ProselonAn AI ghostwriter that knows your subject as well as you.
For the business or craft title, the big idea, and the how-to that has to leave a reader able to do something they could not do before. The co-writer holds the thesis, the evidence and the vocabulary steady across every chapter.
Your research and your outline stay open beside the draft.
Nothing is pasted into a chat window and nothing is summarised down to fit. While you are drafting section three of chapter six the co-writer can open the thesis, a source, or the brief you wrote for chapter one in March, and it does that mid-sentence rather than at the start of a session.
While you are drafting section three of chapter six it can open the thesis, a source file or the brief for a chapter you wrote in March. Nothing is pasted in first, and nothing has to be summarised down to fit.
Every idea the book teaches from, every worked example and every source gets a page of its own, cross-linked to whatever leans on it. Your argument's evidence is a folder rather than a pile of tabs.
The chapter map, each chapter's brief and each section's brief sit beside the manuscript they plan. A section that drafted into something else is a difference between two files rather than a feeling you cannot place.
The word you defined in chapter two is still doing that work in chapter nine, the case introduced as one thing is never quietly repurposed, and a promise the book makes is checked for having been paid.
By chapter six, one argument has become three.
A nonfiction book is an argument held under pressure for sixty thousand words, and the failures are structural rather than sentence-level. Nobody sets out to write a chapter that abandons the thesis, or to define a term twice, or to let a statistic in without a source behind it. These things happen because no individual page looks wrong — and the book is far too long to hold in the head at once.
Each chapter is interesting and the book no longer argues anything. The drift is invisible from inside any one of them — and a reader feels it as a book that never quite arrives.
The figure that came from memory, the study nobody re-read, the quotation trimmed until it says something else. One of these is enough to cost you the reader's trust in all the rest.
The word you defined precisely in chapter two is doing looser work by chapter nine, and the case study you introduced as one thing has come to be used as another.
Not with the outline. With the reader you mean to change.
Before there is a chapter list, the book has to settle who is reading it, what state they arrive in, and what they can do or see differently on the other side. That promise is a document written before the outline is, and every brief the co-writer drafts from is built against it. A chapter that does not serve it is visible as a chapter that does not serve it.
It is also the least fashionable part of writing a nonfiction book and the part most often skipped, which is why so many of them read as a stack of essays that share a cover.
One thesis, and a claim for every chapter to carry.
This is the part specific to nonfiction, and the reason the Fiction Framework could not merely be pointed at a different kind of book.
The argument is written down rather than held in mind, and beside it sits a second document naming what resists it. Steelmanning the objection before you draft is what stops a book arguing with a straw man for three hundred pages, and naming the competing books is what stops you writing one of them again by accident.
| The document | What it settles |
|---|---|
| OVERVIEW | Who the reader is, the state they arrive in, and what the book promises to change for them. |
| THESIS | The thesis in one sentence, the claims that carry it, and the order a reader has to meet them in. |
| WHAT RESISTS | The strongest objection stated at its strongest, the competing books engaged by name, and the ground the argument does not cover. |
Every sentence that reads as sourced, taken back to the source.
The fact check is its own editing pass, run by an agent that did not write the draft. It hunts the particular failure that costs a nonfiction author most and is hardest to catch in your own prose — the sentence carrying the grammar of evidence with nothing standing behind it.
Eight passes over a finished manuscript.
Each runs in a fresh context, and the agent that assesses is never the agent that drafted. So nothing here grades its own work, and a pass that finds nothing has actually found nothing.
Before any editing starts, an assessor goes through the whole draft for the habits particular to this book and recommends them to the Anti-Pattern Corpus, which the line assessment then works from.
The drafted section read cold against its own brief: does it make the claim it was given, deliver the evidence, and pay the payoff. Findings only — this pass never edits.
The only pass that writes new prose rather than correcting it. The section is rewritten against your voice corpus and your style guide, and it never runs twice on the same prose.
An independent sentence-level read against the style guide and the anti-pattern corpus, worked from the files rather than from memory, returning a report rather than a rewritten page.
Statistics read in context, quotations checked against the original, attributions verified — all against your own research folder. What cannot be verified is marked rather than smoothed over.
Terminology stable across the book, concepts introduced before they are leaned on, a case study told the same way every time, and every promise the book makes paid somewhere.
Grammar, punctuation, spelling, references and apparatus, and manuscript formatting, with the canonical spelling of every term taken from your research overview rather than guessed.
A cold reader takes the entire book front to back, loading none of the planning documents, and a book-scope assessment then measures what the book actually tells its reader against what it promised to.
Eight steps, from the promise to the proof.
The AI co-writer develops a nonfiction book by starting at a high level, asking what the book is about and who it is for, and uses that to drill down into chapter outlines and drafts.
These steps are a framework for the AI co-writer, not a checklist you must march through. Skip straight to drafting if that's what you want to do!
Getting Started
Who the book is for and what it promises to change for them, settled before anything else. The state a reader arrives in, the state they leave in, and the shelf the finished book belongs on.
Thesis
The thesis in one sentence, the claims that carry it, and the order a reader has to meet them in. Then what resists it, which is the steelmanned objection, the competing books engaged by name, and a clear account of what the argument does not cover.
Research
Every concept, term, case study and source the book teaches from earns a page of its own, at whatever depth you care to take it. A recurring example is then tracked the way a novel tracks a character, so the case introduced in chapter two is still itself in chapter nine.
Style and Voice
How the prose ought to sound. Register, sentence style, the vocabulary this writer would never reach for, and the model passages that demonstrate a voice instead of describing it.
Outlining
The book outline down to the chapter map, the chapter brief and the section brief, each stress-tested before the next is written. A chapter brief states its claim, its evidence, its payoff, and what a reader can do afterwards that they could not do before.
Drafting
The co-writer works prose from the briefs you approved, one section at a time, held to your style guide throughout and screened for the patterns you have told it to avoid.
Editing
Developmental notes, a voice pass, line and copy edits. Then a fact check that takes every claim reading as sourced back to your research, and a consistency check that holds terminology and case studies steady and confirms every promise the book makes is paid somewhere.
Publishing
Title research, the store listing with its categories and keywords and author bio, cover, formatting, and the walkthrough that takes the book live.
Why it can hold a whole book’s worth of evidence.
It opens what it needs, rather than uploading everything.
Your book is a folder on your own disk, and the co-writer works inside it. Nothing is pasted into a chat box and nothing is uploaded to us. When it needs a page it opens that page, and where a question warrants it, it will read a great deal more before answering.
There is no index behind this, which is deliberate. Retrieval over a very long context is strong at the head and the tail and measurably worse through the middle, and an embedded copy of your work is stale the moment you edit. Reading the files directly has neither fault. A page saved a minute ago is as findable as one from last year, and a scene is read whole rather than as the fragments that scored highest.
The three things nonfiction authors ask first.
Where a fact is missing the co-writer marks a placeholder and says so, including the ones only you can answer. Your research folder is the authority, and a citation is never conjured to make a sentence land.
Nothing here decides what your book should claim. The documents ask questions that have answers, such as whether the term is used consistently and whether this chapter delivers the claim it stated, and the answers are yours to give.
A book is a folder of ordinary files. Put a manuscript in it and the co-writer works from what it finds. There is no schema to satisfy first, and no import step you are obliged to go through.
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Proselon's co-writer is powered using whatever AI you want, from frontier models to custom local ones to BYOK.
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Local Models
ChatGPT
Gemini
Grok
Claude
Only six dollars a month.
One product, with everything included on both plans. The only decision is how often you are billed, and you make it after the trial rather than now. Your AI subscription is billed separately.
- The AI co-writer, on all six engines
- Continuity across a whole book or series
- Automatic version history
- Export to Word, EPUB, and more
- Every theme, in a light half and a dark one
- No credits or meters
Start with the reader you mean to change.
Thirty days free without a card. Then six dollars a month, on the Claude or ChatGPT account you already pay for, or a free local model that never leaves your computer.