Exotic chords usually require a special rule to use it well.

I
don’t recommend them often, so I’ll try to give use cases
with my chords.
For blues, I always teach the dominant 9 chord rooted on
the 5th string. You can replace it with just about any
dominant chord in a blues progression. It is a fun one to
slide into chords too.
For a Jazzier feel, I like to use dominant 13th chords in
place of dominant 7th chords. Specifically, the following
voicing: G13 3-X-3-4-5-X. This works very well in a ii-V-I
progression.
To get sporty, I sometimes use a diminished seventh chord
as a “pivot” to change keys mid-song. One way to do this is
to substitute a dim7 chord for the V chord. You can select
one rooted on the flatted-tonic, but I like to select it by the
3rd of the V chord (hint: it’s the same note). Then you
resolve the dim7 chord to a maj7 chord that is rooted a
half step higher than any note in the diminished chord.
Example: In the key of C, you’d normally play a G7 as the V
chord. You can substitute Bdim7 (the 3rd of G7), which
includes the notes (B, D, F, and Ab). Then you can any of
the following that are rooted a half step higher than the
dim7 chord tones: Cmaj7, D#maj7, F#maj7, or Amaj7. Cmaj7
is the current key, so there are three others to choose. For
more information, I have a lesson on diminished chords: