Extypis Releases

Removing an image no longer means switching to edit mode. On a character sheet, a place, or any element of your world, a button removes the image straight from the sheet — the main illustration as well as the ones in the gallery. Same for the cover on the title page, which until now could only be replaced or re-cropped. You are asked to confirm each time.

The home page now shows the software itself — and you can write in it. Instead of a frozen screenshot, the site opens on a real Extypis window: the chapter list on the left, the page in the middle, a character sheet on the right. Everything responds: the nine tabs switch views, the search filters chapters, a highlighted name in the text opens its sheet, and you can type in the page, set text in bold, undo — the word count follows. No account, nothing to install.

The three promises on the home page now read at a glance. The long list of what Extypis does used to sit unfolded under each promise, and it took three screens of scrolling to get past it. It is now collapsed: one button opens all three at once.

A dog-eared corner on the home card. The large card on the home page gets a paper detail: its top-right corner is folded over, like a page you dog-ear to mark your place — you can glimpse the page behind it, and the back of the folded leaf. Corners across the site are also a little rounder by default; you can still set them to your taste.

The question of AI text watermarks now has its answer. Since August 2026, artificial-intelligence providers embed an invisible mark in the text their models produce — a European requirement. We spell it out in the FAQ and in the AI-free mode section: anything you type yourself is never marked, and in AI-free mode, nothing is sent to a model at all.

Genre names were showing up as codes. In the public library and the top menu, "Novel" or "Short story" appeared as a string of technical words. The proper labels are back.

The home page has a new face. The whole top of the page now sits in one large, light card with a paper grain, the text centred and both buttons side by side. Above all, the screenshot of the app spans the full width instead of half a column: you can finally read the chapter names and the text on screen.

New typography for the site's headings. The large headings on public pages move to a bolder, more contemporary typeface, with more room to breathe. The opening sentence on the home page has been shortened to get to the point.

The screenshot slideshow is easier to handle. The arrows now sit on either side of the image, where you look for them, the navigation dots are centred, and on phone or tablet a simple swipe moves through the screenshots.

The top menu shows more clearly where you are. The section you're reading is marked with a coloured dot under its name, written in bold. The other links are easier to read, and the menu no longer shifts by a pixel as you scroll.

The app uses less when checking for updates. A tab left open was polling the server twice a minute instead of once, and never stopped. The check now happens once, and goes to sleep after an hour without activity.

The word count follows what you write, word by word. In the side panel, a sheet's counter used to wait for the save before moving — several seconds after your last keystroke, and sometimes only when you switched sheets. It now updates live, as you type.

Reorganising your outline no longer holds any nasty surprises. Moving a chapter or a sheet could, in some cases, snap back to the previous order after a reload — and the more a project had been reworked, the more often it happened. The cause is fixed at the root: order is now recomputed cleanly on every move, and your exports follow exactly the order you see on screen.

A move is never lost again, even if you reload right away. Every move in the outline is saved on your device before being sent, then sent again on its own if the connection dropped, if you closed the tab or reloaded the page a second later. You can reorganise while the project is still opening: nothing gets lost.

The home page shows up noticeably faster. The screenshot slideshow now waits for your first gesture before rotating, a single large image is requested up front instead of two, and everything that only serves signed-in users — credit windows, address verification — is no longer downloaded by passing visitors. On phone and desktop alike, the page arrives sooner and responds better.

The writing studio opens faster and stays smooth while you type. The writing surface no longer waits for the other tabs' code — storyboard, sheets, mind map, bibliography — before showing up: they get ready quietly in the background over the next few seconds, then open with no wait. Tabs you never open no longer do any work while you write.

The home page finally says what the application can do. Each promise is now followed by the list of what backs it, written in plain language rather than in feature names: write your scenes out of order then put them back, type an at sign to link a character to your text, keep a version before you rewrite everything. A dozen possibilities that had existed for a long time were mentioned nowhere, among them the world map, word targets and quick commands.

Tab rows finally look alike from one screen to the next. The open tab stands out clearly, the others stay back on a very light fill, and the frame that used to surround them is gone. Same treatment everywhere: the writing studio's tabs, the choice between structure and universe, and the one between the current sheet and the project's goals.

Corners are a little less rounded out of the box. New accounts start on a more restrained curve. The setting stays in your hands in the appearance panel, and nothing moves for anyone who has already adjusted it.

Picking a colour feels quieter. The arrows that scroll through the shades only appear as your pointer passes over them, and they are perfectly round again.

Your library becomes a real workspace. Your projects page now fits within a single screen, with no overall scrolling: filters permanently on the left, the list in the centre, the selected project's details on the right, and a summary at the bottom. The list moves from large cards to tight rows, where genre, status, word count and progress are visible at a glance. Title, status and genre can be edited straight in the row, without opening anything. Grid and column views remain available.

Cover images finally appear in your library. A project's cover was only visible on export and on reading pages. It now shows in the list, on the cards and in the details panel, where you can also replace it.

Your word target can be set from the library, and the progress column now genuinely reflects it: it previously relied on a setting no screen let you fill in, so it always stayed empty.

The library adapts to your screen size. Columns appear in stages as the window widens, rather than cramming together. On tablets, a project's details were simply unreachable: both side panels now open as drawers as soon as they no longer fit side by side.

Waiting for a sheet now tells a better story. A spinning circle gives way to a double page whose right-hand page turns onto the left — and the wait is at last centred in the text area rather than stuck at the top.

Renaming a project no longer breaks off at the first character, and the new name appears instantly instead of waiting for a round trip. Also fixed: filtering down to no results at all could freeze the whole page until you pressed Escape.

Your projects open noticeably faster. The library and the writing studio used to wait until all their interface had loaded before even starting to look for your texts. They now begin ahead of time, while the page arrives: your projects are there on first display, instead of leaving you in front of a loading screen.

Clicking "Write" now responds immediately. Nothing indicated anything was happening: the button stayed inert while the studio opened. A progress bar now appears at the top of the screen as soon as you click, the button switches to a waiting state, and the project you're opening marks itself in the list.

A right-click menu on your projects, in list view as well as grid view: open the project, duplicate it, archive it or delete it, without going through the small three-dot menu.

Some subscribers were being treated as free accounts. Subscriptions taken out before the current plans arrived did not record their level, so free-account limits were applied to them and creating a project or a sheet could be wrongly refused. This is fixed.

Project access hardened. A project's structure — its chapters, its sheets and their content — could be read and reorganised by someone who was not its author, provided they knew its identifier. Every access now checks that the project is yours.