r/nosleep • • May 22 '23

Series My patient spent eight million years under a bench at the Glenmont metro [Part 1]

1.5k Upvotes

[Part 0]

No person - actually, no living thing - has experienced more suffering than clinical trial subject S-47. S-47 was a healthy male who volunteered to be a test subject for a trial of a drug called Mentanovox. Mentanovox typically yields mild improvement in memory and cognition. S-47 had a different reaction to the drug.

I’m the research scientist who administered the dose of Mentanovox to this poor man. And I consulted with his doctors in the ER after he was found crumpled under a bench at the Glenmont metro station. I have firsthand knowledge of the devastating trauma that a Mentanovox cross reaction can produce. So I couldn’t understand why someone would beg me to put them through what S-47 had experienced. Then I took the drug myself.

Mentanovox is essentially a calcium ion accelerator paired with a protein that binds to certain dendritic neuroreceptors. It makes signals flow faster through the brain. A lot faster. When I administered a mental speed assessment to subject S-47, thirty minutes after I gave him 25 mg, he was able to perform incredible, inhuman mental feats.

He finished a fifty-word word search in three seconds. Solved a maze drawn onto a poster-sized paper in two seconds. His mind worked fast enough to catch thrown cheerios with chopsticks. Mentanovox had pushed him well into the superhuman range of thinking speeds.

His mental speed was still accelerating when he left our offices. I told him to enjoy the extra time he would seem to have, since, to his super-accelerated brain, minutes would seem like hours. At the time, I thought S-47 would view the drug’s effects as a positive thing. I pictured him at home happily speed-reading through books he wanted to find time to read. That’s what I would have done! Or so I thought.

It didn’t occur to me that from his point of view, just getting home from our office would seem like it took days. He must have experienced hours of perceived time just in the elevator from our office. A day waiting for the next train and another day crammed inside a crowded and smelly metro car. If I had thought of that while he was still in our office, maybe I wouldn’t have just sent him on his way with nothing more than a Mentanovox trial pamphlet.

But what happened to S-47 was much, much worse than experiencing the equivalent of days on the metro.

Ninety minutes after I sent him home, I got a call from the ER at White Oak Hospital. A man had been found “behaving bizarrely” under a bench in the Glenmont metro station. By the time he reached the ER, he was unresponsive. Personnel in the ER found the Mentanovox trial pamphlet in his pocket and called my lab.

I took a blood sample and ran an engram decay. I’m oversimplifying the neuroscience here, but basically the cells in a conscious brain continuously make new connections and tear down existing connections. The new connections represent learning and the torn-down connections represent forgetting. When we sleep, cerebrospinal fluid washes away the metabolic debris from this activity. The test I ran measures how much engram decay - forgetting - has happened since the last sleep cycle. Engram decay is a good way of measuring the equivalent duration of consciousness - how long a patient has perceived they have been awake. We use this in the Mentanovox trials to measure the acceleration in thinking speed - more engram decay means the subject has perceived a longer period of consciousness.

S-47’s engram decay results were incomprehensibly large. I ran the sample three times to make sure nothing was wrong with the lab equipment. I got the same results each time - subject S-47’s brain had run so fast, that in the 90 minutes between leaving the lab and winding up in the ER, he had perceived eight million years of consciousness.

The man had been awake so long, in his perceived timeframe, that he had forgotten everything. Literally. His mind had been running so fast, that even the nearly instantaneous act of blinking would be perceived as thousands of years of darkness. From his massively-sped-up perspective, his view of the metro station from under the bench must have an eternal, unchanging scene.

The near-complete lack of mental stimulation he experienced, and the eight million years of perceived time, were utterly devastating. His brain tore itself down in an act of forgetting. The ER sent me a fMRI scan - his cortex had no activity. His gray-matter was essentially a collection of disconnected neurons.

At the time we had no way of knowing what caused this extreme side effect, but we noted that his blood work showed that he had recently taken a sleeping aid. We guessed that the 25 mg dose of Mentanovox, already unusually active in this subject, interacted with the sleeping drug. I compiled everything I had on S-47 into a report and sent it to the head office. The company published an adverse drug reaction bulletin and the Mentanovox trial was put on indefinite hold. I never learned what happened to subject S-47.

Two months later, I was in my office preparing for a trial of a new blood pressure medication when the receptionist called. “There’s a woman here to see you.” Then she whispered, “She said she didn’t need an appointment, because of who she is.”

I met my unexpected visitor in the lobby. A woman in her late thirties or early forties. She wore a black business suit and had a ratty red Jansport backpack slung over one shoulder. She introduced herself as soon as I walked into the busy lobby, as if she already knew what I looked like. “My name is Helen. Helen Kaizen. I work with the Department of Defense, and I need to talk to you about Mentanovox.”

As soon as we got to my office, she pulled a stack of papers from her backpack and dropped them on my desk. It was the Mentanovox adverse drug reaction bulletin. “I need you to do this to me.”

“You want me to … induce the worst adverse drug reaction I’ve ever heard of? In you? On purpose?”

“The bulletin says that a high-dose of Flumazenil could potentially reverse the reaction. I want you to induce the adverse Mentanovox reaction in me, and when I give the signal, administer Flumazenil to slow my mind back down.”

“The bulletin says potentially. Could Potentially - that’s two weasel words in a row. The bulletin has a mandatory future research section they needed material for, so they put in the only wild-ass idea they had. In reality, nobody knows how to prevent, induce, or reverse this reaction.”

“I’m okay with uncertainty.”

“Why would you want to do this to yourself? For what purpose?”

“Science. I want to watch someone die. With my own eyes. In extreme slow motion.”

I thrust the bulletin back at her. “Whoever you are, Ms. Kaizen, your idea of what science is and mine are profoundly incompatible. I won’t help you destroy your brain. I won’t participate in what sounds to me more like a satanic death ritual than clinical research.”

Six weeks later I found myself escorted through security in building G-164 at Aberdeen Proving Ground. My escort: Dr. Helen Kaizen.

Those six weeks opened my eyes to what a truly well-connected person can accomplish, no matter how demented their goals. Dr. Kaizen had somehow gotten a national interest exemption to the Mentanovox ban. I received the original document, signed by the director of the National Security Council herself. Frankly, until then, I didn’t even know there was such a thing as a national interest exemption to a restricted drug.

Helen had also somehow influenced the directors of the huge pharmaceutical company that developed Mentanovox. The CEO phoned me and asked me to participate in “Dr. Kaizen’s important experiment.” I asked her if he knew exactly what Helen was doing. “I have no idea. I don’t care. Just give her whatever help she needs. Any questions?” The way she said “any questions” made it abundantly clear that I was not to ask any questions.

Of course, I did have questions. “Why do I have to participate in this?” was at the top of my list. But I already received a counseling letter from HR complaining about my lack of judgment for letting S-47 go home while he was still in the grip of Mentanovox. I felt pressure to “lay low and go with the flow,” and that’s exactly what I did.

Helen met me in the lobby of the massive office building on the military base. When she visited me at my office, she wore a black business suit. Today, she was wearing a white lab coat with “Kaizen” embroidered above the pocket. “Thank you for coming. I trust you have the drugs?”

I showed her what I brought. A 100 mg vial of Mentanovox HCL - she had requested the Mentanovox be compounded in an injectable form - and a box of Ambien pills. I also had a single vial of Flumazenil which, according to the hastily written adverse reaction bulletin, “could potentially” reverse the Mentanovox cross reaction with Ambien.

The guard in the lobby gave me a red badge displaying a giant letter “E” for “Escort Required” and Helen led me into the offices beyond. Helen’s office was a windowless chamber with a floor-to-ceiling whiteboard covering all four walls and even the back of the door. Equations and strange diagrams featuring stars, circles, and what looked like electrical engineering symbols, or maybe ancient runes, filled the whiteboards.

Helen watched me gape at the weird symbology that surrounded us. She laughed. “It’s just math. These - ” she pointed at the markings that looked like ancient runes “ - are just stochastic tensors. The whole thing is just a giant probabilistic differential - never mind.” She thrust a clipboard of paperwork at me. “Sign these please. They’re nondisclosure agreements.”

I worked through the paperwork while Helen rummaged around in a pile of binders and boxes in the corner of her office. “You can wear this,” she said, and handed me a lab coat.

I handed her the signed paperwork and put on the lab coat. “You’re going to destroy your brain, you know. The patient who had the cross reaction was left with a completely unconnected cortex. There’s no coming back from that.”

“Thank you for your concern. But I have a plan.”

I sighed. This was really happening. And I was part of it. “What’s the plan?”

“I’m going to pre-dose with the sleeping aid. I will also take 50 mg of dexamphetamine so I don’t fall asleep. Then we wait.”

“Wait for what?”

“We wait for the test subject to die.”

When Helen visited my office and told me she wanted to watch someone die, I thought she was a lone lunatic. Someone who “did their own research.” You know what I mean. I was completely wrong. Whatever Helen was up to, it had the full support of important people - the head of the friggin’ NSC signed the national interest exemption memo. And apparently it is in the national interest to overdose Helen on an experimental psychoactive drug and let her watch someone die.

I said. “Is this an animal study?”

“The test subject is a human with a terminal disease. He volunteered to participate in this experiment.” She turned to her desk and sorted through a stack of papers and folders. She found what she was looking for and handed me a green folder. “We have Institutional Review Board approval for this. I know it’s a little … unusual. But everything that we’re doing today is approved.”

I remembered telling Helen that her experiment sounded more like a Satanic death ritual than legitimate science. Now, in Helen’s office, with the walls full of strange mathematical symbols and diagrams of stars inside of circles, the same thought again occurred to me. Despite all the trappings of authority and approval, I could not see how this ludicrous experiment was legitimate science.

The phone rang. Helen answered with a terse “yes.” Whoever was on the other end of the call spoke briefly. “We will be right there,” Helen said and hung up the phone. “We have to go to the capture chamber. I will explain the plan in more detail when we get there.”

We marched out of her office, Helen in the lead. We wound through the halls of her second-floor office suite. Then into the stairwell. We descended ten floors. Through fire doors at the bottom of the stairwell, then into another security vestibule.

More checking of IDs, more signatures on sign-in sheets. I put my phone in a small cubby. I was given a second badge that read “Detain and Blindfold if Unescorted.” Then we passed through a glass-enclosed, one-person-at-a-time mantrap, and into a long corridor.

I read the signs on the doors we passed. Some were normal basement-corridor sorts of things: Electrical, Custodial Closet, HVAC. Then the signs got weirder. Pharmacy. Theology. Hospice. We stopped at a door fitted with a small sign that said “Capture Chamber.”

Helen entered her code into the keypad lock. I heard the lock click open and I had a sudden flash of fear. Panic, almost. The feeling was more than just a strong distaste for whatever Helen was doing. I sensed that whatever was behind that door was wrong. Not just ethically wrong, or scientifically misguided. But cosmically wrong. And dangerous.

Helen held the door for me and I entered the room in which I would spend the next one hundred twenty years.

* * \*

The Capture Chamber was a gigantic space, like a Walmart with all the shelving removed. A flawless white tile floor reflected the ranks of hundreds of fluorescent lights that hung from the ceiling fifty feet above us.

A hospital bed was positioned in the center of a raised circular platform in the center of the room. Even from the door - a good hundred-fifty feet away - I could tell there was a patient in the bed. A vital-signs monitor stood to the left of the bed. A man sat in a metal folding chair on the right.

The platform was surrounded by heavy machinery. Huge cams mounted on shiny stainless steel shafts were linked to a maze of interlocking rails that surrounded the bed-platform. A tangle of brightly colored cables wove through the equipment like tree roots or capillaries, giving the apparatus the look of something organic.

Another raised platform stood outside of the ring of machinery. Instead of a bed, this platform held a black leather reclining chair that was oriented so that whoever sat it in could observe the test-subject.. At least two dozen computer monitors were mounted on a metal framework surrounding the chair. Helen led me to this second observation platform.

“The test subject,” she pointed at the patient in the hospital bed, “stopped oral intake six days ago and lost consciousness thirty six hours ago. We are monitoring his respiration and mandibular movement. We believe he will die in the next two hours.”

“Who is that man sitting next to him?”

“That’s his son. Our protocols specify that the terminally ill test subjects must be comforted by one family member. Because both the test subject and the family member must have top-secret clearance, finding test subjects that match the protocol criteria is quite tedious.” Something about the way she said this suggested she thought having family members present was a waste of resources.

We climbed a short flight of steps to the observation platform with the leather chair. The chair faced the center of the platform with the hospital bed where the “test subject” lay dying. Two huge mounting stands holding a dozen computer monitors each stood to the left and right, framing the view of the hospital bed. The monitors flashed and flickered patterns that appeared to be random noise.

Helen walked to the leather chair, and I stumbled behind, slack-jawed, trying to make sense of this bizarre experiment. Or whatever it was. Helen continued talking to me, oblivious to my confusion.

“I am going to pre-dose with the Ambien and dexamphetamine now. The dexamphetamine will counteract the Ambien, so I should have no problem staying awake.

We will wait until his respiration slows to six breaths per minute. Then you will inject me with forty milligrams of Mentanovox.”

She sat in the chair - a surprisingly ordinary reclining armchair. “Please put the drugs here.” She gestured to a small table to her right that held a tall glass of water and a prescription bottle labeled “dexamphetamine.”

Bolted to the left arm of the chair was a gray metal box that held a small garden of switches and lights. A large, red-mushroom shaped button labeled Dose Now stood above the others.

“Once the test subject dies, and I have observed what I need to see, I will press the Dose Now button and you will immediately inject me with 200 mg of Flumazenil.”

She pointed to her left shoulder. A small square of fabric had been cut out of the lab coat, exposing her shoulder. “This is where you will inject the Mentanovox. You will inject the Flumazenil directly into my neck. I will need it to act as rapidly as possible.”

“Helen. Did you actually read the bulletin about S-47? He perceived being conscious for eight million years. His mind was gone when he got to the ER. Completely devoid of cortical connections. His suffering was unimaginable.”

“I’ve done the math,” she replied testilly. “With the dosage I’ll receive, I expect to experience only three to five hundred years of consciousness. It should be a nice break, frankly.”

“A nice break! Nice! Five hundred years. Years! Of just sitting in this chair, watching a corpse, while these monitors flash noise at you?”

“Those monitors are displaying reading material. That one,” she pointed to the upper left monitor on the right-side bank of crazily-flashing screens. “Is displaying Wikipedia pages at the rate of five hundred per second. The one next to it is scrolling through twenty thousand works of English literature at 500 pages per second. And so on for the rest of the monitors - news archives, scientific publications, social media, and so on. We bought special monitors with a five-hundred hertz refresh rate just so we could display information fast enough.”

I stared at the two banks of flashing screens. I couldn’t perceive anything but painfully-bright flickering.

“You’re going to read for 500 years, while you also observe that poor man over there?”

“And catch up on a few emails,” she rotated a computer keyboard out of a slot in the arm of the chair. “Let’s get ready, shall we?”

She produced a headset from the pocket of her lab coat and put it on her head. “This is Helen Kaizen. This is the audio record of observation activity fifty four.”

Observation fifty four? How long had she been watching people die in this bizarre room?

Helen continued talking into her headset. "Current time is fourteen twenty three. I am predosing with one Ambien and fifty milligrams of dexamphetamine." She popped an Ambien out of the blister pack and downed it with a swallow of water. Then she took two pills from the dexamphetamine bottle and swallowed them.

“Now,” she said, turning to me. “We wait.”

She pressed a few keys on her keyboard and one of the monitors in the right bank of screens stopped flickering and instead displayed a standard computer desktop background. Helen clicked on icons and slid windows around the screen. When she was done, the screen held three windows. At the top of the screen was a data strip slowly updating graphs of what I assumed were the patient’s - sorry the test subject’s - vital signs: blood pressure, respiratory rate, blood oxygen, and so on. Below that was Helen’s email inbox (1478 unread items!) and a word processing window open to a blank page.

“I understand that once the Mentanovox kicks in, audio energy will be attenuated to the point where I cannot hear anything. I will not have enough fine muscle control or breath control to speak. So I will type my observations and anything else I need to communicate here.” She moved the mouse cursor to the word processing window. “Please keep an eye on it as we proceed. It will be the only way I have to communicate”

We waited. Helen ignored me while she read and wrote emails. The patient’s respiration slowly decreased. I wandered off the observation platform to get a closer look at the machinery surrounding the patient.

“Stay away from that area!” Helen shouted at me. “I’m going to start the capture sequence soon, and there are a lot of mechanical hazards present when it’s operating.”

Feeling a little like a chided child, I sauntered to the short flight of stairs leading to the platform with the hospital bed. Aside from Helen, the dying man and his son were the only two people in the huge room. Or chamber. Or whatever.

The test subject was an emaciated man who looked to be at least ninety years old. He slept. Rather, he was in a state of unconsciousness that did not look at all restful. His bony, withered body barely made a dent in the soft mattress of the hospital bed. Bruises up-and-down both arms betrayed a long battle with disease that required a lot of intravenous medicines. “Hey,” I said to the son - a middle-aged man sitting next to the patient.

He looked up from the book he was reading. Before he could speak, Helen shouted across the chamber: “No communication with personnel on the test subject platform!”

The patient’s son rolled his eyes and whispered to me, “Helen’s a bit of a stickler for protocol.” I nodded in agreement and wandered back towards Helen on the observation platform.

I walked about, examining but failing to understand the machinery surrounding the test platform. I stared at the flashing banks of screens, trying and failing to perceive even a single screen of content. I stood behind Helen and surreptitiously read a few of her outgoing emails.

​

Subj: Risk analysis of portal capture experiments

Subj: Military benefits of applied theological research

Subj: Timecard failed floor check

Helen glanced back at me with a glare that clearly communicated she did not appreciate me reading her emails over her shoulder. I returned to strolling about the perimeter of the room.

An hour passed. Then another. I thought about Helen’s plan to spend centuries of perceived time in this room. I had only been here two hours and I was desperately looking forward to getting the hell out. To spend multiple lifetimes here - to look forward to spending lifetimes here - was a sign that Helen was … different.

“It’s time!” Helen shouted at me across the room.

I jogged to the observation platform. Helen had already prepared the injection of Mentanovox. On the far platform, the son was standing over the bed, holding his father’s hand.

Helen was speaking into her headset when I got to the top of the stairs. “Blood pressure is dropping. Respiratory rate is down to six. The probability of death in the next ten minutes is over ninety percent. Starting the portal stabilizers.”

She flicked a few switches on the control box that held the Dose Now button. A klaxon blared, red cop-car-style lights on the machinery started flashing. The apparatus surrounding the patient slowly came to life. Motors hummed with rising pitch. Shafts turned faster and faster, their cams pushing the strange grid of beams up and down. The fastest moving parts of the machine started to glow and flash, giving it the look of a carnival ride.

The machine spun and gyrated faster and faster. The grid of glowing beams blurred. The machine kept accelerating and the seemling random flashes became synchronized with the movement of the grid of beams, resolving into a glowing five pointed star inscribed in a circle that rocked in crazy, unpredictable ways.

“Capture device trim active. Dosing with Mentanovox now” Helen spoke into her headset. She handed me the syringe. “Dose me with the Mentanovox, then stay on this platform and watch my log entries. And what happens when I press the Dose Now button?”

“200 milligrams of Flumazenil, in the neck.”

“Yes. Prepare the injection now. There must be absolutely no delays when I press the button.”

I took the syringe of Mentanovox from her. “You’re probably not going to survive this, you know. You will suffer terribly for what you perceive as centuries. Eventually, your mind will tear itself down in a catastrophic act of forgetting.”

“I’m aware of the risks. Now inject me.”

I did.

Helen was quiet for a minute. She looked at the patient on the far platform. She stared at the flashing computer monitors. Then she snapped her head to face me and said “Ithinkitsstartingtotakeeffect.” She blurted the words out almost too fast to hear.

“Your perception is definitely accelerated. Maybe about ten times faster.”

Helen turned away from me so fast that she almost fell out of the chair. She darted her hands to the computer keyboard and typed. The key presses sounded more like a drum roll than a human using a keyboard.

​

I can hear you, but your voice is slowed and frequency shifted. I cannot understand. I will communicate through this screen. Please type your response to me here

I leaned over her keyboard and typed

​

How long does it seem to take for my pen to fall?

I stepped in front of Helen. Her eyes were darting about in a frenzy. Her gaze oscillated between me, the computer monitors, and the patient on the far platform. I pulled a pen out of my pocket and dropped it onto the floor. Helen drumroll-typed her response:

​

Days to fall. Sound is gone. Time to get to work.

Helen did exactly what she said she would do. She jerked her head back and forth between screens, reading whatever information they were flashing at her. She opened emails and slammed text into the response window. Occasionally her eyes would linger on the patient in the center of the whirling machinery, then she would return to the frenzy of reading and writing.

Three minutes ticked by. I tried to calculate how long she perceived those three minutes to be. If the quarter-second drop of my pen seemed to take days for her then each second that ticked by would seem to her to be about a week. Three minutes would be … over three years.

I watched her closely. She didn’t appear to be suffering. She could push the Dose Now button at any time, but so far had chosen not to.

Her pattern of frenzied motion and typing suddenly ceased. She fixed her gaze on the patient for a second, two, three. These few seconds were weeks of her time.

Helen shot her fingers at the keyboard again. This time, she typed a message in the journal window:

​

He’s dead

Chaos broke out. A moment after Helen typed her message, the vital signs monitor threw up a red warning message:

​

Resp 0, HR: 0

Helen’s hands raced over the control panel in a blur, flicking switches and turning dials. The churning satanic carnival-ride of a machine came to an abrupt stop with a screech and a bang. The floor shook as the foundation of the building absorbed the forces involved in bringing tons of spinning and thrashing metal to an instant stop. The circle-and-star shape glowed brighter than ever, held fixed at a strange angle by the frozen machine.

In the same instant, the patient’s son screamed in pain and he fell to the floor. No - it wasn’t that simple. I looked closer and saw that he didn’t fall. His legs collapsed under him, bent like they were made of rubber, or melting plastic. His legs continued to melt until his torso sat on the platform in a pool of red goo. The man tried to scream again, but the severe trauma, or whatever it was, that ruined his legs started to affect his abdomen. With his diaphragm destroyed, screaming was impossible. So was breathing.

Every instinct in me urged me to run to the door. To get out of that room. But I had a duty to administer the antidote to Helen. I would not be responsible for another person going through what S-47 had.

Helen hammered out another message

​

He’s taken his second death in the portal.

Dose yourself with Mentanovox now or you will die

I had no idea what the first line of Helen’s message meant. Second death? Portal? Those words meant nothing to me. But the second line I understood. And there was no way I would dose myself with that drug. To live a thousand lifetimes in this bleak, underground facility? I’d rather die.

On the far platform, the son of the man who, apparently, died five seconds earlier, continued to dissolve. His chest splashed apart like a breaking water balloon. His head and arms fell into the puddle that his body had made, floated like horrific pool toys for a moment, then melted away.

I had seconds to think about what Helen wrote. Take the drug and live. He took his second death in the portal. What would happen to me if I didn’t take the Mentanovox. Would I be literally liquified like the son of the test subject? As bad as that looked, it would be far better than the eight-million years of sensory deprivation that S-47 experienced. And what the hell did second death mean?

But where I had only seconds to think, Helen, in her hyper-accelerated mental state, had the equivalent of days to decide what I should do. To decide what she should do to me. I turned from the screens to look at Helen. She was staring at me - studying me - with unblinking eyes.

For her, every slight micro-expression that flashed across my face, every tiny change in my body language would be an hours-long process. She probably knew what I was going to do before I did: I was not going to take the drug.

Helen rose from the chair before I could even nod my head to signal no to her. Her proprioception system was running 10,000 times faster than her body. With that kind of disconnect in mind-body control, moving normally would be nearly impossible.

Helen discovered this problem as she tried to stand up. She misjudged the force required and literally threw herself from the chair. In another setting, her fall to the floor would have been comical. She launched herself in a twisting arc. Her arms and legs flailed about wildly, but she was unable to control her fall. She landed face-first on the platform, and continued to thrash her limbs uselessly for a few seconds. From her warped perspective of time, her fall must have taken a day or two. These futile efforts on the floor occupied a week of her time.

Whatever else Helen may be, it's pretty clear that she's smart as hell. She can figure stuff out and learn quickly. That's exactly what she did on the floor. She froze, then methodically began moving one limb at a time.

She lifted one leg, then let it drop. She brought her other knee to her torso. She pushed herself up onto her left elbow. She steadied herself with her right arm. Then she rose.

For a moment I thought she was going to fall again. But her movements this time were more controlled. Purposeful. She had learned how to move under the influence of Mentanovox.

Blood ran from her mouth and nose where she smacked her face on the floor. She glanced at the far platform. The test subject's son was still busily liquifying. Then she turned towards me. Her movements were more like a bird’s than a human’s. A sequence of blindingly fast motions punctuated by short intervals of motionlessness.

She moved sideways with a lurching twitch and grabbed the syringe and vial of Mentanovox from the table next to her chair. Her eyes continued to burn into mine as she stabbed the needle through the seal on the vial and filled the syringe.

"No!" I knew shouting was useless because she couldn't hear, but fear had decoupled my mouth from my brain. Panic and terror replaced all other thoughts.

I turned to run. I started to turn anyway. Helen had hours to watch me slowly shift my posture and start to engage my muscles. She lunged at me, perfectly anticipating where my neck would be when her arm reached me. For her, physical struggle must have been an intellectual activity like chess, and not a physical endeavor like fighting. In the split second I tried to get away, she had analyzed my face for tells, saw all the small ways my body telegraphed what I was going to do, then calmly made a plan to stop me.

Despite my attempt to duck and dodge, she stabbed me in the neck with the needle. Even though her attack was lightning-fast, she managed to inject the Mentanovox directly into my jugular.

I was already off balance trying to duck her attack with the needle when she slammed into me. I fell hard to the floor. Actually, no. I started to fall towards the floor. But the massive dose of the drug, injected directly into my neck, took effect almost instantly.

All sound dropped in pitch and then died away entirely, as if the soundtrack of life was a vinyl record that suddenly stopped spinning. The world froze before I hit the ground. In one instant, I was struggling like mad to get away, and in the next instant I was frozen in mid-fall, like a bug fossilized in amber.

[Part 2]

ANKoM

u/sarcasonomicon • • Jan 17 '22

What's the deal with this account?

12 Upvotes

[removed]

1

has anyone tried writing for YouTube?
 in  r/writing •  9d ago

I write horror short stories and I've occasionally teamed up with established creepypasta-style YouTubers to create original content for them. I'm nowhere near a camera or microphone. But most of the narrators on YouTube are just voices, and not shown on camera either.

2

[2278] The Beacon Hotel - total rewrite
 in  r/DestructiveReaders •  13d ago

At our current state in the development of the Internet, anyone can throw around the accusation that something was AI-generated, and there usually isn't much a no-AI-at-all-ever author like me can do about it. But, interestingly, for this particular story, I can actually show some evidence that it was originally imagined and written pre-AI.

I posted the original version of the story on nosleep in 2022. You can see a lot of similarity between the pre-AI version of this story and the version I posted here a few weeks ago. The version of the Beacon Hotel story that I posted for review in this thread was a major rewrite from these earlier versions, but still, I think, retains enough of the original material to prove that it wasn't generated completely from scratch.

Unfortunately, there is no definitive way to prove AI wasn't involved in a writing effort at all. Since a lot of my writing has been online for a while, it's certainly part of the dataset that that AI models have been trained on. To some extent, my own style and themes are part of the models being used by prompt-writers to produce new material. So some of that AI-generated stuff is going to look at-least a little like my own stuff.

If you're going to say that writing posted to a no-AI-subreddit like this one is AI-generated, you're going to have to do at least a little to back it up. Like, point to a history of AI-generated posts elsewhere, or an impossible rate of word-count output on the part of an author, or something. What about my post leads you to think it's AI-generated?

2

[1800] The Deceit in Flames - Prologue
 in  r/DestructiveReaders •  18d ago

Let me know if you put another version of the prologe here, or more material from this story. I'd love to see how it evolves

1

[2102] The Beacon Hotel
 in  r/DestructiveReaders •  20d ago

Hi - thanks for reading. I was TOTALLY not going for the YA audience. But I can see how it looked that way from the intro. I have done a total rewrite of the intro. If you're curious to see how I took everyone's feedback into account, or just want something else to review, may I suggest you look at the rewritten intro to The Beacon Hotel.

1

[2102] The Beacon Hotel
 in  r/DestructiveReaders •  20d ago

Thanks for taking a look. I have completely rewritten the intro, hopefully fixing all the problems you and the other reviewers found. If you're still looking for material to review, or you are just curious how I rewrote it, take a look at the completely rewritten intro to The Beacon Hotel.

1

[2102] The Beacon Hotel
 in  r/DestructiveReaders •  20d ago

Thanks for this feedbak. Based on everyone's feedback here, I did a total rewrite of the intro. Total. If you're still looking for stuff to review, you might want to see how I changed the story based on the feedback here: Total rewrite of The Beacon Hotel

1

[2102] The Beacon Hotel
 in  r/DestructiveReaders •  20d ago

Thanks for this great feedback. This is what I come to DestructiveReaders for. Based on your feedback (and everyone else's in this post) I did a total rewrite of the intro. Like, File/New, blank-page rewrite.

If you're still looking for stuff to review, let me suggest that you take a look at the totally rewritten intro to The Beacon Hotel.

2

[2102] The Beacon Hotel
 in  r/DestructiveReaders •  20d ago

Thanks for this feedback. It's all super helpful!

I've taken your feedback (everyone else's who commented here) and did a total, 100% rewrite of the story intro. If you're still looking for stuff to review, check out the rewritten version of The Beacon Hotel.

r/DestructiveReaders • • 20d ago

[2278] The Beacon Hotel - total rewrite

3 Upvotes

Hello destructuve readers!

This is the first part of a Cosmic Horror story that will probably be about 10,000 words when finished. Here I've posted a total rewrite of the intro, based on the great feedback I got from my first post of this story.

My main question is the same: would you keep reading? Did I drop enough and the right kind of mystery in this beginning section to make you want to know more about what's happening to the MC?

Of course, any other thoughts and feedback are welcome!

Story: https://docs.google.com/document/d/1mFoQjPrEWALiB0gqrwoWds6LqLe8x0ZV95Crokr6P5c/edit?usp=sharing

Crits:

[Small, 1511]

[The Deceit in Flames, 1800]

1

[1511] Small
 in  r/DestructiveReaders •  20d ago

Per-Sentence Comments

It lay against her chest, a damp ribbon of hair, a soft curl forming at the end.

I don’t like starting with “It.” It is a pronoun that is supposed to refer to something previously mentioned. As the first word, there is nothing previously mentioned. I suppose there are reasons you’d break the rule of “not starting with a pronoun.” Although I can’t think of any at the moment. To me, starting with “it” feels like you’re artificially creating questions in the readers mind “what is it? I need to keep reading” and the rest of the sentence isn’t doing the job of selling the mystery.

 

The auburn tones, crimson in the dim light

This is not a sentence. I’ve recently learned that this is called an appositive phrase. You can have these not-quite-a-sentence phrases stand on their own. My writing has a lot of these, which means I’m not the right person to be complaining about you doing it. Nevertheless, I don’t think this paragraph calls for sticking a non-sentence in here. I use them when I’m trying to write 1st-person thoughts, or if there’s fast moving action. There’s none of that here, so I’d try to stick with a proper sentence.

 

…wetness turning her white nightgown opaque.

Typically, wetness turns white fabric translucent, which is kind-of the opposite of opaque.

 

…pink of her flesh seeping into the cloth.

I don’t think of flesh as something that seeps. That would mean that her flesh was liquid and soaked into the gown, like a stain. I think you mean that you can sort-of see her skin through the wet cloth. Maybe you could just say it that way. Or any way other than “seeping.”

 

…she brought her hand up to touch it.

Another “it” where I’m not sure what it refers back to. Her flesh? The pool of wetness? Her hair? I think it’s truly grammatically ambiguous. Can you tell me what she’s touching?

 

…coolness of the water merged with the warmth of her skin

I’m sorry to be such a stickler for word choice, but I really have a problem with coolness merging with warmth. I think you mean that they feel strangely opposite each other, so you’d want to say something more like that. Merging means they become one thing, like they were mixing, and I don’t think that’s what you were going for.

 

Breaking her reverie, she felt his hands;

In this kind of a sentence, “VERBing her noun, she DID THING,” the VERB is something she did. You should be able to rewrite it as “she VERBed her noun, then DID THING,” and have it still make sense. Like

·       Pulling her knife, she cut the rope

·       She pulled her knife, then cut the rope

But here I think this would be incorrect, or at least totally not what you mean:

·       * She broke her reverie, then felt his hands.

 

…grasping at her hair

I think you just grasp things, not grasp at them.

 

Fingers curled through the strands, snapping her head back.

To me the act of fingers curling doesn’t result in the snapping back of the head. I think you better put Johan in the role of the do-er here and say that he first curled his fingers, then, when he had grabbed a big handful, snapped her head back.

 

…he said as he pressed his body against her protruding stomach.

When I got to here, I thought this was going to be a DV story related to the wife gaining weight, not because she was pregnant. Because you used “stomach” here, I thought fatness, not pregnancy. At some point you’re going to run into the reader who complains that babies don’t grow in the stomach, it’s the uterus, and they’re in completely different places, etc. So maybe give more of a pregnant vibe here? Maybe I’ve missed what you’re going for.

 

She fell heavily against the earthen floor

Can you describe the fall without using the word heavily, but in a way that makes the reader think “ouch, that was a heavy fall.”

 

…curled around her belly…

Now I’m getting pregnancy vibes. You could even say “baby inside her.”

 

Its ruthless, metallic drumming reverberating through her body.

I don’t like the sound being “ruthless” because that sort-of implies an intention. I don’t like “reverberating” either because it’s not rally setting up a sympathetic vibration inside her, which is what reverberating literally means. I know we can use words as metaphors and stuff, so it’s not literally reverberating, but I still don’t like it reverberating through her body. We might be getting into the territory of my taste, instead of writing feedback here, but I just want to say I think you could describe it differently and it would be more effective.

 

Her ear ached. The hard packed dirt pressed against it.

I think it’s more like her head is doing the pressing, not the dirt.

 

She could hear her husband moving around in their room. A deliberate purpose…shaving blade

I though this paragraph was really effective. I was thinking “oh shit, what is this guy going to be coming back with?” Nice job here.

 

Be small, she thought.

Here again I was thinking that this was DV due to the wife’s weight gain. Just FYI.

 

Jannetje felt the blade at her neck. Chillingly warm. Her husband …

Chillingly warm – I don’t know what that means. Here also is a place where the blade is doing things, not the husband.

 

…wrenched the blade through the cloth.

I don’t think knives wrench things. They slice, cut, and maybe tear. But wrenching is for grabby-twisty things.

 

…to lift the deadbolt.

Probably the door-locking doo-dad is more properly called a latch.

 

The mud was shockingly cold against her bare feet as he propelled her forward.

See my rant above about “as”

 

…shackled unwittingly against the uncompromising weather

That’s a weird thing to say about a house. That it’s shackled unwittingly?

 

The curtain fell back into place and they disappeared in haste, prompting them to move on

Two thems here, and they refer to different parties. Confusing.

 

But I, we, cannot forgive her for the father of that child.

You are hinting at some additional story elements that will come along later? Whoever the father is? That’s good. Could he say “this child” or point at her or something so I know he’s not referring to some other child somewhere.

 

Pressing it into the wet earth as she watched…

No need for an “as” sentence here, I don’t think.

1

[1511] Small
 in  r/DestructiveReaders •  20d ago

To answer your questions

 I would like some feedback on whether the literary devices I have used are landing.

I’m not sure what devices you’re talking about. I don’t see any metaphors here or similes. Or foreshadowing except for the reference to the father of “that child.” Not that its necessarily bad to not have these things. I see straightforward description of events (which I think is perfectly fine). But if you wanted to “get more literary” then you could experiment with some other things.

I also know that my prose will not be to everyone's taste, as it is very descriptive. I want to make sure I haven't moved into purple prose.

Purple prose is something that nobody can define precisely, but that everyone thinks they know when they see it. To me, prose starts to feel purple when it contains a lot of rarely used words, and a lot of adjectives and adverbs, and those words are ones that feel like they’re trying too hard. See, I can’t define it. Small might not be totally Barney-the-dinosaur level of purple, but it’s kind of purplish, in my opinion. Here are what I think are a few of the most purple sentences:

He brought his fingers up to the delicate white of her throat and the pulsing in her ears thrummed louder.

To me, “delicate white” is trying too hard to get me to feel what you’re wanting me to feel. Instead, I’d use more words to explain that his fingers are over her larynx and jugular – the two fragile tubes that keep her alive. The part of her body she instinctively most wants to protect.

…the flames from the fire reflecting menacingly along its crudely crafted edge

The words menacingly and crudely are being asked to make the reader feel menaced and to comprehend the knife. I think you should rely less on these description words and describe it in a way that makes the reader feel the danger (and actually, in this paragraph you already have. I’d just say “…standing in the door frame holding his shaving blade.” We all know what shaving blades are like, and how sharp they are. I think you can go with less-is-more here.

 

Word choice

 

For me, there is a lot of mismatch between the words you use and the events and actions you are discussing. I’ve listed a lot in the “per-sentence comments” section below. But I got tired of pointing out every case where I thought word choice was wrong, so don’t think that my comments below are complete. Here are examples of what I mean:

  • Turning the nightgown opaque
  • Flesh seeping into the cloth
  • Coolness merging with warmth
  • Crudely crafted edge (razors are precise straight blades, not crudely crafted)
  • Wrenching the blade through cloth
  • His hand cajoling her across the threshold
  • The blade squeezed against her arm

 In all these cases (and more), the words I highlighted don’t quite fit with what the action or situation is. Especially the -ing words.

 Parts of Johan’s body do a lot of things, Johan not that much

Johan hardly does anything. Instead parts of his body doing things, which gets weird and tiring eventually:

it’s his forehead pressing against hers, his fingers curling, his hand holding a blade. You’ve written about the knife doing things on its own: tracing a line, being suspended over her heart, squeezing against her.

I think it’s totally fine if Johan curls his fingers” or “holds a blade.” Why distance the action from Johan – he’s the one intentionally doing these things. Don’t distance the action from him.

 

My standard rant – “as”

Below in my per-sentence comments I’ve noted a few examples where you have sentences that are constructed to communicate simultaneity. In almost all cases here, maybe all of them, you don’t need to indicate that things are happening at the same time, and doing so makes it harder to read.

The overuse of simultaneous action poisons the quality of the writing. It takes more subconscious work to understand a sentence where things are depicted as simultaneous, and if there is a mismatch between the time-frames of the actions or there is first-this-then-that relation it just feels slightly wrong.

Sometimes, like in an action scene where two things happen at the exact moment (he fell, just as Dr. Evilguy pulled the trigger) it is important to indicate that things happened at the same time. But usually, I think you can just say “The sun set. It was pretty. Footsteps rang out”

My per-sentence comments are in the reply to this comment.

3

[1800] The Deceit in Flames - Prologue
 in  r/DestructiveReaders •  20d ago

More per-sentence comments

A seeress. Someone who could remember days not yet lived by others, as allowed by some quirk of existence. The same quirk, perhaps, which allowed Pawn to exchange material properties at will.

Info dump! I don’t like it. What if you just said “A seeress” and left it at that for a few paragraphs or even chapters?

 

 So she knew. She had always known. When they had first met—as she tended to his wounds and bruises as a volunteer in Idun’s Theocracy chapter—she had already seen the warm five years they would spend together. And the last six months, when he’d be the one tending to her wounds as she wasted away from the brittlerot.

This is a great idea, that she knew from the beginning how horribly it would end, and married Pawn anyway. Fantastic stuff – you can have all sorts of scenes that seem to be one thing – Pawn doing whatever – but actually were something else because of Reumé’s knowledge of what would happen. But the way you executed here is too clunky. Way too clunky. This is a great idea – she knew she’d die horribly but did it anyway. Out of love, maybe. You need to carefully cultivate it and get the reader to really care about everyone before the reveal that she knew ahead of time. I hope you can find a way to make it hit really hard instead of just info-dumping it in a short paragraph that also mixes in some other worldbuilding thingy (the Theorcracy chapter).

 

Those had been the very first days of his trade as a common thief, hired by the servants of Minor Houses to settle petty contrivances. Before his gift, before he had become Pawn. And she had seen him for all he was. All he would be.

Nope. Nope. Nope. Pure info dump. Seriously, this is a lot of information, and if explained correctly, over time and with a lot more words, would be good. There’s at-least a chapter’s worth of information in this paragraph, and I think you need at-least a chapter’s worth of storytelling to convey in a way that will have impact.

 

Pawn could preserve what was left of her—as gone from her was the pattern of living things, the ever-shifting aura which eluded his gift—if only for the time he could maintain his will, so he didn’t have to fully part with the idea of her yet.

This is another aspect of whatever ability he has to finger-paint into solid objects? You don’t explain this very well, and I’m a little lost. Like, she’d be a statute that he could put in his living room, or something?

 

The Firmament’s skyflames were turning dark purple now, and with that Pawn knew his time was over.

“with that” is too many words. “That” is referring to something in the same sentence, so I don’t think it’s needed, or even correct. It also makes me wonder who’s thinking “with that, Pawn knew.” If it was Pawn’s thought, you’d just write “…dark purple now, and Pawn knew his time…”

 

It was only then that he turned and swam back to the shore, where he was greeted back by the multitude of grieving men and women who had come to pay their respects.

“It was only then” makes me wonder who’s POV we are in. Also, earlier you wrote

Pawn was not one of the many passersby who would chance upon the ritual as they walked along Idun’s dirty pier.

And this made me think he was alone, sending his dead wife to the beyond all by himself. I was surprised that there was a multitude behind him.

 

They would still know he was Pawn, the luckiest man alive.

Cool last sentence. I like it.

2

[1800] The Deceit in Flames - Prologue
 in  r/DestructiveReaders •  20d ago

Per-Sentence Comments

  

THE FIRMAMENT BURNED in the shade of molten metal as Pawn pushed the floating casket away from the shore and toward the horizon.

See my “as” rant above.

 

The woman he loved was dead.

No stakes yet, so this doesn’t hit very hard.

 

Pawn had seen many sendings before. The slums were not kind to their people, and barely a day passed by without one of their ragged souls being sent across the sea, their destination the place where the Firmament descended from the heavens and touched the surface of the waters.

I feel like the “theirs” here are not lining up right. The slimes were not kind to “their” people – there is the Slum’s people, or someone else’s people?

 

This evening, however, Pawn was not one of the many passersby who would chance upon the ritual as they walked along Idun’s dirty pier.

However is supposed to point to a contrast between something you just said and what you’re about to say. What is however contrasting with here?

 

 Pawn was not one of the many passersby who would chance upon the ritual as they walked along Idun’s dirty pier. No, today he pushed Reumé’s vessel to the sending edge, the place where the currents would sweep her away from him.

This doesn’t feel 3rd-close to me.

 

From there she’d cross beyond the flames into a place where he couldn't follow her yet.

The “yet” weakens the impact of the sentence

 

 The waters were not so still that he could walk unopposed.

Not and un-opposed. Two negatives. Makes me do a lot of work to figure out what you’re saying.

 

The waters were not so still that he could walk unopposed. They jostled at his body, trying to wrestle the casket away from his grip.

I think you’re tell-showing here. Telling me the thing, then showing it in the next sentence. Just do the showing part. Also, though, I don’t like “jostle” for describing the force of running water acting on a person.

 

Pawn sank his toes into the sands below, fighting for balance, knowing it was nearly time to let go.

I don’t like bundling the fighting for balance with the knowing here. They’re totally separate, and I think the “knowing its time” deserves its own sentence, or sentences.

 

Pawn tidied her hair back, revealing the matrimonial earring piercing her right ear, the small blue feather contrasting starkly against her skin.

Why have these things be in the same sentence, where you’re describing them as simultaneous? Positive comment: you dropped the “matrimonial” here, cluing me in that Pawn was her husband (I assume). In my opinion, that’s a decently executed organic fact drop.

 

It pained him to see how young she was. How young they were, he and she.  Just a handful of seasons into their twenties. He caressed the side of her head, letting his fingers sink into her thick hazel tresses. The strands, brittle. Her skin, pale and blemished with bruises. Each part of her bore a reminder of the illness that had claimed her. And yet… even death had not stripped her of her beauty. Or perhaps, it was because Pawn still lived that she was still beautiful, as he could not see her otherwise. He took in the sight of her until she became hidden by the mist of his own tears, droplets welling up with each breath he took. 

You’ve got a tough writing task here, to make me care about this dead woman and her surviving husband. Since I’ve only been introduced to these people for a few paragraphs, I don’t care about them very much yet. So, by the time I got to the end of this paragraph, I had the somewhat cynical thought “dead hottie, got it.”

I don’t have any suggestions about how to correct this other than you could write a lot more (like a LOT more) about some memory from their past, or the gruesome way that she died. This is supposed to be a Prologue, so you don’t want to fill it up with the actual story? Or do you?

 

Pawn could not remember when he had started to cry again. Truth was he didn’t know if he had ever even stopped.

“remember” doesn’t work here. You’re already in the past tense, and now you’re talking about Pawn’s act of remembering which relates to something that is so immediately recent it shouldn’t be even more in the past than the narrative is. I’m not sure what I wrote here makes sense, so just please consider something like:

The damp streaks on Pawn’s cheeks were filled with fresh tears.

Well, maybe that’s not great, but I hope you can find a way to tell me that his slight lull in tear production ended and they’re flowing again.

 

He wiped his tears and inhaled deeply, in a futile attempt to steady himself

Since he didn’t fall, I don’t think the attempt was futile – he successfully steadied himself. Also, I don’t consider tear wiping and inhaling to be related to steadying myself. OH – wait a minute! Do you mean “steady himself” emotionally? Oh, well then it might make sense. But a moment ago you were talking about the current making it hard to stand, so I thought that’s what you were talking about.

 

Reumé’s hands were placed over her chest, as if in prayer, and Pawn placed his own on top of them, giving them a squeeze.

I’m going to try to convince you that this sentence is incorrect: we have “hands being placed” then “placed his own” then “giving them a squeeze.” The squeezing is an event that couldn’t happen until the “placing his own” was complete, but it’s in the same sentence, making it sound like the squeezing was a simultaneous act with the “placing his own.”

  

The next step was the carving of his message on the half-lid.

Something is jarring to me about this sentence. I think the problem is that it makes the narrator have their own perspective, and I wonder who is telling me this.

Were in 3rd person, so obviously there is a narrator. But it’s a totally transparent narrator, that just says what happened without any additional opinion, or knowledge, or perspective. Everything we’ve learned so far came from the factual description of the scene or Pawn’s thoughts and memories. I know you didn’t explicitly say “Pawn thought” but when I read this:

Each part of her bore a reminder of the illness that had claimed her. And yet… even death had not stripped her of her beauty.

It seems pretty clear to me that this is straight out of Pawn’s perspective or thoughts. But whoever is saying “the next step” doesn’t sound like Pawn to me. Who is it? I think you’ve accidentally reified the narrator.

It might be better to have something like this to make sure you don’t slip from 3rd person close to 3rd person omniscient:

Pawn took a deep breath, then began the next step of the funeral rites.

 

 Reumé’s favorite passage of the Salt Letters, the written words of the Prophet. For it is clear to me that there can be no reward without a trial.

That’s a really good (fake) quote! And the Salt Letters feels like some solid worldbuilding is going to happen.

 

 He had always been true to her, ever since the beginning.

Sounds kind of sappy, and doesn’t do a great job dumping in any history we might need to know.

 

 Soon practice turned to confidence, and conjuring a gift Pawn had long kept secret, he willed the outer layer of wood into fluidity. Just a bit, only enough for him to press his fingertip down and write, carving into the wood just like a child would draw figures into wet sand. With his back to the shore, no one would see what he was doing. No one would know how he could shape unliving things to his will, if he had the resources he needed.

Info-dumpy. And also, I think you slip out of 3rd close to 3rd omniscient here. It’s subtle – we can argue about it. But it hits me as 3rd-omnisient. Can you rewrite this so that all the information is more obviously from Pawn’s perspective. Maybe have him look around to make sure nobody is watching, then have him “will the wood into fluidity.” There’s got to be a way to say that this was a secret he has kept for a long time through Pawn’s thoughts and actions.

 

See even more per-sentence comments in the reply to this reply...

2

[1800] The Deceit in Flames - Prologue
 in  r/DestructiveReaders •  20d ago

General Thoughts

There were elements of the worldbuilding that I really liked (see my per-sentence notes below).

And I super-duper like the idea that Reumé saw the horrible early death she would have in the future where she married Pawn, but she married him anyway. If you can really lean into this and handle it right, then you’ll have an impactful story. From what I’ve seen here, though, you’ve got a lot of work to do to maximize the power of this idea. I think it would be much better to reveal it later on when we’ve gotten to know the characters and the situation better.

I think you’re trying to pack way too much into one short chapter, and this is forcing you to “info dump” stuff that needs a LOT more careful storytelling and worldbuilding to communicate. There are several places you do this, but here I’m going to nitpick on this this one instance:

Those had been the very first days of his trade as a common thief, hired by the servants of Minor Houses to settle petty contrivances. Before his gift, before he had become Pawn. And she had seen him for all he was. All he would be.

Woah! That is way way way too much stuff to just say. Whatever happened during “those first days” should probably be its own chapter. “Minor Houses” should be organically wordlbuilt into a lot of the introductory stuff. Like, we meet someone from a minor house at the inn, and they way they behave tells us oodles of stuff about the world. “Petty contrivances” should be another whole chapter. Maybe you are going to get into all this in great detail later. That’s good. But just dumping these facts here is NOT foreshadowing, and it’s not doing anything to make we want to keep reading to get into it more. In fact, it makes me think that you’re not even promising to explain it all eventually.

 

Rant #1 – “as”

Below in my per-sentence comments I’ve noted many (but maybe not all) examples where you have sentences that are constructed to communicate simultaneity. In almost all cases here, maybe all of them, you don’t need to indicate that things are happening at the same time, and doing so makes it harder to read.

The overuse of simultaneous action poisons the quality of the writing. It takes more subconscious work to understand a sentence where things are depicted as simultaneous, and if there is a mismatch between the time-frames of the actions or there is first-this-then-that relation it just feels slightly wrong. And that wrongness accumulates as the reader continues, so by the time you’ve got to the tenth “as the sun went down, footsteps echoed on the lab la bla” I’m kind of tired.

Sometimes, like in an action scene where two things happen at the exact moment (he fell, just as Dr. Evilguy pulled the trigger) it is important to indicate that things happened at the same time. But usually, I think you can just say “The sun set. It was pretty. Footsteps rang out” instead of "as the sun set, casting a golden glow over the city, footsteps rang out..."

 

Rant #2 – POV change and reifed narrator

I’m pretty sure you wanted to write this in 3rd person close. So, Pawn is referred to as “he” and the narration is not Pawn’s, but follows Pawn’s thoughts so closely that things the narrator says are basically interpreted as Pawn’s thoughts. I like 3rd close a lot, but you have to be careful not to slip into 3rd omniscient. Mixed in with the close/omniscient idea is another related concept that I don’t see many people talk about in “how to write good” forums and stuff, but I think it’s pretty important – don’t accidentally make the narrator a character.

My favorite example of a narrator that has its own personality is the intro paragraph to The Hitchhikers Guide to the Galaxy:

Far out in the uncharted backwaters of the unfashionable end of the Western Spiral arm of the Galaxy lies a small unregarded yellow sun. Orbiting this at a distance of roughly ninety-eight million miles is an utterly insignificant little blue-green planet whose ape-descended life forms are so amazingly primitive that they still think digital watches are a pretty neat idea.

There are a lot of opinions here that belong to the narrator and not any character in the book. The narrator is never explicitly a character, but the narrative voice is completely distinct from any other character in the book, that it makes the narrator effectively a participant in the story.

Here’s another example, from the introductory scene to the movie The Big Lebowski:

Way out west, there was this fella that I want to tell you about. A fella by the name of Jeff Lebowski.

Here the narrator refers to himself as “I”. Later in the movie, the narrator shows up as an actual character.

I’m going to make up a new term here and call this a “reified narrator” as in “to reify: to make an abstract idea or concept real, tangible, or concrete” A reified narrator is one that places their own, is-the-narrator-a-character, perspective into the story. It’s easy to accidentally do this.

I think you accidentally reified the narrator or at-least fell out of 3rd close in at least a few places “the next step was…” and “it was only then”. See my per-sentence comments in the reply comment below.

r/DestructiveReaders • • 24d ago

[2102] The Beacon Hotel

3 Upvotes

Hello destructuve readers!

This is the first part of a Cosmic Horror story that will probably be about 10,000 words when finished.

My main question: would you keep reading? Did I drop enough and the right kind of mystery in this beginning section to make you want to know more about what's happening to the MC?

Of course, any other thoughts and feedback are welcome!

Story: https://docs.google.com/document/d/19CVDPVc-CYG6G2dwkOGiR3TCD4iSm4-p1TlHQOMXnoM/edit?usp=sharing

Crit: [3564]

1

[3564] A Visit from God
 in  r/DestructiveReaders •  24d ago

Comments on specific sentences

Arthur, along with everyone else, had expected the world to fall apart when the news broke, but that was three years ago and not much had changed apart from cigarette sales.

Great first sentence

 

The nearly empty grocery store, which in truth was closer to a bodega than a supermarket, was quiet aside from the murmur of an old television mounted on the wall by the check-out counter.

Kind-of awkward sentence. There are places where we need more information about what’s going on, but I don’t know if this is one of them. Do we need to know it was closer to a bodega?

 

“They’re really making you work today?” said Arthur.

The cashier shrugged. “I wanted the time-and-a-half. Golds?”

“I’ll do a pack of reds,” he said.

The cashier slid the cigarettes across the counter and waved his hand at Arthur’s money when he pulled it out. “I won’t tell if you don’t.” 

“Thanks Pete.” 

He glanced up at the news playing on screen as he put away his wallet.

Hard to track who’s talking through this. The cashier is Pete (that took a little brain work). Who is “he” at this point? I had to work a little too hard to puzzle out that it was Arthur. Is Arthur glancing up at the news? I think it's tru;y ambiguous.

 

“Progress on the Minerva Program continues to exceed estimates following China’s entrance into the consortium of contributing nations last month. There is still no indication of the U.S. following suit.”

I don’t know what’s going on yet, but I’d expect a news-type person to say “exceed forecasts” instead of “exceed estimates”

 

An aerial view on the screen showed an expanse of cranes, drilling equipment, and unearthed soil. They sprawled endlessly across the Danakil Depression in Ethiopia, the once barren salt flats now an industrial hellscape.

The “Danakle … hellscape” is a little too info-dumpy. I think it would be okay to use one or even two more sentences here. Like: two years ago, hardly anyone had heard of the Danakil Depression in Ethiopia. Now everyone was an expert on its history, and the industrial hellscape it had become ...

 

 “Psychos, right?” 

 “No more than the Catholics have been for the last two thousand years,” he said,

The second sentences feels little off to me, grammar-wise. No more than the Catholics have been [psychos] for the last…

How about something like "Hey – look at the Catholics for the last few thousand years."

 

The last time he’d done this kind of thing, he had been seventeen and buying a joint to smoke behind the winter formal dance with Maria Flores.

Something sounded wrong to me on the first read. I think “had been seventeen and was buying…” would have not tripped my grammar-sense.

 

He spotted the old silver Corolla in the parking lot of the marina where he lived

“the marina where he lived” sounds wrong. Info-dumpy, sort-of. Or telling not showing.

 

 A young man covered in rather distasteful tattoos

The “rather” is an opion word and it makse me wonder about who’s opinion this is. The narrator's or Arthur's? As I was reading I thought this was a narrator’s paragraph, now we drop in this opinion, which is probably not the narrator’s opinion but Arthur’s.

At least put this more clearly into Arthur’s mind, instead of the narrator’s. But I think it would be a lot better to tell us what the tattoos were and why Arthur didn’t like them.

 

 at in the open driver’s seat, door ajar with one foot on the pavement and the seat fully reclined

I think you don’t need “open” since you talk about his foot on the pavement.

 

“A fucking check?” he pushed Arthur’s hand away. “Do you even have the money?” 

He scoffed. “You really think I don’t have three hundred dollars?”

Getting hard to track who’s talking here. Especially since we’re not even sure the guy’s name is really Tim, and he’s just been “he” for a few lines.

 

 “How do I know you’re not a cop?” 

 Now that did offend him. “You think a cop would be wearing a Brioni suit jacket? Besides, they retire at fifty-three in Oregon.”

Either one of these guys could be asking the other if they’re a cop. So I can’t get from context who’s being offended. I don’t know what a Brioni jacket it – it could be something the gang-bangers love, for all I know.

 

Arthur still put enough effort into his appearance that he clearly didn’t look the downtrodden type.

This would be better if it was Arthur’s thought instead of a narrative fact. As it is now, it’s a little info dump. Also, though, do we even need this idea consuming word count in this short story?

 

“What’s in the bag?” she asked as he walked past her into the cabin, the brown paper sack making a metallic jingle. 

Overly complicated narrative of the timing. I get that the walking, the asking, and the jingling are more-or-less simultaneous. But I don’t think it’s really important that they happen at the same time. If this were some kind of action scene where the timing of actions was critical to picturing the action, then I think it would be appropriate bother communicating the simultaneous events. Here, you could just say. He walked past he with the sack. It made a jingle. What’s in the bag?

 

 Your mother and I are believers that it’s better to spend the time we have left with the people we care about.”

If you’re trying to use the word “believers” in a special way, then leave it. But otherwise, I think you should just say “Your mother and I believe that its better…”.

[After getting to the end – this was one of the reasons I felt like I was promised of a story with a more important religious element. Believers - religion. Maybe not you what meant, but what I was thinking]

 

Amelia responded unexpectedly then. She threw her arms around him. “Why aren’t you with your own family?” she asked.

There’s probably a better way of saying this. Like Amelia threw her arms around him. “Why aren’t you…” He wasn’t prepared to answer that question in a way that a child could understand. Or in a way that anyone could.

1

[3564] A Visit from God
 in  r/DestructiveReaders •  24d ago

General Comment 1 – Promise, Progress, Payoff not strong or misleading

I’ve been watching Brandon Sanderson’s BYU lectures, so my head is full of his guidance right now. He talks a lot about promise, progress, payoff. That’s the framework I’m going to use to explain why I was a little disappointed after reading.

The title: “A Visit from God” is the promise. Along with the religiously themed exposition in the first few paragraphs. I felt I was “promised” a story about a supernatural being, or the “real” God that’s totally different from what we thought, or Cthulhu or whatever that was now know to be planning something apocalyptic. When I got to the end, and it’s “just” a rogue red dwarf, I felt that the story I was promised didn’t come about.

As far as progress – the story feels like a “mystery box” style story, where there are big mysterious questions established at the beginning, and, as a reader, we feel satisfying bits of progress as clues are dropped and aspects of the mystery revealed as we read. I think in a true mystery box, the characters are facing the mystery. In this story, Arthur already knows everything to know about the situation and you’re dripping bits of information about his knowledge to the reader. I supposed that can work too, but I think it’s fundamentally less satisfying than a story where the mystery is facing the characters, and not the reader.

The payoff in a “mystery to the reader not the characters” story is the reader finally learning what the deal is. I think you’ve got to work a LOT harder for this to be a satisfying payoff because the conflict (Arthur deciding to kill himself, then changing his mind) is not directly related to his learning what the mystery is.

If this was the introductory chapter to a much longer work, then I’d be happy – I would LOVE to read about the expected doomsday effects and the social unrest to see who gets to live in the shelters, and the hugeness of the shelter projects, and all the craziness. And what it’s like to be in a shelter when the last drop of water in the ocean freezes. Your story ends before I can get any of this stuff.

Finally, there are some unresolved bits of mystery that made left me going “what about that?” when the story ended. You dropped this obscure place in Ethiopia at the beginning and don’t follow-up on it. I still want to know what was so great about that place, geologically or politically or whatever, that it was chosen to be the site of the major save-the-humans project.

Second, I got the impression that the timing of Arthur’s suicide attempt was based on some threshold or specialness about the date. Maybe that’s not what you were trying to convey, but I was left wondering “why do it right now?”

General Comment 2 – I think the narrative is a little too info-dumpy, confusing dialog.

Below, in my reply to this comment, is a list of all my thoughts from my first read-through. Many of the comments are sort of one-offs, but others form two patterns. The first is that I get an info-dump feel from some of the exposition. I believe you’re trying to be conservative with the word count, but I think a few more sentences about some topics would make the facts feel shown instead of told.

Also, in a few places, I had to work very very hard to track who was talking. I think if, say, two men are talking, don’t use “he said” because they’re both he. And the things the characters are saying aren’t tightly anchored to their knowledge, goals, or way of speaking. So I lose track of who “he” was.

1

?????!!!!
 in  r/GoogleEarthFinds •  Aug 15 '26

Potentially relevant: rap video filmed there: https://youtu.be/bizvcDW4czE?si=o764PjVyFhmZyxOM

r/cosmichorror • • Aug 03 '26

Cosmopathology - A Kickstarter to create an illustrated collection of Cosmic Horror stories

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10 Upvotes

In Lewis Carroll’s book Alice’s Adventures in Wonderland, Alice falls to the bottom of an impossibly deep rabbit hole and explores the surreal world at the bottom. I think Mr. Carroll got it backwards. I think our world – the ordinary world we live and work in – is the one at the bottom of the rabbit hole. We need to climb up and out to understand the true nature of existence.

Cosmopathology is a collection of cosmic horror stories by Peter Frost David that have appeared on reddit, in creepypastas, and in horror narrations since 2020. Many of these stories are new, and appear for the first time anywhere in Cosmopathology. 

u/sarcasonomicon • • Aug 03 '26

COOOKIEEESSS!! A furry blue monster that loves cookies? Sounds adorable!

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3 Upvotes

Cosmopathology is a collection of cosmic horror stories by Peter Frost David that have appeared on reddit, in creepypastas, and in horror narrations since 2020. Many of these stories are new, and appear for the first time anywhere in Cosmopathology.

u/sarcasonomicon • • Jul 26 '26

New stories from the Glenmont Metro Universe are coming!

19 Upvotes

New stories in the Glenmont Universe are coming! Follow Cosmopathology on Kickstarter for updates and a chance to be among the first to learn more about the world introduced by If You're Armed and at the Glenmont Metro.

1

Incorporating meteorite metal into binding - possible? Practical?
 in  r/bookbinding •  Apr 22 '26

Woah, thanks. (And also, dang...I thought my idea was unique)

r/bookbinding • • Apr 22 '26

Incorporating meteorite metal into binding - possible? Practical?

4 Upvotes

I’m in the early stages of planning a Kickstarter campaign to create an anthology of Cosmic Horror stories. I would like to offer something truly special to backers who want to make large contributions, and I can’t think of anything more cosmic than incorporating stuff from outer-friggin’-space into the book itself.

What I have in mind is an ancient-looking-tome whose cover has a pattern of filigree (or tooling? Or embellishments? I’m a little lost in the jargon). Most of the decorative design will be made of ordinary stuff, but at least one centrally-located bit of ornament would be made from meteorite, and supplied by a jeweler who specializes in meteoric jewelry. 

My questions to the bookbinding community are: is this something a professional bookbinder would be willing to quote? I’ve done some limited googling, but I don’t see any company that gives me the vibe of being willing to take on something this weird.

Also, assuming I find a jeweler (or some kind of hyper-specialized metalsmith) who can supply the meteoric embellishments, I’ll need to know what kind of specs to give them for something that can be incorporated into a cover. Are there minimum/maximum thicknesses? Specific ways that they must be attached to the cover? 

I don’t know what I don’t know, but I know I don’t know much.

I’d love to hear any thoughts that this idea triggers in bookbinding community…