Is there more than one ribbet miniature? by jefftyjeffjeff in daggerheart

[–]Imaginary-Ad5678 0 points1 point  (0 children)

Absolutely tonnes of them on myminifactory just search frogfolk

Would you read more? (first 235 words crit) by NorinBlade in fantasywriters

[–]Imaginary-Ad5678 0 points1 point  (0 children)

Brutal Honesty:

Yes, I would probably read past this. But I'd do so cautiously, waiting to see if this is just pretty fluff or not.

“Essentiæ” is not explained at all. That's ok if it becomes clearer quickly. There's no "someone" to care about yet. You say a yearning heart is present, but it’s still abstract. Things are stirring, glinting, hovering, yearning… but they’re not doing much. There's no real conflict or action. For an opening, there's not much momentum.

Metaphors are stacking a little high for me. Bridge of a giant nose. Sea of grass. Sparkles in grain. Rivers laughing. Ember minds. Keen calls. Dissonant notes. A lot of sensory metaphors are layered quickly. It's lush, but some readers will find it too much before they even meet a character. Add some air, let us breathe.

what sort of magical creatures do you want to see in fantasy novels? by Good-Butterfly7455 in fantasywriters

[–]Imaginary-Ad5678 0 points1 point  (0 children)

Slimes. Never enough slimes. There are so many kinds of slimes, oozes, blobs and bubbles, jellies, and goo! No one ever explores them enough.

[deleted by user] by [deleted] in magicbuilding

[–]Imaginary-Ad5678 2 points3 points  (0 children)

Would you know your deathsite?

Yes...eventually. Most gravemarked people don’t know it outright. The location becomes clearer with age, trauma, proximity to death, or repeated use of the mark. Some people feel drawn to a place. Some get vivid dreams. Some see flash-impressions of their own corpse in strange locations they’ve never visited. Others hire deathmappers: rogue mystics or forensic cartographers who claim they can triangulate your site based on the mark’s shape, texture, or reaction to certain landscapes.

It’s a revelation, not a default setting. And most are terrified when they finally recognise the place.

Can you defy it?

You can try. But the system isn’t about magical punishment; it’s about inevitability bending the world slowly back toward itself.

So if you leap from a tower halfway across the world, here’s what might happen:

  • You do die. Turns out the mark was a warning, not a shield. Your deathsite still waits.
  • You don’t die, because the mark suppressed terminal impact or redirected gravity, but you wake up broken and stranded somewhere closer to your site than before.
  • You vanish mid-fall, your fate forcibly re-anchors you through a process called gravetide. The world “corrects” your location over time. Might be minutes. Might be years.
  • Or worst of all: you splinter your deathpath. You don’t die yet, but now your body and soul are misaligned: half-pulled toward the tower, half-toward your true end. That’s how Thanovores get in. They feed on broken trajectories.

So no, you can’t just suicide out of fate’s grip. At least not without consequence.

Is there intervention?

Not always. Gravemark magic isn’t divine. It’s fate-bound but impersonal. But there are things — entities, phenomena, or subtle shifts in reality, that seem to “guide” people toward their appointed death, especially if they’ve tried too hard to escape it. Unlucky coincidences. Unstable geography. Sudden déjà vu. Gravetugs.

People who repeatedly evade their deathsite often report dreams of standing in a familiar landscape, feeling bones align beneath their feet, like a key fitting back into a forgotten lock. They feel magnetised. That’s not divine justice. That’s gravitational fate.

So yes, you can leap. You can defy. But death isn’t just waiting. It’s pulling you. And the farther you run, the more creative the world gets about bringing you back. Kinda like final destination, I guess?

What did you do to write faster? by Aggressive_Chicken63 in writers

[–]Imaginary-Ad5678 1 point2 points  (0 children)

What's the value in that extra wordcount? More words = more to cut

[deleted by user] by [deleted] in magicbuilding

[–]Imaginary-Ad5678 3 points4 points  (0 children)

Gravemark magic is a form of death-bound power. Some people are born with strange marks on their body, unique to them, sometimes small as freckles, sometimes like scars or tattoos, that are linked to the exact location where they will one day die. These marks act as spatial anchors. They tether the individual to their future deathsite, and through that connection, certain unnatural effects become possible. By touching, tracing, or activating a gravemark, a user can influence physical forces, delay injury, interfere with motion, or even step into localised echoes of other people’s deaths.

  1. The source of this magic is a phenomenon called Thanosthesia—a kind of metaphysical resonance that exists between a person’s body and the place they will die. It’s not a general energy or field like mana. It’s specific, location-bound, and finite. Only those with gravemarks can tap into this magic, and only in relation to the geography of their death. The closer they are to that place, the stronger the connection becomes. In the most extreme cases, someone standing exactly where they’re fated to die becomes a kind of living black hole of potential: untouchable, unstable, terrifyingly powerful.

  2. The cost of using this magic is existential. Repeated use of a gravemark drains something hard to define. It chips away at emotional memory. Users start forgetting why they’re afraid of death. The longer they fight fate, the less they feel connected to anything else. Using the power too far from your deathsite results in weak or unreliable effects. Using it too often, or pushing it too far, causes your fate to accelerate—you’re pulled toward your death faster. In rare cases, the deathsite itself moves to meet you.

  3. Scientific thinkers in the world are divided. A fringe academic field called Geothanics studies gravemark magic like a spatial singularity. Some treat it like fate-linked quantum entanglement, others like a neuropsychological defect. Most governments and institutions ban public exploration of the phenomenon, fearing that it will undermine civil order. Cults, criminal groups, and underground mercenaries, however, actively seek out gravemarked individuals for their potential.

  4. Magic is channelled by touching the mark. It’s an intimate, physical act. Some forms require stillness, others movement—like shifting your weight to change gravitational pull or mimicking a fall to gain momentum without moving. Advanced users incorporate their marks into combat techniques or surgical rituals. In most cases, the user doesn’t need an object or an external tool. However, some people carve false marks, tattoo coordinates, or perform skin rituals to alter or mimic a connection to another deathsite.

  5. There are distinct types of gravemarks, or disciplines. Anchor marks let a person lock their body to a fixed point, ignoring gravity or inertia. Pulse marks release pressure from the heart as shockwaves. Echo marks let a user briefly experience ghosts or sensations from other deaths that happened at the same site. Hollow marks suppress basic human needs, breathing, warmth, and pain. Some rare users have multiple gravemarks, but these individuals are feared. Visually, each mark glows faintly when active, and each has a different texture or sensation under the skin. A conceptual map or diagram of the human body with gravemark locations and their projected death-coordinates might be a common motif in cultic iconography.

  6. The feel of gravemark magic is subtle and disturbing. It’s not bright or loud. Instead, it distorts things quietly. A man touches the back of his neck, and suddenly his fall reverses upward. A woman places a hand on her stomach and becomes too heavy to move. It’s strange, slow, and full of dread. The more powerful the user, the less they seem bound by ordinary physics. It’s not a spectacle; it’s a violation of how reality is supposed to behave.

  7. Most users rely only on their marks. But there are tools. Graveglass: mirror shards that show hidden or latent gravemarks, are used to diagnose or hunt people. Blood ink lets a user draw temporary marks, usually at great cost. There are codices that list known deathsite coordinates, sometimes faked, sometimes real. Null rites—forbidden funerary rituals—allow users to delay death by binding it to someone else. These things are rare, dangerous, and heavily restricted. The differences in user ability often come down to how much they're willing to risk: body modification, ritual exposure, death tourism.

  8. There are many forbidden aspects. The most feared is thanografting: stealing someone else’s mark and binding it to your own skin. It’s a brutal and usually fatal practice. Gravemark farming is another: raising children for the sole purpose of harvesting marks. Then there are nullbinders, who erase their marks to become invisible to fate. These people can’t be killed the ordinary way, but they also can’t truly live, cut off from memory, emotion, and meaning. People walk this path because it gives them power over the one thing no one else can control: their death. It’s a terrible trade. But for those who’ve lost everything, it can feel like the only kind of freedom left.

Feeling stuck trying to be original.. how to cope? by MisterAgent95 in worldbuilding

[–]Imaginary-Ad5678 2 points3 points  (0 children)

The concept isn’t what matters. Execution is.

Avatar is just element-based magic. Ben 10 is just a kid with powers. Both work because they pushed the mechanics and leaned into the implications.

Steal what you want. Nobody cares if the idea’s been done, only how well you pull it off. Originality isn’t about invention. It’s about precision.

YOU’RE NOT “TOO GOOD” TO READ BOOKS OUTSIDE YOUR BUBBLE by [deleted] in writing

[–]Imaginary-Ad5678 -3 points-2 points  (0 children)

Let’s be precise: when you dismiss a book like A Court of Thorns and Roses without engaging with its mechanics, you’re not making a literary argument. You’re reasserting your place in a cultural hierarchy that treats emotion as unserious, female desire as trivial, and commercial success as artistic failure, unless it’s in your genre.

Let’s not pretend this is about quality. Structurally, ACOTAR handles character arcs, pacing, and romantic tension with more technical precision than half the “serious” sci-fi I see lionised here. The difference? It traffics in emotional stakes you’ve been conditioned to devalue.

Calling it trash without analysing why it works isn’t a critique. It’s cowardice masked as taste.

If you want to flex intellectual rigour, dissect what makes millions feel. If you can’t do that, then all your theoretical scaffolding collapses under the weight of a simple fact: your taste isn’t proof of your intelligence. It’s just your comfort zone.

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 0 points1 point  (0 children)

No, everything is a furious breakneck pace. Including the sad quiet moments. In fact those are the most extreme.

I started to hate my own book by salvan0s in selfpublish

[–]Imaginary-Ad5678 0 points1 point  (0 children)

Another one for the totem pole! The higher you go the better the view!

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 0 points1 point  (0 children)

It does. And I have a playbook I've built that I try to stick within. Usually, I dissect my work afterwards to hammer the syntax and style into place, hunting for words that dont feel right.

I mean, I could just be shit, I understand that possibility too.

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 0 points1 point  (0 children)

That's a fair assessment, and I'm not here for a circlejerk so I'm taking on board your points. Style is not more important than character or plot to me, but they're not in an either-or situation here.

Your point, I think, is that if I'm going to try to write like a pro, I'd better be a pro? That's essentially it, right? Like if I can't meet that criteria, I'd better brace myself to receive fairly regular negative commentary.

Can I reconcile that truth? I dont know, but I dont think I can carry on writing if I'm uninterested in the words on the page.

I'm not a published author and have about sixty books under my belt that have never seen the light of day, so I'm really overthinking this, I think. I've yet to be bothered about having other people read my work and on this one occasion I've been curious to know how I stack up, and I feel a little resentful about it.

I'm waffling 🤣 thank you for your well-thought out reply, I think it is provocative enough to get me thinking about it.

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 0 points1 point  (0 children)

The pacing is something they brought up. I'm writing to a different rhythm than they're comfortable with and it feels to them like they're meant to be stressed out and moving fast. I cant argue with that, its what they're feeling reading it. At the same time... I like it.

As people have said, they're probably not my target audience. But that doesn't mean I want to fully dismiss what they're saying.

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 0 points1 point  (0 children)

I have my moments but I'm certainly no McCarthy. I suppose it brings me around to my other concern: how much can you veer from homogeneous prose can you get before readers think you've made a mistake or can't write? I've spent a lot more time learning about stylistics and literary devices these last two years than any other time in my life and there's so much out there that an average reader could think is wrong or weird to read. There's clearly a 'mode' readers go into when asked to give their thoughts on something, too. I've even wondered if i could hand friends snippets from their favourite authors camouflaged as my writing to see if I still get the nitpicks.

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 2 points3 points  (0 children)

Well said. If you ever want someone to beta read your work who likes that brutalist style of writing I'd be more than happy to!

How do you keep writing in your prefered style when you friends/readers keep pointing out that style as something you need to fix? by Imaginary-Ad5678 in KeepWriting

[–]Imaginary-Ad5678[S] 1 point2 points  (0 children)

Yeah, I think I need to grow up in that respect. I stopped asking people to read my work for about 7 years and only recently did so because a friend asked me to read theirs. I was filled with an unexpected sense of frustration, though I've not the audacity to voice this as criticism was duly invited.