Can I ask something a little weird? How many notes do you usually get on one of your drabbles or writing things? Im trying to get into writing and I feel like a I’m already flopping 😅
uuh it’ll really depends!
i think it’s important to note the interactions i get now is no where near what it was when i started writing years ago, or even when i moved into writing for nct! starting is hard, but it’ll grow if you give it a chance!
keep in mind, i have a decent following already that i think most of my notes come from people already following—not usually people going through tags and finding my posts (though it’s pretty easy to tell lol after they like a post and then follow) and i like to take care about what time i post something, as i have a pretty good following outside of the states (gotta love time zones huh).
a pretty normal rate is about 100-200 notes on one of my drabbles, that’s like a baseline. anything under and it’s usually when i post it outside of my typical schedule or i completely bombed the writing lmao. anything from 300-pushing 500 is like…unnaturally good for me. and just bc i looked through my posts to figure this all out, i noticed one broke 1k and that’s like off the walls not normal lmao.
so obviously it’ll vary! consistency is key, a lot of my growth has come from having a bunch written in a queue so there’s new posts every day or every other day (not saying you have to go crazy like that but that’s just what i tend to do). and be careful with tags! only use the tags for whatever member your writing for bc a lot of people get annoyed at cross tags and purposefully avoid you 🙃
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Lilith had heard from older people she met throughout her life that falling in love with your classmates can cause troubles in the relationships with each other, destroy the dynamic within the class, can cause awkwardness and so on.
No one talked about the other form of love though.
Lilith had learned all to well that all things end. She tried to prepare herself for the last day of school all year, but she still was sad for the end. She had gotten attached, a little part of her shamed her for that, another was greatful.
Lilith loved her class. And yes she might have had a thing with Hans and Peter. And yes, things with Hans had been awkward in the past, but it wasn't the first thing she thought of when she looked back at the past three years, not the kind of love she felt when looking back at things.
She could just zone out in the hallway and remember how Chloe flirted with her just for funzies. She could see Jason and Sander carry aquipmemt to one of the other rooms for their personal assignment. She could see her and Hans holding hands and looking at each other like there's no tomorrow. Her and Vera joking like there was no one around.
It was creepy and sweet. It was gonna haunt her for a while, that she knew, but right now she didn't care much.
Now she was in her favourite room, the room where she managed everything, her and Marianne's room.
Sander and Chloe will break up and he will move at some other place in the country. Jason is gonna leave with Peter, Kristian, Simon, Liam, Susan and Lenard up north for a whole year. Hans and Lilith will study in the capital. So is Vera, just at another school. Chloe will go on for work in order to gather money and travel as she always wished for.
Lilith knew that no matter how much she would try to keep contact with them all, she'd never manage. That's what always happened when she moved. She hated that she knew that.
And now Lilith was thinking in her favourite room alone, the blinds closed, the lights off. Just her and her mind, her tears that didn't wanna stay put.
It's not the dynamic it's the heartbreak. She thought, hugging herself.
"The end of an era" She managed through her tears.
Recently finished another re-read of Robin: Son of Batman, and I just cannot get over how good specifically the first six issues are. Like I don’t just thing they’re good by DC Comics standards; they’re good by actual literary standards.
The thing that really elevates R:SOB #1-6 for me is the way it examines redemption as a concept. Most DC Comics are good because they examine concepts within the DC universe in an interesting way, be they characters, teams, or worldbuilding elements. And there’s absolutely nothing wrong with that! You can create perfectly good, solid stories that way. But to me, in order to elevate something to truly great, it needs to have a theme it explores.
Robin: Son of Batman could’ve easily been a monster-of-the-week romp with Damian returning a new item from his Year of Blood every week, while his relationship with Maya progresses. And this story would’ve likely still been good, but it wouldn’t have been great the way R:SOB is right now.
Because R:SOB isn’t just a story about Damian’s character development; it’s a story about redemption, and what that means, exactly. All three major characters within the first six issues tie in with this theme in some way.
Damian, the main character, has done horrible things, but is already well on his road to redemption. He’s already a hero, and he’s already saved many people. His quest to return the items he stole during the Year of Blood is, in essence, just yet another step on that road he’s already been travelling for a while.
Maya, the deutagorist, stands at a crossroads in her life. Her father has been killed, and all she has left is his legacy as an assassin and her anger for his murderer, Damian. She hasn’t killed yet, or done anything else that crosses a point of no return. She doesn’t yet need a redemption. But she’s considering crossing that line anyway, because she feels like there’s nothing else left for her.
Talia is a bit more complicated, if only because the terrible things she’s done were primarily there because of bad writing and character assassination. To their credit, the R:SOB writers seemed to have realized this, and literally sucked the bad writing out of her via black pearl (which is still the funniest retcon method I’ve encountered). Nevertheless, regardless of why, in-universe, the bad things still happened, and Talia takes responsibility for them. She decides that she needs to redeem herself, and begins that journey by trying to make amends with her son, who she inadvertently harmed but loves to pieces.
And all of those perspectives (that of someone on the road to redemption, someone just starting it, and someone who doesn’t yet need it) hang together so beautifully! None of these arcs exist separately, they all feed into each other and strengthen the others.
Damian harmed Maya, but wishes to redeem himself; while he doesn’t actively fight for Maya’s forgiveness, it’s clear that it would be good for him. It would be proof to himself that he can change, and that not everything has to always stay bad. At the same time, though, he doesn’t want to forgive Talia, who harmed him. When he’s in the role of Maya, he reacts with the same anger she showed. And it’s through this realization that he starts to see that Talia is doing the exact same thing he is, and why he is eventually willing to give her a chance. Because Maya’s willingness to forgive the harm he’s done to her helped him, and he wishes to extend that same help to his mother.
Which is already fantastic, but what REALLY makes it great is the statements it makes in regards to how redemption is achieved. Damian begins his quest to return the items he stole in the Year of Blood in an attempt to right the wrongs he’s caused, but it quickly becomes clear things aren’t that simple. We get the first glimpse of that when we learn Ravi’s backstory, and how Damian allowed him to be blinded. We see his regret for that decision, in the room surrounded by stolen treasures he aims to return, and realize some wrongs simply cannot be righted. Some decisions cannot be reversed.
Later, we learn that Maya has maintained her father’s assassin contacts, and Damian urges her to break them off. This is, again, a way in which their arcs intertwine; Damian knows what the results are of following in your family’s murderous footsteps, and wishes to save Maya from making those same mistakes. Maya in return, breaks off her contacts. Unfortunately that contact is Deathstroke, who isn’t exactly happy about that.
When Maya is attacked by Deathstroke over the money she (supposedly) owes him, Damian is given a choice. He set five million aside to donate to the philanthropist whose clinic he destroyed, so that he could rebuild it. This is part of the way he is attempting to undo his wrongdoings. But Deathstroke wants five million to pay back Maya’s debts, and Maya isn’t some past wrongdoing. She’s a living person, right here, right now, in need of help. And Damian decides to help her, and gives Deathstroke the five million.
The question posed to Damian here was essentially: What is more important, undoing your past wrongs, or doing present rights? Damian’s quest to right his wrongs is noble, certainly, and can definitely have positive effects for others, but it’s also, ultimately, for himself. Does soothing his personal feelings of guilt outweigh the need to save others? Damian decides that it doesn’t, and follows through on that. In essence, you could say he is literally giving up a piece of what he perceives to be his own redemption to give Maya a chance at avoiding the need for it.
And that’s how Robin: Son of Batman builds on the concept of redemption, and makes a statement on what it is. It states that 1) Some wrongs cannot be undone, no matter how much you wish they could, and 2) On the road of redemption, it’s much more important to do things right now than it is to undo past wrongs. Apologizing for what you’ve done wrong is important, certainly, but it’s not more important than actually doing good in the present.
It builds on and reinforces these statements time and time again, both with the examples I just gave, and also with the revelation that Damian should not return all the treasures he stole, since that would aid the Darga in destroying the world. Again, it faces Damian with the choice to undo his past wrongs, or do present rights, and he again chooses the latter. In addition, it also again states that not all past wrongs can be undone, no matter how much we wish they could.
Robin: Son of Batman isn’t just good because it’s a great examination of Damian’s character, but also because it questions what redemption even means to begin with. The willingness to examine redemption as a concept from several angles is why it’s still by far Damian’s best redemption arc to date, and why it holds up not just as a superhero comic, but a piece of literature.
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