In a way, the Graphical User Interface (GUI) can be regarded as the digital scholarly edition’s new paratext: not exactly part of the edited text itself, it still has an undeniable impact on the way the user reads and understands the edition. This makes the interface an important place for the editor to convey her views on the materials the edition has to other. Therefore, this paper focusses on the role the editor of the digital scholarly edition plays in guiding the user through its data, and helping her shape her interpretation of those data – arguing all the while that it is exactly in the interface that these interactions take place. Starting from Mats Dahlström’s proposal for digital scholarly editors to leave Ariadne threads to guide their users through the textual labyrinth of their digital scholarly editions, this paper suggests that Dante’s Divine Comedy might make a more appropriate allegory for the editorial model. Taking a cue from Dante’s ‘Virgil’ character, the editor may prefer to remain in the background of the edition, encouraging the user to be fully immersed in the edition’s data – only to quietly step more and more in the foreground as the user moves deeper and deeper into the edition and could arguably use more explicit guidance. After taking a more theoretical approach to this topic, the paper illustrates the kind of editorial decisions that may be involved while designing a digital scholarly edition by taking the Beckett Digital Manuscript Project (BDMP) as a case study. Walking the reader through the many tools and functionalities the BDMP has to other, this paper explains how this editorial model would apply to the project, focusing especially on the changes the edition’s graphical user interface underwent as it was redesigned in November 2015.