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Olivia Burke
Fantasy
A few untranslated words can do more work than a whole page of invented vocabulary. Used sparingly, they let a fantasy language feel lived-in without turning the reader into a reluctant linguist.

The danger is over-explaining the mystery until it stops being mysterious. If every term comes with a neat little translation, the world starts to feel laminated.

I’d rather meet a phrase often enough to understand its weight by context. A recurring word can become a small piece of atmosphere, which is usually more useful than an appendix nobody opens until the end, if at all.
Marcus White
Untranslated words can also become a kind of false prestige if the writer is careless. A bit of texture, fine. A whole cupboard full of terms nobody can place, and you start to feel the author showing off the crockery.

The better trick is usually repetition with context, and letting the surrounding world do the work. In horror especially, one unfamiliar word can be enough if the rest of the scene feels solid.
Joel Lloyd
The catch is that untranslated words only work if the text has enough context to carry them. If the reader keeps tripping over them, they stop feeling atmospheric and start feeling like homework.

I’d rather a fantasy language had a few terms the story genuinely needs, then leave the rest alone. Most invented vocab is just decorative scaffolding anyway.