The trash

Nothing in kilna is lost by pressing a button. Deleting a work, a version, a score, a release, a note, a scene, a stretch of a short, a comment, a style or a collection moves it to the Trash, where it waits until you decide otherwise.

That is why kilna never asks are you sure. A confirmation dialog charges a click every time to protect against the rare mistake; an undo charges a click only when the mistake actually happened.

Two ways back

The message. Every deletion announces itself in the bottom right with an Undo button. Clicking it puts the thing back immediately — and reopens what was closed, so undoing a deleted work returns you to its card.

The Trash screen. Once the message has faded, the entry is still in Trash in the sidebar. Each row shows what it was, what kind of thing it was, where it came from — a version’s row names the work it belonged to, and carries that work’s cover — and the day and time it went. Restore on the row is the same action as Undo, available for as long as you want it.

What comes back with what

Deleting a work takes everything hanging off it: its versions, scores, releases, notes, scenes and assets. Restoring it brings all of them back, under the same identifiers they had — including the pointer to whichever version was current — so links and references still resolve. A round trip through the trash is not an edit: timestamps are what they were, not what they would be if the rows had been recreated.

A style comes back with its reference pictures.

Deleting a collection does not delete the works in it. They lose their membership and stay where they are; restoring the collection puts them back into it. Works you moved to another collection in the meantime keep the collection you moved them to — restoring returns the collection, it does not overrule decisions you made afterwards.

Restoring a child needs its parent

If you delete a version and then delete the work it belonged to, that version has nowhere to go back to. Its row in the trash is greyed out and its Restore cannot be pressed — but it still says why, on hover and when you reach it with Tab. Restore the work first and the version can follow.

The two final actions

Everything else in kilna is reversible. These two are not, and are the only places still guarded by a question:

• Delete for good removes one entry from the trash permanently. Doing this to a work also clears the entries that only made sense underneath it — a version whose work will never return could never be restored either. The question names the entry.
• Empty the trash clears every entry for the active profile at once. The dialog says how many entries that is before you commit.

Both questions are answered with a button, not by clicking beside them: a stray click leaves the question open rather than deciding it either way.

Neither is done for you: kilna has no retention policy that quietly discards old entries. The trash grows until you empty it, and that is the intended behaviour — a tool that deletes your deletions on a timer is a tool you cannot trust with the ones you have not looked at yet.

What stays after the final action

Emptying the trash removes the thing itself, and the files it held — a purged work’s covers and frames, a purged style’s pictures — leave the workspace’s media/ folder with it, unless something still in the workspace uses the same file. What remains is a bare trace — which row it was, when it went, and whether it came back since — with none of its contents. kilna keeps that trace so that deleted here can be told apart from never here: an import that meets a title you threw away leaves it where it is instead of bringing it back, and the same record is what a future merge between two copies of a workspace will rely on. The trace is not shown anywhere and cannot be restored from; it is a fact about the past, not a second trash.

The trash belongs to a profile

Like works and notes, trash entries are scoped to the profile they were deleted in. Switching profiles shows that profile’s trash, and emptying the trash empties only the active one.