The Biggest Confidence Boost Is Knowing That Even My Shittiest Fanfic Will Be 10,000% Better Than Any

Bruce: Who is that?

Dick: A kid I met in Bludhaven.

Jason: Oh god, not you too.

Damian, whispering: Are we sure Richard isn't my biological brother?

Tim, also whispering: Yes... Maybe?

Jason, joining the conversation: The adoption gene got transferred through osmosis

Bruce: Where did you get them?

Dick: I was on patrol and they wanted to show me some flips.

Bruce: So they're an acrobat?

Dick: Yeah!

Bruce: Alfred!

Dick: Huh?

Alfred: I shall reinforce all the chandeliers.

Dick: Wait that's not necessary!

Everyone else: ???

Dick: Seriously they're only staying with me a couple days.

Bruce: DAYS?! Alfred order the newest chandeliers.

Alfred: Right away, Master Bruce.

Bruce: Today I realised I'm old

Clark: What happened?

Bruce: I fell in the kitchen and instead of laughing, all my kids came running to see if I was ok

Clark:

Bruce: I saw fear in their eyes

Storyediting Questions to Ask

As You Read the First Draft:

Are there place that surprised you as you read your first draft? - Why do you suppose that is? - Is there material there you'd like to expand?

What are the character really doing in this story? - Might they have issues you haven't explored fully yet?

Look to the places that drag. - These might be scenes where you have avoided dealing with something deeper. - What are the characters really thinking in these places? - What are their passions, frustrations, and desires?

Imagine alternative plotlines. - How might your plot be different if ti headed off on another tangent from various points in the story? - You don't have to follow them, but they might suggest other streams that can flow into the main plot.

Think About Structure:

Does you story play out naturally in three acts?

Is there an immediate disturbance to the Lead's world?

Does the first doorway of no return occur before the one-fifth mark?

Are the stakes being raised sufficiently?

Does the second doorway of no return put the Lead on the path to the climax?

Does the rhythm of the sotyr match your intent? If this is an action novel, does the plot move relentlessly forward? If this is a character-driven novel, do the scenes delve deeply enough?

Are there strongly motivated characters?

Have coincidence been established?

Is something happeing immediately at the beginning? Did you establish a person in a setting with a problem, onfronted with change or threat?

Is the timeline logical?

Is the story too predictable in terms of sequence? Should it be rearranged?

About Your Lead Character:

Is the character memorable? Compelling? Enough to carry a reader all the way through the plot?

A lead character has to jump off the page. Does yours?

Does this character avoid cliches? Is he capable of surprising us?

What's unique about the character?

Is the character's objective strong enough?

How does the character grow over the course of the story?

How does the character demonstrate inner strength?

About Your Opposition:

Is your oppositing character interesting?

Is he fully realized, not just a cardboard cutout?

Is he justified (at least in his own mind) in his actions?

Is he believable?

Is he strong as or stronger than the Lead?

About Your Story's Adhesive Nature:

Is the conflcit between the Lead and opposition crucial for both?

Why can't they just walk away? What holds them together?

About Your Scene:

Are the big scenes big enough? Surprising enough? Can you make them more original, unanticipated, and draw them out for all they are worth?

Is there enough conflict in the scenes?

What is the least memorable scene? Cut it!

What else can be cut in order to move the story relentlessly forward?

Does the climactic scene come too fast (through a writer fatigue)? Can you make it more, write it for all it's worth?

Does we need a new minor subplot to build up a saggin midsection?

About Your Minor Characters:

What is their purpose in the plot?

Are they unique and colorful?

Polishing Questions:

Are you hooking the reader from the beginning?

Are suspenseful scenes drawn out for the ultimate tension?

Can any information be delayed? This creates tension in the reader, always a good thing.

Are there enough surprises?

Are character-reaction scenes deep and interesting?

Read chapter ending for read-on prompts

Are there places you can replace describing how a character feels with actions?

Do I use visual, sensory-laden words?

For a Dialogue Read-Through:

Dialogue is almost always strengthened by cutting words within the lines.

In dialogue, be fair to both sides. Don't give one character all the good lines.

Greate dialogue surprises the reader and creates tension. View it like a game, where the players are trying to outfox each other.

Can you get more conflict into dialogue, even emong allies?

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Jason: “I’m NOTHING like Bruce, okay? We’re not even that similar. That’s all in your head.”

Dick, perched on Jason’s couch watching him gear up, sipping a Batburger shake: “so you’re NOT about to go deal with your emotions by going out on patrol and beating people up?”

Jason: *sets down the brass knuckles he was just holding* *stares off into the distance*

Jason: “These are just…for my — look, I don’t like your fucking tone, Richard.”

a dænce of roëmænce

depictions of the ace experience never seem to include the nightmare-borne skeleton creature from hell so kudos to the dimension 20 team for their commitment to accurate rep

In a shocking, and unintentional, turn of events, Tim and Jason both end up at the airport on the same day. Jason heading to Ethiopia, and Tim to find his parents in Egypt.

Unfortunately, Tim is still very young and the airport is a lot more overwhelming than he originally thought it would be. Jason happens to have a soft spot for kids, especially kids who are trying their damndest not to cry.

Both Tim and Jason miss their flights. Bruce storms into the airport like an avenging mother bird who’s chick was stolen directly from the nest and takes Jason and Tim home with him and lets neither out of his sight for days.

Dick returns home from space to two living brothers.

silly comic about Shinsous love life

And done! :D I really like the idea of Damian experimenting more artistic skills, like body painting- But first he gotta start with something small, so- Makeup!

And I wanted to put Tim in this because of the Caroline Hills thing, he must be more comfortable with makeup 👉🏻👈🏻

Robin, after dealing with an annoying person at work: Do you think we could kill him?

Steve: We can’t.

Steve: Nancy could though

Robin: Let’s call her

Keith:

Keith: I can hear you

Robin: Good.

I’ve made a few posts about wanting a fic from the pov of the fbi agents that have to monitor the party but I think it’s really funny if Steve is the only one that realizes they’re being spied on.

Steve is over here telling The Party that their phone lines are tapped and the feds are pretending to be their teachers, while the FBI is sweating bullets in an electric company van outside because they can’t figure out what’s giving them away.