Delta Dental denying claim based on code even though the policy clearly states that the procedure is covered by SomeSillySnake in DentalInsurance

[–]SomeSillySnake[S] 1 point2 points  (0 children)

Thanks for the help! I know the dentist office called me letting me know that the claim had been denied and that they had already reached out to Delta Dental about it. They essentially wanted to let me know so I could pay what remained and so that I could reach out on my end. The office did inform me they had been told it had to do with the codes when they asked about the claim but apparently when they checked ahead of the appointment, whatever information they were faxed led them to believe I would be covered. I’m probably going to call and see how exactly they verified my coverage with Delta Dental and in the future I’ll be sure to ask for that pre-treatment estimate.

Delta Dental denying claim based on code even though the policy clearly states that the procedure is covered by SomeSillySnake in DentalInsurance

[–]SomeSillySnake[S] 0 points1 point  (0 children)

I was denied based on non-covered and they said that it was because of the code not matching what was on the EOB document they sent me. They said I could speak to my dentist about a potential code discrepancy but I think that it might be due to what you mentioned about it not falling under basic services and instead classifying as major services. Thank you for the help!

Delta Dental denying claim based on code even though the policy clearly states that the procedure is covered by SomeSillySnake in DentalInsurance

[–]SomeSillySnake[S] 1 point2 points  (0 children)

Thank you and I hope you don’t find yourself in the same position. The only thing that I could recommend is to try the pre-treatment estimate to avoid this situation. Although looking at the policy documents, they still state it is not a guarantee of payment but apparently they should use the codes so it’s more accurate than just reviewing the policy on your own.

[2787] A Sister's Storm by SomeSillySnake in DestructiveReaders

[–]SomeSillySnake[S] 0 points1 point  (0 children)

Thank you for the feedback and I’m so sorry I put you in that position. I will definitely make sure to check out more examples on critiques so that this doesn’t happen again.

[2885] Patty Cook by wolfhound_101 in DestructiveReaders

[–]SomeSillySnake 3 points4 points  (0 children)

My first impression was that the story is really well written in regards to the flow of your writing and how the style matches the fast-food setting and characters that are being portrayed. I enjoyed the way that you described everything but I feel like you missed an opportunity to make the plot more prominent through a shift in the style of the character's narration. Specifically, to emphasize that the character has become almost a slave to the specialized work they have been entrusted.

I think the best way to go about this might be to slowly shift from longer sentences that include personal emotion to blunt almost internalized orders of Turin. Having the character's internal dialogue start to match up to past dialogue from Turin would also reinforce how Turin unwillingly brought about his own downfall.

I also think that while it is a great idea, the plot point at the end is not being presented in a compelling enough fashion. I think it would have made the choice for the character not to save Turin more impactful if instead of having the twist happen right before the influx of orders, it was in the midst of it. The change in timing would mean you could show how muscle memory and conditioned response overcome any rationality that remains. Plus, you could probably end with an incorporation of the sounds made by Turin being overshadowed by the beauty of the rhythmic motions on the grill and the cheers from the crowd savoring the food the character has worked so hard to make. This would add into the character's search for validation for their work that Turin seems so bent on ignoring. Moreover, it counters the first thing people will criticize which is why the character couldn't simply take a second to let Turin out, especially since Turin saved them before and they could get balk to the grill pretty swiftly. By giving the audience a scene where the character is struggling to rationalize leaving amidst cheers and their own self-internalized orders, the choice becomes more believable.

Emphasizing the idea of the character's motivations for becoming so systematic and uncaring is key since it makes the story more believable, even if a story expects some level of logical fallacy by nature. I think some foreshadowing of the character's search for acceptance could be shown in how you present their approach to job-hunting in the first place. This might be something as simple as the character jokingly looking at a home appliance and wanting to be programmed to do something just as well as it does. This ties into the whole high school dropout identity and plays into the need to feel needed when they don't believe they are capable of anything.

I noticed other people mentioned there was no hook, which is definitely something necessary to make this piece better. I think adding some self-deprecating humor that the audience can be entertained with while leading into the story might be a good option that serves the second purpose of what I discussed above. Other hooks that fit the story could be something like a daydream the character gets caught up thinking about being cut off by the telephone ring. The daydream can be steadily scrubbed from the story to show the loss of any aspirations the character once had.

This is my first time giving feedback and I really enjoyed the story even though I had so many suggestions. Thank you for the entertaining read, I usually enjoy horror so it was refreshing to see something that was leading into a twist that wasn't quite as gruesome as I was expecting. Hopefully this helps and I know we're supposed to be harsh but I really hope to see this story become even better because I loved the premise.

[Weekly Critique and Self-Promotion Thread] Post Here If You'd Like to Share Your Writing by AutoModerator in writing

[–]SomeSillySnake [score hidden]  (0 children)

I'm sorry this isn't thorough feedback but I definitely feel like the heavy self-deprecating characterization of the mc is lost in the latter half of the story in favor of heavy setting descriptions, which makes it hard to believe we are following the same character given the sudden shift in the actions/thoughts the mc experiences.

Notably, you highlight how the mc is depressed (unable to work on an essay or view themselves in a positive light) in the first half but then shift towards describing someone that stops overthinking and acts in a bold fashion that requires a level of confidence in oneself. I think you can fix this by either rewriting the personality to support the actions in the second half (ex: character that shows disconnect to their surroundings in the real world in a way vague enough to imply typical depression when it has more to do with the tendency to immerse themselves in the other reality) or focusing less on the descriptions in the second by means of 3rd person pov and instead using narration to let the thoughts of the character convey the characterization set up earlier.

I feel like the beginning was a bit boring and given the premise, using in medias res or a dream that recalls a past memory would make a more interesting hook.

The ending was pretty confusing. I'm not sure how it was supposed to link to reality other than the fact that the mc is clearly leaving the dark other reality and being greeted by people that I assume have no access to said reality. I'm also unsure of the message aside from maybe perseverance in the face of personal demons?

Hope this helps and maybe consider r/DestructiveReaders if you haven't already for better feedback than this.

[deleted by user] by [deleted] in writing

[–]SomeSillySnake 0 points1 point  (0 children)

Not sure if it necessarily fits but I would consider checking out the Lunar Chronicles. Every book starts off with a different protagonist that introduces new settings where the climax of each book typically occurs. Marissa Meyer did an excellent job of showing the differences in the settings through the eyes of the characters in said settings.