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Even with the same manuscript, what comes back changes depending on who reads it and with what eye. Before you press Generate review, you set those conditions at the top of the panel.

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Document and audience

Format has only Web novel for now, and the select box does not respond. Target audience decides whose eyes the review reads with and who it talks to. The six fall into three groups. The two novelist options borrow the voice you would use with the person who wrote the manuscript, the editor and juror borrow the yardstick of someone choosing works, and the two reader options borrow what it feels like to read it. The starting value is Working novelist. What the target audience changes is the point of view and the voice. The items that get scored are set separately under What to critique below, and the balance of praise and criticism under How direct feedback is. So pairing Newer novelist with No-chaser gives a review that explains in plain words but does not soften the weak spots. The review does not go looking for other episodes on its own. To have Working novelist speak to the flow before and after, attach the previous episode under Reference docs. Run the same episode two or three times, changing only the target audience, and the difference shows right away.
The top of the settings screen in the AI Review panel on the right. Under “Document and audience”, the disabled Format box holds “Web novel”, and the Target audience select beside it is open with six items expanded.
The top of the settings screen in the AI Review panel on the right. Under “Document and audience”, the disabled Format box holds “Web novel”, and the Target audience select beside it is open with six items expanded.

Format is fixed to Web novel; you only choose the reading position.

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What to critique

You switch seven axes on and off: Plot & story, Characters, Pacing, Worldbuilding, Prose & voice, Feels, Hooks & traction. Four are on at the start: Plot & story, Characters, Pacing, and Prose & voice. Each axis you leave on gets its own score out of 5. Turn on three or more and the scores are drawn as a radar chart; turn on only one or two and they are drawn as bars. You cannot turn them all off, so the switch on the last one will not go down. For an episode where you are only working on dialogue, leave just Characters and Prose & voice. The comments gather there as well.

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How direct feedback is

How direct feedback is is a three-stop slider. From the left: Gentle, Balanced, No-chaser. You can drag the handle or press the name below it. The starting value is Balanced. Praise and criticism are weighted about 7:3 for Gentle, half and half for Balanced, and about 3:7 for No-chaser. Gentle brings out the good points first and puts the weak spots gently. No-chaser is closer to an editor’s voice that does not go around the subject. Use one on the day you have just finished a first draft and need some energy, and the other on the day right before a deadline when you want to know only what to fix, fast.
The lower part of the same settings screen. Four of the seven switches under “What to critique” are on, and below them the “How direct feedback is” slider handle sits in the middle on “Balanced”.
The lower part of the same settings screen. Four of the seven switches under “What to critique” are on, and below them the “How direct feedback is” slider handle sits in the middle on “Balanced”.

The axes to turn on and the tone are set together here.

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Where the changed values are kept

All three are saved to your account settings. Open the panel on another document and the values you last set come up as they were. To change the conditions after a review has come out, you have to go back to the settings screen with the arrow at the top left of the panel. Run again below the review is a button that runs it once more with the current settings as they are. When you go back with the arrow, the Additional notes you wrote are cleared. If you are about to write the same thing again, press the icon button attached to the right of that heading. Its tooltip is Restore last notes.