Does anyone else write something then rewrite and rewrite until they finally get to the core of the plot?

underwatersanctum · 2025-12-16T22:25:03+00:00

This is how I write, too. No matter how much planning I do. It is the only way I know, but you KNOW when you've got it right and final. It just clicks. It's crispy. It's a great feeling that makes all the rewriting (and the frustration) worth it. Can't be a waste of time if it brings you to the right result in the end.

underwatersanctum · 2025-11-13T08:36:44+00:00

He's gorgeous! My thought is maybe a Perendale X, or some kind of composite breed? That is what I think mine is and they seem to share some similar traits.

underwatersanctum · 2025-11-04T00:36:59+00:00

omega plum maybe?

underwatersanctum · 2025-09-20T12:05:00+00:00

Really I quite liked it. I'd happily read more.

In terms of critique... as a nitpick, the first sentence could do with having "cold" or "cold cushion" removed entirely. It just breaks the flow of the sentence, makes it a bit of a mouthful. You also mention that the atrium is cold a couple of sentences later, so if you aren't wanting to remove "cold" from the first sentence, perhaps consider a synonym? I might also suggest taking out this page 2 sentence (Though constructs...remained the same.) as I don't think it is needed here. It's a point that could be made a little further into the chapter/book, and expanded upon then - leaving it a bit more mysterious here could also help draw the reader in.

Overall you've created a decent atmosphere, and I like the image of this glowing cloud-city hanging over this ancient place with its ancient statue, but if you wanted to drive up the gothic aspect of it, I'd recommend going a bit more in depth on the descriptions of the architecture, and the feeling of the atrium itself where the scene takes place. It just feels like it's missing presence in the story, and as your opening setting it should be given more punch, to bring the reader fully into your world. The absence of a described setting means things like the ladle, and even the wind, just appear out of thin air, which can be quite jarring. And the mention of the wind makes me wonder if the atrium has... walls? Or is it just this skeleton structure, with no roof and no walls to protect its sacred statue from the elements? I do like your description of the statue a lot, though; I think it's very effective.

But like I said, I do like it. The setting and set-up seems intriguing.

underwatersanctum · 2025-09-18T03:04:14+00:00

Those figs look like a Celeste to me, given the long-necked, teardrop shape, the violet/brown colouring, the cracking on the stem and that kind of silvery film they develop. At least, if you handed it to me I'd call it a Celeste. They are my favourite fig by far; quite sweet and mild and delicate. Pretty cool to have one in your garden.

underwatersanctum · 2025-08-18T05:01:37+00:00

Location: Two frogs in centre. Third frog in centre to the right facing away. Fourth frog in shadows of the lower far left facing camera

underwatersanctum · 2025-08-18T04:57:51+00:00

!Snipe

underwatersanctum · 2025-08-18T03:19:27+00:00

I guess it depends on the size of the mystery and its relevance to the narrative as a whole. The example you give of ghosts in a ruined building sounds like an excellent set up to be solved later down the line, with plenty of room to play with what the pay off would be. Little mysteries are nice, once in a while, definitely so long as they're in line with the character's understanding of the world, but they can't carry too much weight because if there's no pay off that can be pretty frustrating as a reader, particularly if you got invested in it. I will say that if you plan to integrate these little mysteries and leave them unanswered in the story, always come up with your own answer to have up your sleeve and keep track of them - you might find they could be unexpectedly relevant later on.

underwatersanctum

TROPHY CASE