be toggled to reduce overwhelm, starting with a smaller set of high-impact elements before expanding to more detailed diagnostics.

Topics

Fictionary Walk-Through
Story Editing
Scene Hooks
Story Arc
POV and Goals

Mentioned

ProWritingAid
Fictionary
Kristina Stanley