#there's already two publishers interested

[the-grey-hunt]

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TL;DR Entangled Press (best known for their Red Tower imprint, which publishes the Fourth Wing books) is being sued on the allegation that an agent used a former client's manuscript to help Tracy Wolff write the "Crave" books (or at least the first one).

article copied in full below the cut for people who get paywalled:

In the autumn of 2010, Lynne Freeman, a family-law attorney and an unpublished author, put the final touches on her first novel, “Blue Moon Rising.” The story revolved around a teen-age girl named Anna who falls in love with a werewolf and learns that she has magical powers. It was a fantasy, but it drew on Freeman’s own experiences growing up in Alaska. For years, Freeman had been fiddling with the material, imagining and reimagining characters, revisiting childhood memories. She even dreamed about the idea, and kept notes on it in a shoebox in her bedroom. In 2002, after becoming pregnant with twins, Freeman lost one of the babies and gave birth prematurely. Long nights lay ahead. She spent them caring for her son and working on her book.

A few months after she’d finished, in December, 2010, Freeman signed with an agent, Emily Sylvan Kim, the founder of Prospect Agency, a small firm based out of Kim’s home, in New Jersey. Kim, a slight woman with a youthful aura and a bright, clenched smile, struck Freeman as a kindred spirit—she’d launched her own business, just as Freeman had, and she’d even briefly attended law school. For the next three years, Freeman and Kim worked together to expand and refine the manuscript.

Kim sent pitches of “Blue Moon Rising” to more than a dozen publishers. The results were discouraging. “I thought the writing, the storytelling, in this manuscript was simply wonderful,” one e-mail read, but “we are . . . looking for things that fall into a newer territory.” Another editor wrote,“While the writing is really great and Anna was a very likable heroine, I worry that there are not enough new and different elements to the story here that would set it apart from the rest of the novels in the competitive paranormal/romance/YA market.” By March, 2014, all but one of the publishers had rejected the book, and Kim and Freeman parted ways. Freeman withdrew her outstanding submission from the final publisher, a press called Entangled.

In 2021, Freeman and her son, now a senior in high school, stopped at a bookstore in Santa Barbara on the way to receive their COVID vaccinations. Freeman, lingering in the young-adult section, picked out a book called “Crave,” by the author Tracy Wolff. She liked the cover: black with a large, bloodstained white flower in the center. It reminded her of “Twilight.” By the time she got home, she was already noticing muscle pain and fever from the vaccine. She began reading the novel, which was published by Entangled, and experienced a panic attack, the first she’d had in five years.

Freeman immediately spotted similarities to her own unpublished book. The main character was named Grace, not Anna, and her love interest was a vampire, not a werewolf, but in both stories the heroine moves from San Diego to Alaska after members of her family are killed in an accident. She lives with the only two relatives she believes she has left, both of whom are witches. A female rival slips her drugs. There’s an intimate moment under the northern lights. In a climactic scene, an evil vampire kidnaps her, and she ends up accidentally freeing a different vampire, whose return is said to herald the end of the world. (In Freeman’s planned sequel and Wolff’s actual ones, this vampire replaces the previous hero as the main character’s primary love interest.)

In addition to what Freeman felt to be the books’ obvious similarities, “Crave,” to her mind, contained details that could only have come from her, from her life. The novel’s opening scene describes flying in a puddle jumper above the Alaskan landscape. Freeman’s grandfather had been a bush pilot: she recalls reminiscing to Kim about what it had been like to go up in his tiny plane. A fantastical chessboard figures early on in “Crave”; a wall-size painting of a fantastical chessboard hangs in Freeman’s office. Wolff’s heroine is revealed to be a gargoyle. Freeman collects gargoyles—they guarded the path to the front door of her former home.

A Google search revealed that Tracy Wolff was a nom de plume for Tracy Deebs, a star client of Freeman’s former agent, Emily Sylvan Kim. Kim had introduced Freeman and Deebs at a Romance Writers of America conference in 2012. (Wolff and Kim claim to have no recollection of this meeting.) The name Stacy Abrams, which appeared in the acknowledgments section of Wolff’s book, was another pinprick. Abrams was the editor who had fielded Freeman’s book submission at Entangled. Freeman grew convinced that Kim and Liz Pelletier, the publisher and C.E.O. of Entangled, had shared the manuscript of “Blue Moon Rising” with Wolff and used it as the basis for the “Crave” series.

On February 7, 2022, Freeman, who had hired a lawyer, sent a letter threatening legal action to Kim, Wolff, Entangled, the company’s distributor Macmillan, and Universal Studios, which had optioned a film project based on the “Crave” books. “I really assumed that they would just apologize and fix it,” Freeman said. But, two days later, the Entangled counsel issued an icy response stating that “neither Pelletier nor Wolff ever heard of Freeman, read her ten-year old manuscript nor were aware of any details concerning the Freeman work.” The attorney added, “The agent, Kim, recalls nothing of this manuscript.” Freeman’s allegations were “speculative, unfounded, and easily rebutted as fanciful.” A month later, Freeman filed a copyright-infringement lawsuit. The litigation, which is ongoing, has cost Freeman several hundred thousand dollars and the defendants more than a million dollars.

The “Crave” series belongs to a powerhouse genre known as “romantasy”—romance plus fantasy. Stories have mingled love and magic for centuries, but the portmanteau crystallized as a market category during the pandemic. Works such as Sarah J. Maas’s novel “A Court of Thorns and Roses,” about a nineteen-year-old girl who falls in love with a fae high lord, surged in popularity, offering escape to readers stuck at home, often with company that was harder to view as enchanting under the circumstances. “The genre really caters to this perspective of, ‘If your life were going to be different, if you were plucked out of this reality, what would your dream reality be?,’ ” Emily Forney, an agent who works with young-adult and fantasy authors, told me. Romantasy sells a lightly transgressive form of wish fulfillment that holds out the enthralling promise of sex with vampires, manticores, werewolves, and other types of monsters and shape-shifters. (There’s even a “cheese-shifter” paranormal romance, by the author Ellen Mint, in which characters can turn into different types of cheese.)

In the past several years, the genre has attained a remarkable fandom. Print sales of romance novels more than doubled between 2020 and 2023. Meanwhile, the number of romance-focussed bookstores in the United States, with whimsical names such as the Ripped Bodice and Beauty and the Book, has swelled from two to more than twenty. Romantasy is helping to drive that boom. Publishers Weekly reported in October that five of the ten top-selling adult books of 2024 were written either by Maas or by her fellow romantasy icon Rebecca Yarros: the authors, combined, had sold more than 3.65 million copies of their novels in the first nine months of the year. A National Endowment for the Arts survey found that the number of Americans who reported finishing a single book in a year declined about six per cent between 2012 and 2022, but romantasy’s mostly female readers seem exempt from that downturn. They gather at midnight release parties and ardently break down their favorite titles on BookTok, a literary alcove of TikTok, where the hashtag for Maas’s series, #ACOTAR, has earned more than a billion views.

Many of these readers are millennials who grew up on “Harry Potter” and “Twilight” and expected more of the same once adulthood struck. Maas was among the first to acknowledge the sexual maturation of her audience. Although “A Court of Thorns and Roses,” published in 2015, featured mild erotic content by romance standards, it was far steamier than most Y.A. (“We moved together, unending and wild and burning, and when I went over the edge the next time, he roared and went with me.”) Love scenes in the later books went further, often adding anatomical specificity. In 2020, Maas’s publishers changed up their marketing strategy, causing the series to be rehomed in the adult section. “It birthed this genre of romantasy,” Cassandra Clare, the author of the best-selling fantasy series “The Mortal Instruments,” told me, “which to me is books that contain a lot of the tropes that make Y.A. popular but also have explicit sex in them.”

In some respects, romantasy has the feel of young people’s literature. The themes are Pixar-coded—forgiveness, compassion, overcoming adversity, celebrating difference—with a swoosh of black eyeliner. Cat Clyne, an editor at the Harlequin imprint Canary Street Press, described the genre as more welcoming than twentieth-century fantasy, which many readers now see as sexist. Romantasy “is emotion-positive—it’s about communication and falling in love,” she told me. “There’s less emphasis on world-building” and more on representing “strong female characters.”

Despite the genre’s egalitarian spirit, the most prominent romantasy authors are white. A reductive but not entirely spurious industry archetype has emerged, of temperamentally if not politically conservative women, often mothers, who find in their writing a means to success outside a traditional career path. “Twilight,” the precursor to today’s paranormal-romance novels, transformed Stephenie Meyer, a Mormon stay-at-home mother of three, into a millionaire. Yarros is a mother of six and a military spouse who began writing when her husband was deployed to Afghanistan. Like Freeman, Wolff first attempted commercial fiction after her son was born prematurely. Between 2007 and 2018, she published more than sixty romance, urban-fantasy, and young-adult novels, but it was not until she wrote a vampire-gargoyle love story that she shot to the top of the New York Times best-seller list. In April of 2024, Publishers Weekly reported that the six-volume “Crave” series had sold more than three and a half million copies worldwide.

All genre fiction (and arguably all fiction) is patterned on tropes, or received bits of narrative. But tropes have assumed a new importance in the creation and marketing of romantasy. On BookTok, users sort and tag titles by trope (#morallygreymen, #reverseharem, #daggertothethroat), allowing authors to tune their creative process to the story elements that are getting the most attention online. Entangled, “Crave” ’s publisher, gives visitors to its Web site the option to browse its selection by tropes such as “enemies-to-lovers” and “marriage of convenience.” Entangled editors fill out a form for every work they acquire; on the version of the form I viewed, there were fields in which to specify “tropes,” “paranormal elements,” “authors similar to,” “Heat level” (on a five-point scale from “mild” to “scorcher”), and the ratio of romance to suspense (from a maximum of 100/0 to a minimum of 20/80).

Romantasy’s reliance on tropes poses a challenge for questions of copyright. Traditionally, the law protects the original expression of ideas, not the ideas themselves. A doctrine named for the French phrase scènes à faire, or “scenes that must be done,” holds that the standard elements of a genre (such as a showdown between the hero and the villain) are not legally protectable, although their selection and arrangement might be. The wild proliferation of intensely derivative romantasies has complicated this picture. The worlds of romance and fantasy have been so thoroughly balkanized, the production of content so accelerated, that what one might assume to be tropes—falling in love with a werewolf or vampire, say—are actually subgenres. Tropes operate at an even more granular level (bounty-hunter werewolves, space vampires). And the more specific the trope, the harder it is to argue that such a thing as an original detail exists. For example, the “dark paranormal romance” subgenre mandates physical injury and a brooding, inhuman male lead. In 2018, the author Addison Cain filed a takedown notice against the author Zoey Ellis, accusing her of ripping off Cain’s lupine society of aggressive Alphas and submissive Omegas. Ellis sued Cain and her then publisher Blushing Books, arguing that she and Cain were both practicing the subgenre of “wolf-kink erotica,” which is based on open-source fan fiction. (Blushing Books settled out of court; a second suit Ellis filed against Cain was dismissed.)

Freeman’s suit rests on hundreds of similarities, compiled by Freeman and her lawyers, between her own manuscripts and notes and the “Crave” series. Taken one by one, few examples seem to rise to the level of infringement. The Alaskan setting, which Freeman saw as her intellectual property, is surprisingly common: Pelletier estimates that about ninety-five per cent of vampire novels take place in Alaska, New Orleans, or Las Vegas. Gargoyles have joined the menagerie of trendy paranormals, owing to the “Dark Elements” series, by Jennifer L. Armentrout. Small-plane pilots are standard issue for romance, a genre that loves a man in uniform, and it goes without saying that trysts under the aurora borealis are de rigueur. (One novel memorably features a hunky physician’s assistant who pleasures the heroine as “a brigade of ghostly rainbows jostled in the northern sky.”)

Other similarities are harder to explain away. In both books, the heroine’s parents bind her powers with tea; the male lead is guilty and grief-stricken over his older brother’s murder. I scoffed when I saw that Freeman’s side had listed “shining white courts” as a similarity, referring to the fact that, in both works, the heroine is brought to a marble building with white columns. But the court scenes have more than architecture in common. In each, the main character is transported to a timeless place presided over by a green-eyed woman. The heroine feels a sense of belonging; she is told that this is the home of her ancestors. In Wolff’s version of the scene, there are “thick white candles burning in gold candelabras.” In Freeman’s, there are “candles flickering to life in all of the wall sconces.” You can’t copyright candles any more than you can copyright marble, or ancestors, or green-eyed women. But the composition of these details, the totality of how the obvious or ordinary beats are strung together in each, is startling.

To show copyright infringement, Freeman will have to demonstrate that “actual copying” occurred and that the two texts are “substantially similar.” Because plaintiffs can rarely provide direct evidence of copying, the law allows them to prove it circumstantially, by establishing that the defendant had “access” to the allegedly infringed-upon work, either firsthand or through an intermediary. A problem for Freeman is that none of the 41,569 documents that the defendants were compelled to hand over make any mention of “Blue Moon Rising.” And Pelletier and Wolff both assert that they never saw Freeman’s novel or discussed it with anyone. Without direct proof of access, Freeman will have to take the weaker position that Wolff had a “reasonable possibility” of viewing the manuscripts, given her relationship with Kim. Another problem for Freeman is “substantial similarity” itself, a notoriously slippery standard located somewhere between works that raise suspicions of copying (probative similarity) and works that are almost identical to other works (striking similarity). The defendants argue that the two books feel extraordinarily different in tone, pacing, voice, and style. And “if they feel different,” Pelletier told me, “then they are.”

In romance, the heroine’s H.E.A., or happily ever after, often depends on how smoothly she can adapt to a new situation. The same might be said for publishers of romantasy, who have had to adjust to an unruly landscape of self-publishing that is adjacent to, and increasingly competitive with, mainstream publishing. The reigning principles of this indie world are “more” and “faster.” Because Amazon’s search algorithm appears to favor writers with larger backlists, there’s an incentive to flood the platform with titles—and to pad those titles with as many pages as possible, as Kindle Unlimited distributes royalties to the creators with the highest number of pages read. (This has spawned an epidemic of “page-stuffing,” in which authors load their novels with bonus material; authors have also been accused of using bots to artificially inflate their reader tally.)

Although many of the romantasy agents, writers, and editors I spoke to were not concerned about the field’s frenetic pace, a few felt that it could be overwhelming. “I think it puts authors in an impossible position,” the award-winning fantasy novelist Holly Black told me. “No one wants to cut corners on quality, and so you have to do this kind of heroic thing to get your book to be how you want it in a time frame that’s pretty much impossible.” The same conditions that promote speed can also foster “a pressure toward clickbait,” she added. Authors identify the most irresistible tropes and reproduce them as efficiently as possible. The book blogger and author Jenny Trout told me that, “in romantasy, copycats are commonplace. Authors are giving the people what they want, but it’s also like you’re reading the same book over and over again.”

To stand out, Entangled combines a careful attention to the physical look and feel of its novels—its deluxe editions, with adornments such as foil and stencilled edges, pop on Bookstagram—with a strategic, at times unconventional production process. The house accepts manuscripts from authors with a clear concept of what they want to write, but it also works collaboratively on special projects, in which “we are invited into the author’s process from day zero and continue in that spirit throughout editing,” Pelletier told Publishers Weekly. Entangled’s biggest romantasy titles, including Yarros’s “Empyrean” series, now come from its Red Tower imprint, whose model falls somewhere between that of a book packager and that of a traditional publisher. Book packagers assign teams of writers and editors to create content for an outside client, who can request specific elements, such as “the fae” or “hockey-themed romance.” Often, the writers receive a flat fee for their work (“work for hire”), sign over their I.P. rights, and are not entitled to royalties. Packaged titles are relatively safe bets for publishers, offering agility and responsiveness to subtle changes in market demand. Still, many houses want to avoid the perception of either working with packagers or packaging themselves, so as to attract prestigious authors and dodge accusations of predatory contracts.

Pelletier denies engaging in book packaging, but acknowledged, through her attorney, that, “unlike some other traditional publishers, Entangled tends to work more with its authors at the ideation stage to try to organically bake in a high concept.” “Crave,” according to the defense counsel, was “a collaborative project with Pelletier providing to Wolff in writing the main plot, location, characters, and scenes, and actively participating in the editing and writing process.” On the phone, Pelletier, a former software engineer, insisted that her approach isn’t particularly different from those of “publishers in New York.” (Entangled has no physical office; Pelletier operates out of Austin.) “They do the same thing,” she told me. “I’ve just been very successful at it.”

Opinion on Pelletier in the industry is divided. Publishers Weekly named her its 2024 Person of the Year, citing her “out-of-the-box” thinking. The agent Beth Davey called her “a visionary, brilliant marketer.” Trout, the author and blogger, described Pelletier as “shady” and characterized Entangled as “a Mickey Mouse operation” pushing “nice, nonpolitical white ladies who are good at being pretty in photos and building parasocial relationships online.” One of the more than fifteen writers I spoke to for this piece told me that she’d met with Pelletier to discuss her finished book, but that Pelletier had urged her to develop an entirely different, as yet unwritten, story idea, complaining that “the problem with traditional publishing is that they just let writers write whatever they want, and they don’t even think about what the TikTok hashtag is going to be.” (Through her attorney, Pelletier said she didn’t recall any such conversation and that “Entangled doesn’t rely heavily on hashtags when marketing books on TikTok.”)

Buried within Pelletier’s deposition testimony is an origin story for “Crave.” Toward the end of the twenty-tens, she decided that the time had come for a vampire renaissance. A decade had passed since the “Twilight” movies, and she’d read that fads take about ten years to cycle back around. She’d also heard that teen-age readers weren’t finding the current wave of paranormal heroines relatable enough: the characters were too sure of themselves, too perfect. Pelletier, whose colleagues describe her as a gifted trendspotter, wanted a “fish out of water” story, one that thrust an ordinary girl into a rarefied world.

Early in 2019, an Entangled author was unable to deliver her book as planned, leaving a gap in the schedule. Wolff and Kim both recalled Pelletier needing a writer who could produce good work at a sprint. Wolff is “one of the fastest, but not the fastest writer I’ve ever worked with,” Pelletier said to me. Abrams reached out to Wolff, who responded with five pitches, the second of which featured a sexy, degenerate teen-age monster and a straitlaced scholarship student. With Abrams as an occasional intermediary, Pelletier and Wolff hammered out a basic story shape.

At the time, Wolff was regaining her footing after a difficult period. Her twenty-year marriage had fallen apart a few years earlier, and divorce was not ideal for an author trying to convert fantasies of romantic bliss into rent and groceries. Wolff had written paranormal fiction before, but love stories were her O.T.P., her one true pairing. She was nervous about jumping into the vampire tradition. “I didn’t think I had anything new to bring to the table,” she told the podcaster Hank Garner in 2020. But her doubts lifted when the series’ heroine, Grace, popped into her head and started talking. “She was funnier than I expected,” Wolff told Garner—witty, spirited, a bit sarcastic. In a Q. & A. with the Nerd Daily, Wolff said, “I actually identify a lot with the heroine, Grace. There’s a lot of me in her, including the snarky sense of humor—especially when things get bad.”

The process of putting out “Crave” was chaotic. Wolff wrote a rough draft in two months, from May to June of 2019, but Pelletier didn’t start editing in earnest until December, several weeks before the book was scheduled to go to press. “My editor had a couple of other projects that she was working on,” Wolff recalled on Garner’s podcast, “and then when she came back, she was, like, ‘This is good, but’ ”—Wolff’s voice sped up as if to simulate a torrent of feedback—“ ‘you need to change this, you need to change this . . . you need to add that.’ ” The pair of them revised the manuscript, adding about fifty thousand words in a week and a half. Wolff said, “We were so exhausted . . . the two of us by the end were blithering idiots.” The novel came out in April, 2020. A sequel, “Crush,” followed in September, 2020, and two more, “Covet” and “Court,” appeared in March, 2021, and February, 2022. (During her deposition, Wolff explained that she wanted each title to evoke love, a statement that confused the lawyer, who asked, “What does court have to do with love?”)

Entangled was motivated to push the sequels out swiftly because COVID was catalyzing book sales. Correspondence among Kim, Pelletier, Abrams, and Wolff suggests that, in the hectic days and hours before a book deadline, an already collaborative creative process could become an all-out emergency. It was sometimes hard to tell who added what. “Love ‘our tree of trust is just a twig’ did you write that?” Kim texted Pelletier, about a line in “Crush.” Referring to a different line, Pelletier said, “I wrote that sentence, but I was using Tracy’s voice.” And: “I came up with every header but the first chapter lol.” While closing “Court,” which was on a particularly tight schedule, author, editor, and agent supplied sentences and ideas, all of which swirled together in the various documents being updated in tandem on each of their laptops. Pelletier asked Kim, “Tracy wrote that moonstone description?” Kim texted Abrams, “Tracy and I are team speed writing new scenes,” and “I’ve stopped copy editing because I helped write all this.” (The defense said that Kim’s contribution “was extremely limited and was entirely technical.”)

Wolff seems to find value in a more coöperative workflow. She described herself to Garner as “one of those weird . . . very rare extrovert authors” who “loves to go on writers’ retreats and loves to meet up at, you know, Barnes & Noble and write with their friends.” Like Wolff, Grace is a team player, the center of a big ensemble cast. There are also nurturing Macy, the “cheerleader” of the crew, and tough-as-nails Eden. Wolff told me that she wanted to use her novel to “talk about feminine strength in all its forms.” Her female characters “build the life that they want, not on the shoulders of others, but with others.”

Wolff is an only child. Her father died unexpectedly when she was twenty-two; a few months later, she suffered her first panic attack. Grace, the “Crave” heroine, is also an only child who has panic attacks stemming from the loss of her parents. “I was absolutely channelling some of my own past,” Wolff told me. Her present was impinging, too. She was falling in love with her current partner while she was writing “Crave”; she suspects that some of her elation soaked into the story.

In the “Crave” series, Grace speaks in a knowing, casual, Avengers-inflected tone. Referring to her gargoyle nature, she says, “I sleep like a stone—pun totally intended.” Facing down an abominable beast: “Yep, we’re all going to die.” The series renders the potentially odd and inward aspects of fantasy salable—paranormals are just like contemporary humans, with familiar psychologies, politics, and value systems. They even like the same Top Forty pop songs. World-building details, such as the logistics of being a vampire, are left unexplained. Dénouements can feel duct-taped together, with jarring omissions and convoluted exposition. In the course of the series, characters learn never to underestimate themselves; they grasp the importance of empathy, forgiveness, and friendship; they manifest prolific and appealing forms of feminine power. Most vivid by far are the sex scenes. “Tracy is a romance writer at heart,” Pelletier told me.

Freeman’s manuscript is quieter, more internal. Unlike Wolff, she always knew that fantasy was her genre. She’d immersed herself in Tolkien growing up, and she used to imagine that the people walking around Anchorage were deer shifters or veela, long-haired maidens who called down storms from the sky. She wanted her novel to be as awash in mysterious possibility as her adolescence had been. Her book’s posture toward the natural world is one of respectful awe; reading it, you sense a deeply ingrained isolation.

In “Blue Moon Rising,” Anna is reeling from the sudden loss of her father and his parents. This struggle is drawn from Freeman’s life. When she was four and a half, she and her mother returned from a trip out of state to a completely bare apartment. Her father had left, forcing a split between Freeman and the paternal side of her family. “I wanted to write about a heroine who has tremendous courage because she has panic attacks from loss,” Freeman told me. “She thinks about loss all the time. It’s a thorn in her heart.” Shadowy father figures loom over the story. In one version of the manuscript, Anna’s father is a wise werewolf. In another, he is a cruel vampire prince.

The female characters are foils and antagonists to the heroine. Anna feels judged by her childhood friends: they’ve been “acting moody and unpredictable,” she narrates in one draft. “I felt constantly on edge with them.” At home, the most dramatic conflicts unfold between Anna and her mother, Marcheline, who can be warm and loving but also “controlling,” “obsessive,” “crazed,” and occasionally violent. “It’s like M is schizophrenic with her,” Freeman wrote in one e-mail to Kim, after they had already been going back and forth about the manuscript for six months. “Nice one moment and shredding her ego to bits in the next.”

Part of the reason Freeman was drawn to Kim as an agent, at least initially, was that she seemed to respect the uniqueness of Freeman’s vision. According to Freeman, Kim praised her unusual writing voice, which blended dreamlike imagery with wry humor. (“The moon is full overhead, pregnant with possibilities and none of them good.”) Kim loved the dramatic setting. They spoke on the phone for hours, Freeman says, with Freeman explaining her inspirations, her family and personal life, and her plans for a larger series based on “Blue Moon Rising.” In Freeman’s recollection, Kim would often say that she didn’t have such lengthy or intimate conversations with her other clients. (Kim denies saying this and does not recall any extensive conversations about Freeman’s personal life.)

Freeman was eager to respond to Kim’s suggestions. Kim wanted to see more strength and agency in Anna, the heroine, and Freeman revised the manuscript so that Anna went to greater and greater lengths to rescue her werewolf mate. She produced copious notes, chapter synopses, and character descriptions for Kim; she wrote pitches and taglines and letters for Kim to send to editors. Throughout, she says, Kim insisted that the manuscript was close to being ready. In one e-mail, from June, 2011, Kim wrote, “You’ve been a real pro throughout this revision process so I’d figure you’d want to really wade in those final slogging steps and be rewarded with true greatness!”

But, as the months dragged on, Freeman’s hopes began to wilt. No matter how many times she renovated the main arc, developed a subplot here, updated the lore there, she couldn’t bring the book to where Kim said it needed to be. She believes that she sent her agent at least forty meaningfully different versions of her manuscript. She started to refer to Kim’s edits as “the hydra,” an allusion to the many-headed monster that sprouted two new heads every time one was chopped off.

In September of 2013, Freeman sent Kim a fresh synopsis of her novel. The agent replied in a tone she hadn’t previously used. “My comments don’t always seem to lead your book to the next level,” she wrote. “I really think you owe it to yourself to be really certain you are putting the best book out there.” At the end of the message, she wrote, “I know this email is long and perhaps long overdue. You deserve honesty from me above all else. . . . But the bottom line is you need to move forward and I need to move forward too.”

In Kim’s recollection, Freeman took up less time than some of her other authors—she remembers that Freeman was juggling work and other commitments—but Kim did try to make Freeman feel valued. “Looking back, I feel very proud of the work that I did with her,” Kim told me. “So having that thrown back in my face is very sad,” she said. When we spoke, she stressed that she values “each and every one of my authors so much that it’s just so painful to think that anyone would think that I would do this to them.”

Wolff and Kim were close. Kim’s daughter, Eden, was one of “Crave” ’s first readers, and Wolff named a character Eden in gratitude. Kim’s contributions to the “Crave” series sometimes extended beyond the traditional work of even a very hands-on agent. She helped to create the project’s “bible,” a compilation of names, backstories, and details that Wolff used to keep tabs on Grace’s expansive universe. She proposed plot points: What if two witch characters “are just texting”? What if the magical portals malfunctioned? When Wolff was on deadline for “Court,” Kim sat in a Google Doc with her for nineteen hours, allegedly to provide moral support. “I want to help you rage finish the rest of this book,” she texted on October 24, 2021. Then she suggested that they get coffee “and crash it out.”

Kim didn’t always evince this level of enthusiasm for Freeman. On October 10, 2013, Kim pitched “Blue Moon Rising” to Liz Pelletier, addressing the Entangled publisher as “Lynne.” The language feels boilerplate and impersonal. “If you are looking for something unique in young adult paranormal romance,” Kim wrote, “this is something I think would be a perfect fit for you!” Pelletier forwarded the pitch—without reading it, she claims—to Stacy Abrams, who requested the full manuscript on October 18th. Kim replied on October 23rd. “Hi Stacy,” she wrote. “Sorry for the delay. Here you go! And aren’t you happy about Tracy? I am!” Abrams agreed that she was happy about Tracy, whose new Entangled book was doing well. She also gently noted that Kim had forgotten to attach Freeman’s novel to her e-mail.

An effective romantasy novel conveys the experience of falling in love, but it also touches on themes of talent and purpose, of becoming who you were meant to be. A girl is ordinary and then she is chosen. Her destiny is to wield power beyond imagination. A cold, hard man turns malleable in her hands. Those who dislike her are jealous, those who disagree with her are evil, and those who try to stop her are vanquished—righteously.

A decade or so ago, Y.A. readers telegraphed their fandom by affiliating with types. They picked a Hogwarts house or a Divergent faction to identify with; they declared for Team Edward (the vampire in “Twilight”) or Team Jacob (the werewolf). But romantasy novels are more character-driven, and readers approach them more individualistically. They come to the genre concerned about their own place in the world. “A really good writer makes you feel like a book is about you,” Kim told me. She suggested that maybe Wolff had performed her job too well: Freeman looked into the “Crave” series and encountered her own reflection.

A paradox of romantasy novels is that they express the longing to be unique, but they pour that desire into imitative forms. Many of the genre’s tropes are clichés about specialness. When the heroine is discovered to be secret royalty or the chosen one, readers feel singular, like they are the main character. Both Wolff and Freeman emphasized to me the deeply intimate experiences that fed into their books—falling in love, becoming a mother, struggling to accept the loss of a parent. They lived their tropes. Wolff, a contemporary romance writer who dove gamely into vamps-and-shifter lore, was the normal girl in an alien new world. Freeman was the lost child with an attunement to nature who comes into her power. Maybe these experiences were universal, but they were also personal. If it happened to you, how could it not be yours?

But life isn’t a romantasy novel. For every Sarah J. Maas, there are thousands of first-time or self-published writers toiling away in obscurity. The promise of the genre is transformation—reality into fiction, vulnerability into strength, humans into animals, ordinariness into distinction—but the labor of producing romantasy rarely changes your life. Some authors get picked, and many more do not. The outcomes can feel especially arbitrary when everyone is telling more or less the same story.

The defendants fear that the suit may embolden bad actors to weaponize copyright law against talented and successful authors. Pelletier cautioned that she could see why I might be drawn to a salacious tale of betrayal, but that the real story of the lawsuit was the threat posed by fencing off the creative commons, discouraging writers from crafting their own narratives of alluring monsters or forbidden love. She spoke about a “well” of shared ideas, imagery, and language that irrigates our cultural life and enables our traditions to morph and evolve. “You can’t claim ownership to the well,” she said. “It will stifle everyone’s creativity.” Referring to Freeman, Pelletier added, “She doesn’t own heroes in black jeans, as much as she would like to.”

Black told me, “It’s just true that there are enough things being written, when you’re working with tropes and tradition and folklore, that sometimes you hit some of the same things.” But she dismissed Pelletier’s anxieties about repercussions from the coming verdict, saying, “I don’t think it’s going to create some kind of new standard.” Trout likewise warned against extrapolating too much from a sui-generis situation. “The case with ‘Crave’ and ‘Blue Moon Rising’ is not simply about tropes,” she said. “The books are too similar.”

The defense is right that no one could mistake the experience of reading “Crave” for the experience of reading “Blue Moon Rising.” Wolff’s story is sassy, fun, commercial, and hot. Freeman’s is raw, ruminative, interior, and possibly unsalable, given the murky volatility of the family dynamics and the protagonist’s wariness, bordering on hostility, toward other women. What is strange and spiky in one is palatable and familiar in the other. Freeman strews esoteric asides about Egyptian mythology, Captain Cook, and the passage of Celtic artifacts from New Zealand to Alaska, which have no counterpart in the “Crave” series. (Instead, there are the singer-songwriter Niall Horan, Restoration Hardware catalogues, “Final Destination.”) The mysticism that pervades “Blue Moon Rising” is muted in Wolff’s novels. The sense of phantasmagoria and unreality is gone. Many of the details that overlap are tropes, or close enough. Many more are trivial: the color of a character’s eyes, the title—such as “Bloodletter”—by which she is known.

But the preponderance of commonalities and the sum of how they unfold is harder to discount. Wolff said that she’d been “completely blindsided” and “devastated” by Freeman’s accusations, and that she “hurt for everybody involved in this case.” “I didn’t do what I’m accused of,” she said. Freeman, who has sold her home in Alaska to pay her legal costs, told me that she was fighting in part because she no longer saw herself as unique. “If this can happen to me,” she said, “it could happen to somebody else.” ♦

I admit I always find it funny when people whose entire business is media give on-the-record quotes that sound this much like the villain of a movie about hosting a charity talent show to save the beloved local library.

[jack-kellys]

so we all know life is a circle. thus fandom is a circle. we see things come back around like the de/twinkification of racetrack higgins. or cowboy versus artist jack kelly. or "mom" friend david jacobs and the perpetual need to make the newsies some kind of heteronormative family. and yet again we've found our way back to the anti katherine pulitzer arc of her "getting in the way" of jack and davey's popular subtextual/fanon relationship. (yes im late nevermind that.)

now, not being a katherine fan is different than being anti-katherine. not being a katherine fan means you might have criticisms like "i'm not sure how she serves the newsies narrative better than, say, sarah jacobs, as sarah is more aligned with the newsies contextually/societally and katherine is very distant and rich lol", or even "i'm not a big fan of how katherine seems to be tired of jack's shit for most of the play and then 'suddenly' finds romantic interest in him within one song".

but being anti-singular-young-woman-character because of a ship between the main two boys is. a tired take is it not? again with the circle, we've had this discourse already and its been cut out. since 2012 and 2017 we been talking about this girl and her value, but not in the context we should be.

(because the context we should be talking about it in is a newsies 1992 versus newsies broadway context, not an anti-katherine context, but i digress.)

katherine's value. what is there to mine from? she is an extremely young woman reporter, 17-18 years old, whose article makes the front page of the new york sun. since she writes under a pseudonym, i'm presuming she writes with skill well above her age to be published at all (yes, even writing vaudeville reviews). in past productions she either finds the newsies at jacobi's because she saw the walk-out (TWWK) from inside The World (UK), or jack kelly simply interests her enough for her to seek him out again (Broadway/Tour/Live). she is unsure about herself as a writer despite her skill which is made clear in her song. she is rich. she did not need to have a career and was encouraged not to. pulitzer is her father and she does not get along with him. she matches jack word for word, often with davey at her side. she mills comfortably about the newsies through the second act and has a friendship of some kind with specs specifically. she also literally says "that's a face [jack's] that could save us all from sinking in the ocean/like someone said 'power tends to corrupt'" essentially prophesying the act 2 betrayal. which is crazy.

you can draw your own conclusions from the above, but all of it is essentially canon? right? so maybe you don't have to be a fan of all of it, but you're really going to tell me absolutely none of this is compelling. that none of this is something you can interpret for yourself as complex. that albert is more complex.

this is not me saying you have to include katherine in everything, because that isn't what this post is about. this is about individuals choosing to dislike or devalue katherine by only viewing her in relation to her as a romantic interest, instead of a complex character in a period piece with a full arc. yes a full arc. it's the musical that's rushed not katherine.

@we-are-inevitable speaks on this extremely well in the comments of this post as well, more in connection to katherine as being a compelling romantic interest in the context of newsies speaking in the defense of love interests/often women characters. in this post i speak on how i would navigate jack/katherine as a director, and in this post i speak on how to direct something to believe in to make it, well, believable, aside from its awful writing for both kath and jack. because again, fandom is a circle, and i literally talked about how to "fix" jatherine in august 2024. at length

[theeio]

ToA Sketchbook PDF interest update:

Yep I'm locking in - lets do this.

Link to the original post / interest poll - There's still some days left to vote for how much you'd be willing to pay for the Sketchbook PDFs, but I settled on some things:

I'll be publishing the Sketchbook PDF on itch.io

I'll be splitting the sketchbook into different parts, in chronological order. This keeps it more accessible price-wise, and I'll still have an option for the full collection!

I do know that some folks wanted the PDFs to be arranged according to subject, so I could summarise the contents and summary of the art/subjects to expect in each PDF, so you know what you'll be getting.

I'm planning on giving each PDF a unique cover! If the scanning/cleanup process doesn't kill me, I'd love to do some exclusive artwork for this project as a thanks for the support and interest if you were to buy one of these!

If my health allows, I may even consider inserting some new sketches into each PDF 👀

As for updates: I have already done a quick mockup of a PDF, testing the quality, scanning, formatting and exporting process and I think I have a rough idea of the workflow! I'm going to be starting the scanning today, which is going to be a huge undertaking, wish me luck T-T ! I'm guessing that and cleanup may take the longest, and the timeline is unknown rn but I'll give as many frequent updates on this as I can.

And now for a very important question:

Would you like something more polished in this sketchbook PDF (stuff I already posted + "nicer" unseen sketches) ? or would you like me to also include the more raw, incomplete, and bad drawings too? When I say it's almost every art of ToA I did, I really do mean it.

Why I'm considering sharing the more raw stuff is because I feel like there is a lot of misconceptions/insecurities around the quality of a sketchbook, and the pressure of an individual to make every drawing-even in their own personal sketchbook-perfect. I thought I could include the good, the bad and especially the ugly to hopefully break that stereotype of every drawing needing to be perfect, and to show the very real process behind my art.

And why I'm also considering against that is because YOU guys are the ones paying for this PDF, and you may want to have something of more quality XD !!

I don't think I've seen many artists go for the TRULY vulnerable/raw/scrappy route in the sketchbook PDFs I've seen and bought, so its important that I throw this out there to see how y'all are feeling about this. So:

please only vote either the first two if you are planning on purchasing these, thank you!!

[itsmiahshemakessense]

Deleted xmas byler fic

Not mine!! but i had it downloaded and wanted to post here in case anyone else wanted to read the fluff masterpiece!

a three-step plan to make will byers fall in love

RomeoWrites

Summary:

It’s Christmas break and Mike Wheeler is having a crisis. Why? Because the Byers are visiting for the first time in almost two years, and sometime since leaving Hawkins, Will has gotten hot. And Mike is dealing with that in a totally platonic way. Or so he insists.  OR The party concocts a three-step plan to get Will Byers to fall in love assuming, of course, that he hasn’t already.

rating:

General Audiences

Archive Warning:

Creator Chose Not To Use Archive Warnings

Fandom:

Stranger Things (TV 2016)

Relationship:

Will Byers/Mike Wheeler

Characters:

Will Byers

Mike Wheeler

Eleven | Jane Hopper

Lucas Sinclair

Maxine "Max" Mayfield

Dustin Henderson

Additional Tags:

Fluff

Getting Together

Funny

Humor

Fluff and Humor

Sweet

First Kiss

Christmas

Holidays

Christmas Fluff

Language: English Published: 2022-08-09 Words: 13620 Chapters:1/1 Comments: 35 Kudos: 814 Bookmarks: 176 Hits: 5075

Phase Zero: The Pre-Planning

It’s the last day of school before the Christmas break, and Mike Wheeler is distracted. Like, head empty, no neurons firing, kind of distracted. If it wasn’t the last day of term he would definitely be in detention by now, because absolutely no thoughts have passed through his brain in any of his lessons thus far. 

“Dustin,” he whispers halfway into their last math class of the year. “Dustin, I’m in urgent and dire need of assistance.”

“What?” Comes the vaguely annoyed response, and Mike rolls his eyes. It’s the last day of term and Dustin is still insisting on putting up a facade of concentration, despite the fact that literally everyone else in their class is already chattering away, and their teacher does not seem to care one bit.

“Assistance, Dustin. Keep up. I need assistance. Urgently and direly, in fact.”

Dustin fixes him with a look. “You sound like you’ve swallowed a thesaurus.”

“This is not the time to make fun of my extremely well-appointed grasp of the English language,” he hisses. “I’m having a crisis.”

That piques Dustin’s interest. “A crisis? What kind of crisis?”

And truthfully, Mike is not exactly sure, because said crisis only started this morning. At 6:52 am to be exact, when the Byers arrived at his house to spend their Christmas break back in Hawkins, away from California. The party had gathered at the Wheeler’s, where the Byers would be staying, to greet Will and El, who had jumped out of the car and immediately been smothered by a party group hug. Well, a party group hug without Mike who, upon seeing Will emerge from the backseat of Mrs Byers’ car, had promptly melted into a puddle of goo with very limited brain power. He had only just managed to react somewhat normally when Will pulled him into a tight hug, but when Will wryly complimented his Yoda pajamas, he was pretty sure all he managed to get out was ‘guh.’

Because the thing is, Will has been Mike's best friend since they were five. And until one and a half years ago, Mike had seen him everyday. And Will was familiar. His short stature and swoopy brown hair were familiar. His hazel eyes and shy smiles. Will was the type of kid who parents would coo over and teachers loved, because for all intents and purposes, he was cute. Adorable, even. Politely charming with his drawings and ink covered hands. But now? After Mike only had one short visit to California, very early on, and not so much as a photograph of Will before today? Will’s familiar features are gone. And instead Mike came to the abrupt realization this morning, that Will is hot. And that’s not a word that Mike would ever use aloud. But it’s true. Somewhere between before and now, Will has become completely and breathtakingly gorgeous. And Mike is dealing with that fact in a totally normal and platonic way. 

“What kind of crisis?” Dustin asks again. 

Mike shrugs rather helplessly. “I’m not entirely sure.”

Dustin’s eyes gleam with scientific intrigue. “A guessing game, then. Okay, academic?”

Mike shakes his head. 

“Family?”

Still no. 

“Personal?”

Uh - somewhat. 

“…sexual?”

And Mike’s face must look some type of way because Dustin lets out an honest-to-god cackle. “What? You’re having a sexual crisis?”

“No!” Mike quickly amends, trying to do damage control for his facial expressions. “Not sexual. More like, romantic, I guess?”

Dustin levels him with a look. “A romantic crisis, huh? And what, exactly, has brought this about?”

“Uh - well, it’s kind of complicated, really.” It’s not complicated, Mike is just a coward. “It’s just I’ve noticed someone today who I find, uh - who is- well, someone who is rather, um, nice-looking,” he finishes lamely. 

“Nice-looking?”

“Yeah, you know. Handsome.”

“Handsome?”

“Attractive?” Mike tries.

Dustin rolls his eyes. “Are you seriously this repressed? The word is hot, Michael.”

“Right. Yes. That.” Even hearing it aloud sent a little thrill through his stomach as he remembers how good Will looks with his tousled hair and strong jawline.

“Handsome as in male, handsome?” Dustin asks, a polite sort of curiosity in his tone. 

“That would be accurate.”

“Oh, so this is about Will.”

Mike has to stop himself from shoving his pencil into his eye. “How did you know that? Was I super obvious?”

“Just a little bit,” Dustin admits. “Not to Will, though, I think you’re safe there.”

At least that’s a relief. “So, what should I do? You know, about the crisis?”

“Well, what do you want to do?” And Mike is immediately glad he chose Dustin to confide in, with his level-headedness and logic. He isn’t going to blow this whole thing out of proportion. “Because I think you should just tell him that you think he’s earth-shatteringly and mind-bogglingly hot, and you know, maybe kiss him. I think he’d appreciate that.”

And oh, look at that! Mike now regrets everything. “I am not going to do either of those things, Dustin,” he hisses. “Don’t be ridiculous.”

“Why is that ridiculous?”

“Well, for starters, I’m not just going to kiss him out of nowhere, that’s rude. And secondly, we don’t know that he’s going to appreciate it? He could completely freak out.”

“He’s not going to freak out - and everyone appreciates kissing.”

“Okay, that is so not true, and this isn’t about kissing. It’s about…” Mike trails off, looking for words and Dustin snaps his fingers at him. 

“Oh. Oh, ho, ho,” he chortles. 

“Okay, please stop doing that.”

“This isn’t a sexual crisis at all, is it?”

“I already told you that it wasn’t-”

“This is a love crisis.” Dustin strings out the word love like luuurve and that’s the only thing that horrifies Mike out of evaporating on the spot. Because love is a big word. A huge word, in fact. And also the word that most accurately describes his problem. He is having a love crisis. 

Of course, he immediately denies this. “Actually, you know what? Let’s go back to sexual crisis. I think even that is more comfortable than how you just pronounced love.”

“I can’t believe you’re in love. Well, actually, maybe I can.”

“Okay, no one said anything about love.”

“Of course you’re in love. It’s Will.”

And surprisingly, that’s probably the first thing Dustin’s said so far that makes sense in Mike’s brain. He fiddles with his pencil and considers his options. Number one is to deny, deny, deny. But he’s the one who started this whole conversation, so it’s not like Dustin will believe him. Number two: pass it off as just a physical attraction - something that isn’t serious. Will is pretty and Mike wants to kiss him, but it’s not love. Just one guy appreciating the good-looks of another guy. But then phrase sexual crisis rings in his head, and he immediately vetoes that option. Which leaves him with one more. Admit what he has known to be true for approximately six years. That he is definitely in love, and maybe, just maybe, he’s finally emotionally prepared to do something about it.

“Okay, maybe just a little bit,” is what ends up coming out of his mouth, and Dustin sits back on his chair, satisfied.

“Well, good. Acceptance is the first step. Scoring yourself a super hot boyfriend is step number two.”

“And how exactly do you expect me to do that?”

“It’s simple. At lunch hour, we’ll lay this all out for the rest of the party and we’ll put our brilliant minds together and come up with a plan.”

He makes it sound so easy, that Mike feels compelled to just let it happen. 

“Okay.” He steadies himself. “A plan. We can make a plan.” Then: “Do you really think Will is going to want that? Do you think he might like me back?”

Dustin rocks back on his rear chair legs, thoughtfully. “Well, scientifically speaking, you know, considering the evidence, I don’t think it’s the most unlikely thing in the world. I’d put your odds at 70:30.”

Mike rolls his eyes. “Great. Numbers. Just what I need to help me through this.”

“Hey, math is a great way to figure things out. And those are good odds.”

Mike stabs his pencil into his worksheet, mutinously. 70% chance of success. He liked the sound of that. But 30% chance of failure? That, he could have lived without. 

“I’ll think about it,” he says at last. “You can tell the party at lunch, and I’ll think about it.”

Dustin gives him a final nod and turns his attention back to their assigned work. And Mike tries to do the same, he really does, but by the time the bell rings for lunch hour, all he’s managed to do is doodle a couple of little hearts on his page and one very clumsy drawing of a boy in a wizards hat. He flushes, and scrunches up the paper, tossing it in the bin on the way out.

And maybe he was being somewhat (utterly and entirely) naive, thinking Dustin that would at least try to be a little bit subtle about this whole thing, because as soon as they arrive at their usual cafeteria table, Dustin slams down his lunch tray and with fervor, declares: “Mike is having a crisis.”

And if that wasn’t already enough to send Mike into a half-panicked state, Dustin then adds with a hushed sort of reverence, as if this was the news of the century: “Of the sexual kind.”

“Dustin!” Mike whisper-shouts, trying to suppress his mortification. “That is not what this is.”

“Oh? Did you or did you not use the words earth-shatteringly and mind-bogglingly hot?”

“I did not-” Mike’s horrified protest is cut off by the audible gasping coming from the rest of their table.

“What? Who does Mike think is hot-”

“You like someone? This is unbelievable-”

Dustin waves away everyone with an airy hand. “The point is this: Mike has declared himself hopelessly and irrevocably in love-” Mike gives up any attempt to interject and just groans, slapping his hand over his face, “-and it is our job, as his most dear and loyal friends-” (“-only friends,” Max interrupts) “-to help him,” Dustin finishes with a flourish.

“Help him?” Lucas asks quizzically. “You really think we can help him? He’s a hopeless case.”

“Hey-”

“It’s true, Mike,” Max says unsympathetically. “You’re probably the least romantic person I know.”

Mike scowls. “I could be romantic.” Then pauses. “Wait, no. I don’t want to be romantic - this is a terrible idea.”

Lucas points at him. “There you have it. He doesn’t want to be romantic.”

“Yeah, thank god,” adds Max. “That would be a trainwreck.”

“Gee, thanks,” he says sarcastically. And how exactly did Mike end up with such supportive and caring friends? 

Max mimes a ‘you’re welcome’ while Dustin splutters in disagreement. “What? No. You don’t even know who this is about yet. How can you give up so easily?”

And that gets Max and Lucas interested again. 

“Well, tell us then. Who is she?” Lucas asks, and then shoots a glance at Mike. “Uh, he?” 

Max elbows him. “They.”

Dustin looks to Mike as if for approval and Mike just waves his hands vaguely. He supposes it won’t be the worst thing in the world if they find out about Will. Maybe it would make them more sympathetic when every Friday evening he ditches any plans because that’s his and Will’s night to talk as much as they can on the phone until someone kicks them off. 

“Okay. It’s…” Dustin pauses for dramatic effect until Mike kicks him under the table. “Ow! Okay. It’s Will.”

“Knew it.”

“Called it.”

“It’s because of this morning, isn’t it?” Lucas accuses. “You saw him and totally freaked out because he’s all hot now.”

“Yeah, your face was so red, I thought you were going to explode.”

“Okay, can you stop being mean?” Mike directs at Max. “This is a trying time.” Then he looks at Lucas. “And can everyone please stop with the h-word?”

“He has problems with the h-word,” Dustin stage-whispers. 

And great, now they’re all laughing at him, and Mike tries to slowly slip under the table, but Max reaches over and grabs him by the collar. “Relax, Wheeler, we’re only joking. I, for one, am actually glad that you’re finally admitting your feelings, and would be honored to join the noble quest to find you requited love.”

“You’ve come to too many of our DnD campaigns,” is all Mike says to that. 

Max sends him a borderline horrified look. “You know I’m joking when I say shit like that, right? You do know that?”

“Alright, calm down,” Lucas interjects. “It’s not like you’re going to lose any cool credits with us.”

“People!” Dustin claps his hands together. “We are getting off-track. This meeting has been called to help Mike, not to bully him.”

“Meeting?” Mike splutters. “This is lunch.”

Dustin waves him off. “We need a plan.”

“Well, what’s our aim? Our hypothesis?” Lucas asks, and wow. Between the basketball and the general athleticism, Mike had forgotten that Lucas was still, like the rest of them, a huge nerd.

“This is not a science experiment-”

“Experiment!” Max cuts off his protest. “That’s exactly it. We should run trials. Attempts. We should try to set them up.”

“Oh, absolutely not,” Mike says loudly.

“That,” Dustin points two, twin finger guns at Max, “is an excellent idea.”

“No, no, no, not excellent-”

“We could each have a go,” Lucas adds, apparently joining Dustin and Max in being deaf to the sound of Mike’s voice. “Make it a competition.”

“A competition?”

“Yeah, like, each of us can try to get them together, and the best man-”

“-or woman-”

“Or woman, will win.”

“Genius,” Dustin whispers. “Pure genius.”

All three of them look around at each other with the sort of reverent air that could only be conjured up by a bunch of far too self-important sixteen-year-olds. 

Mike attempts to say something rational. Reasonable, so as to convince them all that this is a very, very bad idea. What comes out instead is: “Are you all actually insane?”

As one, they turn to look at him, as if only just remembering that he does, in fact, exist. By the looks on their faces, they don’t see anything wrong with their plan. Mike sinks back into his seat with a half-strangled sort of moan. “Oh my god. You are. You all are. My three best-” (“-only-”) “-friends are insane.”

“Oh, certifiably,” Dustin says agreeably. “But does that mean this is a bad idea?”

“Yes. Yes, it does.”

“Oh, come on, Mike. You’ve been hung up on Will since we were in middle school - and don’t pretend like you weren’t. Is it really the worst thing in the world if you give yourself a chance?”

Mike considers Lucas’ words, and hears the truth in them. Although seeing Will this morning had jolted something to life within himself, he has long been aware of the feelings he harbors, that were subconscious at first, until all of a sudden he turned ten, learnt what romance was, and developed what was probably the strongest childhood crush in the history of childhood crushes. Of course, now it’s a fair bit more than a childhood crush, so really, maybe this is a good idea. He could do with a chance. 

“And if you do end up woefully and pitifully rejected, hey, the Byers live in California now, so it’s not like it’ll be that awkward,” Max supplies helpfully.

He shoots her a glare, any confidence he had, immediately evaporating. “Right. Will is going to reject me and this is a horrible plan.”

“Oh, lighten up, Wheeler,” Dustin says. “Sure, the painful pull of heartbreak may befall you, but is that any worse than the pain of never knowing what could be, if only you would proclaim your frankly sickeningly sweet, but admittedly adorable, love?”

Max punches him in the arm. “Don’t talk like that.”

But Dustin’s speech, however falsely pretentious, does stir something within Mike. He feels himself slowly nodding. “Yeah. Yeah, okay.”

“Seriously, man? That’s what convinced you?”

“I’ve told you before, I’m a poet-”

“Oh, shut up, the pair of you.” Max looks at Mike squarely from across the table. “You’ll do it?”

And what the hell? What does he have to lose, really? (His dignity, his pride, his lifelong best friend, his brain supplies helpfully, but he ignores it.) 

“Yeah. I’ll do it. Proclaim my love, or whatever.”

Dustin beams at him. “Great! What’s the worst that could possibly happen?”

Lucas covers Max’s mouth before she can answer.

“Yeah,” Mike says, brain spinning with possibilities. “What’s the worst that could happen?”

Phase One: Max’s Madness

Immediately after school, the plan commences. Sometime during their shared science lab (while Mike sat, miserable and alone, relegated to a separate bench for secrecy purposes), Dustin, Lucas, and Max had put together three strategies to be executed over the next three days, that will supposedly ‘make Will fall in love, like he never has before’ according to Dustin (‘assuming, of course, that he’s not already in love with you’ adds Lucas). Of course, they don’t tell Mike what any of these strategies are, but he knows that each of them is responsible for one. He dreads Max’s the most. 

They all cycle to the Wheeler’s, and for the first time in his life, Mike wishes the distance between his house and school was longer, because all he wants to do right now is delay, delay, delay. Max catches his eye as he’s mid-deep-breath, trying to stop his heart from beating so fast. 

“Would you calm down?” Max asks. “You’re acting like you’re going to have a heart attack when you see him.

“Maybe a heart attack isn’t the anatomical reaction he’s worried about-”

“Don’t even think about finishing that sentence, Dustin,” Mike warns, ignoring the amused look between him and Lucas and the face of mock-disgust from Max. “I’m calm. I’m very calm. Never been more calm.”

The group share disbelieving glances. 

“Alright,” says Max. “Just try to take deep breaths so you don’t start stress-sweating. That’s not the impression you want to give off.”

“I’m not trying to give off an impression. Will already knows everything about me, it’s not like I’m suddenly going to show up and he’s going to think I'm an entirely different person.”

“Well, I don't know, man. Your look is kind of edgy now. Maybe Will likes emo boys.”

“I’m not emo,” Mike objects, but secretly feels a little pleased about the assessment of his style. “Besides, he saw me this morning. I don’t look any different.”

“Yeah, well, this morning you were in Star Wars pajamas, so maybe give edgy a chance.”

Mike flushes a little. “I’ll have you know that Will said my pajamas were cool.”

The group shares another disbelieving glance, and man, Mike was getting sick of those. 

“Looks like California has made Will forget about the friends don’t lie rule, huh?” Dustin laughs, and Mike doesn’t feel the least bit guilty about shoving him off his bike. 

They reach the house and Mike feels in a tizzy. He lets Lucas and Max frog-march him to the front door, sure that if he walked by himself, he would never make it. 

“What’s today's strategy, again?” he asks.

“Don’t you worry about that,” Dustin answers unhelpfully. 

“Great. Just great,” he mutters to himself as he fumbles for his key and opens the door. 

El greets them as soon as they walk inside. “Finally, you’re home! We’ve been so bored all day, waiting. Will’s still upstairs, but he’ll be down in a minute.”

Mike’s stomach does a disconcerting little flip when he realizes that Will is probably up in his bedroom, where he’ll be sleeping for the next two weeks. Mrs Byers and El are in Nancy’s room since she (and Jonathan) are staying at college during the break. Will got stuck with Mike’s floor, since they didn’t have another spare bedroom, and really, Mike is not complaining. Still, he hopes he didn’t leave anything embarrassing around when he left this morning. 

Then he hears Will’s voice as he comes down the stairs and balks. “Okay, abort mission,” he hisses to the group. “Abort. This is a terrible plan.”

El looks at them, confused. “What plan?”

Dustin starts to say something, but cuts himself off when Will appears and looks around at their guilty faces. “What’s going on?” he asks.

Lucas leaps towards him, trying (and failing) to affect an air of nonchalance. “William!” He wraps his arm around Will’s like they’re an old married couple from a Jane Austen novel and guides him down the rest of the stairs. “Absolutely nothing out of the ordinary is going on, don’t you worry about that.”

Will looks bemused. “Why are you talking like that?”

“No reason, no reason.”

“Um, okay?” Will shifts his eyes around the room until they land on Mike, and then his lips tilt up into a smile. “Hey, Mike.”

Mike stares until Max elbows him in the ribs. “Oh, uh - hi.” And that is definitely not the usual octave he speaks in. 

Will gives him a strange look, but presses on. “How was the last day of school?”

“Um, it was…” Mike thinks back to their lunch time conversation. “Productive.”

Will gives him another bemused little smile, before starting up a conversation with Lucas and Max. Mike takes a moment to try and jumpstart his brain, since currently it’s only able to focus on the fact that Will is wearing a tight, long-sleeve, black shirt and Mike doesn’t think he’s ever seen him in that color before.

“Why are you acting weird?” El asks him suspiciously, and Mike jumps a little.

“I’m not,” he says defensively, “I’m acting very normal.”

El raises her eyebrows, but doesn’t push any further. He distracts himself by dumping his backpack and shoes in the hall, and shrugging off his coat, until he hears another voice.

“Will, sweetie?” Mrs Byers calls from upstairs. “Will you help me set up this bed for a moment?”

Will rolls his eyes, but starts to climb back up the stairs. “Be back in a minute.”

As soon as he disappears, Max starts whispering to El very rapidly and Mike squints at them. “Woah, woah, woah. You’re not telling her the plan, are you?”

The look on El’s face tells him everything he needs to know. “Oh my god.” He throws a hand over his face in embarrassment. “Just tell the whole world, won’t you? Maybe Will while you're at it? Save us all some time.”

“Maybe that’s a good idea,” says El. “I don’t think you need a plan, just tell Will how you feel. And be honest.”

Max scoffs. “You want Mike to express his feelings? With words? Be serious, El. You saw him just then, he was a stuttering mess.”

Mike doesn’t even try to argue because it’s an entirely accurate statement. 

El still hesitates. “But, it’s not like a trick?”

“No!” Dustin says. “It’s not a trick at all. We’re just helping them along. Creating romantic scenarios.”

“Romantic scenarios,” El says slowly. “Like from movies.”

“Exactly,” says Lucas. “Like, Max’s plan is today, and mine is tomorrow. And I just know that mine is going to work perfectly.”

“What is it?” Mike tries. He gets no response. 

“And you think these will work?” El asks. 

She received three identical nods in reply. She considers them all for a moment, before finally saying: “Okay. But only because I want to see Will happy.” Then she looks at Mike. “And you too, I suppose.”

“Gee, thanks,” Mike grumbles. “Always good to be a second thought.”

El shoots him a bright grin and loops her arm into Max’s, dragging her down the basement stairs. “So, tell me about your plan…”

With the girls gone, Mike looks around at Lucas and Dustin, feeling more than a little mortified. “Was it really that bad? Am I a stuttering mess like Max said?”

Lucas claps him on the shoulder sympathetically. “Well, let’s put it this way. Will still seemed plenty happy to see you, so we’ll count it as a win.”

Mike forces himself to take his hundredth deep breath of the day. “Okay, Mike,” he mutters to himself. “You can do this. You can talk like a normal person to Will - in fact, you literally did that last night on the phone. This isn’t any different.” He ignores the way Lucas and Dustin are looking at him like he’s completely lost the plot. “You just need to be calm, and remember that Will likes you. You’re his best friend. He’s happy to see you, and you just need to act normal.”

He exhales one more time and looks up. “Okay, actually that really made me feel better.”

Dustin just looks at him. “Okay, buddy.”

But, truly, Mike has mastered the art of self-pep-talks because when Will reappears, Mike bounds up to him, even managing to sling a casual arm around his shoulder, and steers him into the kitchen. “Go to the basement,” he calls to the others. “We’ll bring snacks.”

As they head into the kitchen, Mike can’t help but feel ridiculously happy. It’s been a long time since he’s seen Will in his house, and familiarity makes his heart swell.

“I like your new haircut,” Will says as he pulls some sodas out of the fridge. “It’s very… you.”

Mike feels absurdly pleased. “Thanks,” he says, turning around to grab a bag of chips so Will doesn’t see him flush. Will just hums in response, and when Mike turns back, Will reaches a hand up and tugs gently on one of his curls, letting it spring back up after. Mike swallows hard.

“It looks really good,” Will murmurs, his hand just barely brushing Mike’s cheek as he brings it back down. Mike accidentally pops the chip bag and both of them jump.

“Sorry!” His voice is an octave higher than usual, so he tries again. “Sorry. Held it a bit too tight.”

He turns around again swiftly and hunts for a bowl, trying to stop his heart from pounding. He pours the chips out, grabs a couple of chocolate bars from the cupboard, and turns around once more. Will is leaning nonchalantly on the counter.

“Ready to go?” Mike says, holding up his haul. Will shoots him a smile and grabs the sodas.

“Onwards, paladin,” he says with a dorky grin. “To the basement.”

Mike huffs out a laugh, feeling the knot of nerves in his chest loosen a little. It’s just Will, he reminds himself. “After you, cleric.”

They head down the stairs and almost make it into the basement, when Mike pauses, hearing a noise from behind the laundry door. “Hear that?” He nudges Will’s leg with his foot, hands holding their snacks.

Will tucks the soda pack under one arm and opens the laundry door. Chaos unfolds before Mike’s eyes. Lucas and Dustin are arguing in a corner, Max is sitting cross-legged on top of the dryer, and El is crouched on the floor next to a huge puddle of soapy water. In the middle of it all lies a bundle of wet, shiny material in distinctive tones of red and navy that Mike recognises.

“Are those our sleeping bags?” Mike is somewhat incredulous at the soapy, sopping mess of fabric that is spread before him. “What the hell happened here?”

El stands back up, holding one of the sleeping bags. “Wet,” she says, helpfully. 

“We can see that, El.” Will’s tone is sort of resignedly amused, like he had expected nothing more from the group of four in front of them. “I think what Mike means is how did this happen?”

El shrugs, clearly the appointed speaker of the group, probably because they know Mike won’t get mad at her. “Washing machine.”

Mike sighs in exasperation and shares a helpless glance with Will. “Any chance these will dry before bedtime?”

“I mean, unless your dryer has super-machine capabilities…”

Even a dumb half-joke like that has Mike laughing, and he sees the look Max gives him like, damn, you’ve got it bad.  

Dustin grins around at them all, like this was exactly what was supposed to happen this evening, and Mike slowly starts to suspect that maybe, it actually is. And then Max confirms that suspicion by saying, “Guess you’ll both just have to sleep in Mike’s bed tonight, huh?” 

“Yeah, since the sleeping bags are unusable, and all,” adds Lucas. 

“Wet,” says El again. 

And Mike is a second away from throttling them all, because maybe before he could have gotten away with letting Will take his bed, and just spent the night on the basement couch, but now that they’ve said it aloud, it would be weird for him to say ‘no, we can’t share a bed, Will, because actually I have extremely un-heterosexual feelings for you and I will probably end up holding your hand or doing something equally stupid.’

Will nudges his side. “Guess we will.”

And between that and the frankly demonic grins the rest of his friends are sporting right now, Mike knows he is absolutely, one hundred percent, completely doomed. Of course, this is Max’s plan. He should have seen that one coming. 

Once Mike’s finished mopping the laundry (because he doesn’t even want to think about his mom’s face if he left it like that), they finally settle in the basement to watch a Christmas film. It passes far too quickly, and Mike feels like he barely has time to appreciate how Will sits next to him, legs tucked under himself, ankles and socked feet draped over Mike’s lap. Before he knows it, his mom is calling them all upstairs for dinner. And in what feels like an instant, the rest of the party has left, El has flounced upstairs to her room, and the parents are sipping mulled wine in the living room and talking about adult things. It’s only 9 o’clock, but he and Will wander up the stairs and set about getting ready for bed. 

Mike dawdles in the bathroom after brushing his teeth, trying to put off the inevitable. He even takes the extra time to floss while giving himself another mental pep-talk, and by the time he’s pushing open his bedroom door, he feels almost confident. 

“Hey,” he says, trying to sound casual. Will is sitting on his desk chair, absent-mindedly flipping through a comic book.

“Hi,” he says back, gesturing to the bed. “Want to go to sleep? I know it’s kind of early, but our flight was at, like, 2am this morning, and I feel like I’m about to collapse from exhaustion.” 

Mike grins at him. “Well, we can’t have that can we?” He switches off his bedroom light and makes his way to his bedside, turning on his lamp. Before he can think too much about it, he slides under the covers, carefully positioning himself so none of his body crosses the halfway mark of the bed. Will doesn’t seem to have any such qualms because when he joins him, he curls up right next to Mike, nudging their ankles together, and turning to face him on the pillow.

“We haven’t done this in a while,” he says in a whisper.

“Not since we were maybe ten,” Mike agrees.

“Remember when you used to have a bunk bed? And I always would start in the top bunk, but if I ever left to go to the bathroom or something, I would never be able to climb back up the ladder in the dark, so I would just sleep with you instead.”

Mike laughs at the memory. “Yeah, you were way too short to even be climbing that ladder in the first place. The steps were weirdly far apart.”

Will nods in agreement and then says with a hint of teasing: “Well, I’m not that short now, am I? I’m almost as tall as you.”

“Almost,” Mike whispers back. “But not quite.”

Will hums in response and then yawns. “Okay, I really am tired now.” Then he hesitates. “Um, leave the lamp on?”

Mike nods quickly. “Of course.”

Will sends him a sleepy smile, and tugs the duvet over his shoulders. “Thanks,” he whispers. Mike watches as his eyes slowly flutter shut and his breathing evens out, and wow, Will was not joking when he said he was tired, because it took him all of about thirty seconds to fall asleep. 

Mike does not experience the same luxury. He lies awake for what feels like hours, feeling hyper aware of every place Will is touching him, and really, Will couldn’t possibly have laid down any closer, could he? Mike’s almost falling off the edge of the bed, and he longingly eyes the large, empty space on the other side of Will. Of course, he doesn’t mind being close like this (quite the opposite, in fact), but the point remains; he is about two inches away from crashing painfully to the floor. 

Carefully, he eases his arm free where Will is holding it, and tries to somehow maneuver his body over the top of Will’s and make it to the other side. Of course, his plan fails abysmally when Will rolls over and accidentally dislodges Mike’s arm, sending him toppling down onto him. Will lets out a sound of muffled confusion, and Mike scrambles off as fast as he can.

“Sorry,” he whispers. “It’s just me - I was kind of falling off the edge, so I tried to move.”

Will blinks his eyes open blearily and squints at him. “And you climbed on top of me? Instead of getting out of bed and walking to the other side.”

Right. That would have been the obvious solution. “I didn’t think of that.”

Will lets his eyes fall shut again. “Sorry for squishing you,” he mumbles. “I’ll lie further away.”

“No, it’s fine!” Mike says a little too loudly in his haste to let Will know that he really doesn’t mind. “It’s fine, I don’t mind. Let’s just lie a little bit more in the middle of the bed, yeah?”

“Yeah, okay,” Will says, and rolls back over towards Mike again, tucking his head under Mike’s chin. “Goodnight.”

Mike awkwardly wraps an arm around Will’s shoulders and wriggles around until he’s fairly comfortable, with Will’s head resting on his chest and his hair tickling his nose. He feels somewhat surprised that Will is being so affectionate, although they had been fairly tactile with each other before he moved away, so really, why would now be any different? But something about it being in bed makes it feel a million times more intimate and Mike’s stupid heart skips a beat. 

He admits to himself that, annoyingly, Max’s plan seems to have worked incredibly well. He’s definitely not going to tell her that, but still. There’s a vague sense of gratitude floating around his body as he finally drifts off to sleep. Phase one is over, and they have two more to go.

Phase Two: Lucas’ Stratagem

After Max’s plan yesterday went off without a hitch, Lucas apparently decides to let Mike in on his own plan a little bit, and pulls him aside when the party arrives after breakfast.

“Okay, today is phase two,” he whispers. “It’s a two-pronged approach. A stratagem, if you will.”

“A stratagem?” Mike whispers back. “What are we meant to be out-strategizing?”

“Your romantic incompetence,” answers Lucas. And ouch. Mike secretly thinks that Will didn’t seem to mind his romantic incompetence last night, but he says nothing. “All you have to do today,” Lucas continues, “is be your usual hopeless self. It’s the perfect plan because it capitalizes on who you and Will are as people. You’re clumsy at the best of times, and Will is generally coordinated. The two prongs. It’ll be great.”

Mike quite honestly has no idea what Lucas is talking about, but the promise that his clumsiness is going to come in useful isn’t one that he particularly likes. It’s not his fault that his limbs are far too long for his own good.  

He starts to understand when Lucas turns to the party, at large, and announces: “Ice skating.” 

Mike fights back a groan. He sucks at ice skating. “Do we have to? I mean, it’s freezing out.”

“You’re just scared because you have terrible balance,” Max argues.

El jostles his shoulder and says, “Like bambi on ice.”

Will turns to look at him with wide, pleading eyes. “Come on, Mike. It’ll be fun. El and I skate all the time back in California, and the lake is so pretty this time of year.”

And when Will is looking at him like that, how could Mike possibly say anything but yes? “Fine. But if I fall on my ass, I’m holding all of you responsible.” He points a threatening finger around the room as Max rolls her eyes. 

Will beams at him, and then ducks a little closer. “Don’t worry,” he says in an undertone as the party starts pulling on coats and hats. “If you’re really that bad, I’ll hold your hand.”

Okay, so maybe ice skating is, in fact, a terrific idea. He hates and loves the fact that Lucas most definitely saw this coming. He convinces his mom and Mrs Byers, who are drinking wine in the kitchen, to let them borrow a car, and after a warning to drive carefully, the party is off. 

Lover’s Lake (and no, the irony of the name does not escape Mike’s notice), is always frozen over at this time of year, and it’s a long-held Hawkins tradition for it to be set up as an ice rink. Fairy lights have been strung over tree branches at the shore, and a stall is set up renting ice skates for a few dollars an hour. He pushes Will’s hand aside when he tries to pay, figuring that he should at least try to put a bit of effort into making this date-like. It’s definitely worth it when Will leans close to his ear to whisper a thank you that makes his neck tingle. 

The party kick off their shoes and pull on their skates, and make their way (some with more difficulty than others) onto the ice. Will immediately speeds off, hand in hand with El and the two start a lap around the outskirt of the fenced-off portion of the lake that forms the rink. All bundled up in their winter coats and hats, they look closer to twins than siblings, and the sight makes Mike feel warm.

“So much for holding your hand, huh?” Lucas’ voice sounds in his ear.

Mike whirls around unsteadily on his skates. “You heard that?”

Lucas gives him a knowing smirk. “This is my plan, Wheeler. It’s my job to hear things.”

“Okay, calm down, you’re not a superspy.”

And then Lucas actually winks. “Maybe I am.”

Mike narrows his eyes, suspicious. “What do you know that you’re not telling me?”

Lucas just shrugs, and starts skating away towards Max.

“Lucas!” Mike shouts after him. “If you’re not going to tell me, at least help me skate!”

Dustin sidles up to him after Mike’s spent a few seconds hopelessly spinning on the spot. “Looks like it’s just you and me now, huh?”

Mike can’t help the longing glance he throws in Will’s direction. “Right. You and me.”

Unhelpfully, Dustin is almost as bad at skating as he is, and together they attempt to unsuccessfully propel themselves towards the center of the lake. (“You’re terrible at this-” “Oh, like you’re any better-” “Stop leaning on me!” “I have to lean on you, you’re shorter than me-”)

Eventually the Wonder Twins make their way towards them, probably out of pity. They stop right in front of Dustin and Mike, and Will looks frustratingly elegant on his skates. 

Mike glares at him. “How the hell are you so good at this?”

Will simply grins, and reaches forward to take Mike’s hand, and Mike’s annoyance immediately evaporates. “Come on, I’ll teach you.”

El and Dustin seem to get the hint, and they start to skate away together, leaving Will and Mike standing on their own, right in the middle of the rink. In Mike’s mind he can picture that if they were looking at the lake from above, he and Will would be standing somewhere in the top-right-hand-corner of the heart that it’s shaped into. 

“Your hands are freezing,” Will remarks, starting to tug Mike along. “Come on, move your feet a little. No - don’t lift them up! Just glide.”

“Easy for you to say,” Mike mutters, although he’s no longer irritated. “Tell me again how long it takes to learn this?”

“Don’t worry, you’ll get the hang of it. El and I go skating pretty much every weekend. There’s not much else to do in Lenora Hills.”

He says Lenora Hills with a little eye roll that makes Mike pause. “I thought you were enjoying California?”

Will makes a face. “Well, yeah, I mean school is good - less bullies and all, and definitely less creepy supernatural stuff, but still.” He squeezes Mike’s hand. “It doesn’t have you.”

And that feels like an opening, if there ever was one. Mike squeezes his hand back. “I’ve really missed you. I know I say it on our calls all the time, but it’s true. Hawkins isn’t the same without you.”

Will’s face is flushed, and Mike hopes that it's from his words and not just from the cold. As they slowly shuffle along Mike has to fight the urge to do something ridiculous, like kiss Will. He settles for snatching the red beanie off Will’s head with his spare hand instead, and jams it on his own head.

“Hey,” Will protests. “Get your own hat.”

“This is my hat,” Mike informs him dryly. “You stole it from my wardrobe this morning.”

He expects Will to shoot another remark back at him, but instead he brings them to a stop, and slowly fixes how the hat is sitting on Mike’s head, tugging out a few pieces of hair that were caught. “Well, if you’re going to steal it back, at least wear it properly,” he says quietly. 

Mike’s face feels much warmer than the hat could ever make him, and Will can definitely tell because he starts grinning. “Feeling warm?” he asks innocently.

Mike just punches his arm before grabbing his hand again. “Come on, let’s skate. I think I’m getting the hang of it now.”

He was not, in fact, getting the hang of it. But after a while (and more than a few stumbles that had Will catching him before he could topple onto the ice), he’s finally able to glide forward with some semblance of coordination. Both he and Will conveniently ignore the fact that they probably don’t need to hold hands anymore, and start making their way over to where the others have gathered near the shore.

“Well, don’t you two look adorable,” Lucas teases. Mike grabs a handful of snow from the bank and shoves it in Lucas’ face. The movement makes him tilt forward a little, and Will grabs him around the waist to steady him.

Lucas now looks positively gleeful. “Shut up,” Mike mutters. Then, because he wants a distraction: “There’s hot chocolate being sold on the other bank. Shall we?”

El quickly agrees, clapping her mittened hands together, and as one, they all set off. Mike may or may not purposefully stumble at the start so that Will holds his hand again. Max shoots him a look, but hey, it works, so Mike is not complaining. The others start up a light conversation that Mike lets fade into the background as he sneaks glances at Will out of the corner of his eye. Halfway across the lake, it starts snowing, and little snowflakes hang off Will’s eyelashes and hair. Against the wintery white background and the distant fairlights that glow in the trees, he looks ethereal. Of course, then he shoots an evil grin at Mike and shouts: “Race you!”, and Mike’s moment of inner awe is promptly ruined.

Groaning to himself, he attempts to follow the rest of the party as they speed across the lake, whooping and shouting. He’s vaguely impressed with himself when he makes it to the other shore in one piece, only a minute behind the others, and also ahead of Dustin. Will grins at him and presses a styrofoam cup of hot chocolate into his hands.

“Good job,” he says, steam from his own cup floating in front of his face. “You didn’t fall over.”

Mike takes a sip of chocolate and immediately regrets it as he burns his tongue. “Yeah, well, you’re a good teacher.” He sticks his tongue out and attempts to catch snowflakes to soothe the burn, and Will laughs at him. They make their way over to a quiet spot on the shore, a little ways away from the hot chocolate stand, and sit down on a tree root. Mike watches his friends as El attempts to teach them all to skate backwards.

Will presses his leg against Mike’s and asks: “Having a good time?”

“Yeah,” he replies, honestly. “Yeah, I really am.”

The smile that Will gives him is brilliant. “I’m glad.”

“I have a good time whenever I’m with you,” Mike blurts out, unable to stop himself. He promptly buries his head in his hot chocolate cup and blows so the steam rises, hiding his face from view.

Will is quiet for a moment before he speaks again. “That’s how I feel about you, too,” he says, voice soft. “You always make everything better.”

Mike feels as if someone has dumped his hot chocolate on his head, with the way his whole body is suddenly warm. Feeling daring, he wraps his arm around Will, and Will responds by tucking his head onto Mike’s shoulder. And for a moment, it feels like the whole world grinds to a stop. Mike can no longer hear the laughter of his friends, all he can feel is the gentle tickle of Will’s hair against his neck, and the sweet taste of chocolate in his mouth. He wonders if Will also tastes of chocolate. 

Gently, he squeezes Will’s shoulder and says, “I wish you were here all the time. I know California’s been good for you and El, but still. I just wish you could stay for a little bit longer.”

Will rests his hand on Mike’s leg and exhales slowly. “I wish I could stay, too.”

There’s something in his tone that Mike doesn’t quite know how to place. Almost like he’s hiding something. But the moment is a little too perfect for him to press further, so he just accepts Will’s words with a smile that’s a little bit sad. At least, when they’re back in separate states, he can rest easy in the knowledge that Will misses him too.

Phase Three: The Dustin Conspiracy

The next morning commences day three: phase three. Mike has to admit that everything has gone surprisingly well so far, and when Dustin announces that it’s time for: “Christmas baking,” Mike is expecting today to go great. They stick on some Christmas music, pull a gingerbread recipe from a magazine, and get to work.

Of course, between the six of them, things rapidly devolve into chaos, as Lucas attempts to crack eggs, El tries to whip butter, and Dustin sits on the counter and calls instructions (“No, Lucas, don’t put the shell in-” “I’m not trying to put the shell in-” “Max that’s flour not sugar!” “And who died and made you head chef, Dustin?”).

Mike shoots Will a smile as they hunt around for the cookie cutters. “Our friends are so peaceful, aren’t they?”

“Oh, of course,” Will replies with a smirk. “So sweet and quiet.”

“Tender and mild,” Mike remarks as Silent Night plays over the speakers. They look at each other once more before bursting into a fit of laughter.

“Oh! Here.” Will pulls out a metal tin while Mike wipes tears from his eyes. “We haven’t used these since we were about six-years-old.”

“I remember that,” Mike says fondly. “We totally almost burnt down the kitchen.”

Will opens the tin and pulls out a reindeer cutter. “Yeah, we left them in the oven for too long and you cried like a baby.”

Mike rolls his eyes. “Okay, did you miss the part where we were six-years-old?”

Will grins at him. “But you were so sweet though. You forced yourself to eat a whole cookie because you were so worried that I would be upset if you didn’t like them.”

Mike busies himself with unpacking the tin, feeling a little embarrassed. “I didn’t want you to be disappointed.”

“Wow, that’s weirdly nice of you, Mike,” Max says jokingly. “Where was that attitude when I came along?”

Mike flushes at her words, not realizing the rest of the room was listening in. It’s not often that he or Will share stories from before the party, when it was just the two of them, but he knows that Dustin and Lucas are always keenly interested. Sure enough, Lucas chimes in,

“Tell us more stories, Will.”

“Yeah, tell us baby Mike stories!” El’s face is bright with intrigue. “I want to hear.”

“Oh, sure,” Mike grumbles. “What, is it Embarrass Mike Day today?”

“Oh, come on,” Will pouts, and for a moment Mike does feel like a child again, as if he’s got six-year-old Will staring back at him. “Just one?”

Mike rolls his eyes and relents with a waved hand. “Yeah, yeah, whatever.”

He sets about stirring the ingredients together, because someone has to (what even is nutmeg?), while Will starts telling a story. Thankfully, it’s only about the one time that Will accompanied the Wheeler’s on vacation, and nothing too embarrassing.

As he fumbles his way through the recipe, he relaxes a little. He’s missed Will’s storytelling voice - it reminds him of the rare occasions when he would agree to be Dungeon Master. He can tell by the reactions of his friends, that they too are a little entranced. It’s not often that Will lets himself go like this, and really gets into something, but it certainly is a sight to behold. With the gingerbread dough done, Mike leans an elbow on the counter and rests his gaze back on Will. They lock eyes for a moment, and Will gives him a brilliant smile that makes his stomach flip. By the time the story ends, Mike has rolled out the dough and used the cookie cutters to make (slightly messy) reindeers and gingerbread men. 

“So, I guess you’ve always been this stupidly earnest,” says Max. Mike considers the assessment. It’s something that Will has actually said to him before, albeit in a much nicer way. That one of his favorite things about Mike is how he acts with so much sincerity and conviction no matter the situation. 

“Guess so,” he replies, shooting a sideways glance at Will, who is still smiling at him. “Let’s get these in the oven.” He gestures to the tray. “And, let’s not forget to take them out, this time.”

Will laughs and grabs the tray off the bench. “We can’t have you crying again, can we?”

They smile at each other for a second, reminiscing. 

Of course, the moment is ruined when Dustin opens up the tin of cinnamon and tips it onto Will’s head.

“Dustin!” Will splutters, as powder rains down all over his hair and his sweater. “What was that for?”

“Oops,” Dustin says innocently. “Slipped.”

Mike waves his hand in front of his face and coughs slightly as cinnamon powder works its way into his lungs. He shoots a glare at Dustin, taking Will’s arm and walking him to the sink.

“Don’t open your eyes,” he warns. “It’s like, all over your face.”

He wets a paper towel and goes to hand it to Will, but he catches Dustin miming something out of the corner of his eye. A very over the top charade of him pretending to wipe something of El’s face, who is giggling in the corner. Mike rolls his eyes but gets the picture.

“Okay, hold still,” he says to Will, before gently wiping the towel over his eyelids. Feeling a little self-conscious under four sets of eyes he sends them all a glare over his shoulder.

“Would you lot do something useful? Like wipe up the mess? Or put the biscuits in the oven?”

They spring into action with sheepish grins, grabbing more paper towels to wipe cinnamon off the floor and benches, and Lucas shoves the baking tray into the oven.

“Am I good yet?” Will asks him. Mike wipes his face a few more times.

“Think so.” Will’s hazel eyes blink open and he sends Mike a grateful smile, before shaking his hair out like a dog. Mike laughs and grabs him by the arm to steady him when he gets a little dizzy.

Will blows his fringe out of his face and holds his arms out as if presenting himself for inspection. “Better?”

Mike looks at him consideringly. “I think you need a new jumper.”

Will makes a face and goes to pull his ruined jumper off.

“Just chuck it in the laundry,” Mike says. “I’ll grab you a new one.”

He runs up the stairs and into his room, spotting Will’s suitcase on the floor next to the bed. He pauses for a moment, considering, before turning to his own wardrobe and pulling out a forest green sweater that Nancy got him last Christmas, that has on it a little dinosaur wearing a Santa hat. He grins to himself. Perfect.

When he comes back downstairs, Will is apparently in the bathroom. Mike rounds on Dustin immediately. “What was up with that?”

Dustin gives him a knowing look. “It was the perfect plan, that’s what’s up. Close physical contact plus helping someone in a time of need? That’s a recipe for love if I’ve ever heard it.” Then, he points down at the sweater in Mike’s hands. “And that is definitely your jumper, you wore it last Christmas. Sharing clothes is romantic trope number one.”

Mike squints at him. “You sound like a conspiracy theorist. Or like you’ve read too many romance novels.”

Dustin just shrugs benignly and Will re-enters the kitchen, hair dripping.

“Dude, what did you do?” Lucas asks.

Will grimaced. “Stuck my head under the tap. I thought it would be a good way to get rid of the cinnamon.”

“Yeah, sorry about that,” says Dustin. 

Will sends him a look. “Sure you are.”

Mike hands him the jumper, and Will doesn’t say anything about the fact that it’s not his. 

“Well.” Dustin claps his hands, looking pleased. “Let’s check on those cookies, shall we?”

Later on, when the party has left and Mike and Will are curled up in bed (yes, Mike didn’t feel the need to remind Will that the sleeping bags were now dry, and no, Will didn’t feel the need to ask), Will brings up the jumper thing. He’s still got it on, as the weather is just cold enough to wear sweaters to bed. 

“So, this isn’t mine,” he says, tweaking the neckline. 

Mike scrambles for an excuse. “Uh, I couldn’t find your suitcase?”

Will looks at him disbelievingly.  

“I mean, I couldn’t find a jumper inside your suitcase?”

Will smiles. “It’s okay, Mike. I like this jumper.”

“Oh. Right.” Mike can’t stop himself from adding: “It looks good on you.”

Will says nothing, just ducks his head a little so it sits below Mike’s face. Mike suspects that he’s hiding a blush, which makes him ridiculously happy. And yep, sure enough, when Will pulls back his cheeks are slightly flushed. 

“Your hair still smells like cinnamon,” Mike whispers.

Will grins and promptly shoves his head under Mike’s nose again. Mike pushes him gently away and sneezes. “God,” he says, eyes watering. “Dustin really did a number on you.”

Will shrugs, running his hand through his hair so it sits back off his forehead. “I like cinnamon.”

“You’re going to make my sheets smell,” Mike complains, although he really doesn’t mind.

“Yeah, and everytime you go to sleep, you’ll have good memories. That’s how olfaction works, right? You’ll smell a good smell and have nice dreams.”

Mike laughs. “Okay, nerd. When did you swallow a biology textbook? I’ll be sure to sniff my pillows real hard after you’re gone so I dream of you.”

Will smiles back, and Mike’s only half-joking, because the scent lingers in his nose and he’s sure that from now on cinnamon is only ever going to remind him of Will. 

They settle down into the bed, and even after just two nights, Mike doesn’t hesitate to draw Will closer when he curls his body around Mike’s. 

“Christmas Eve tomorrow,” he whispers. “You excited?"

He feels Will nod against his chest. “Yeah. I kind of like Christmas Eve better than Christmas Day. Just the anticipation of it all.” His words are blurry with sleep, so Mike just hums in response. 

Will whispers a goodnight, and Mike just about whispers one back before he too drifts off, the scent of cinnamon in his nose. And you know what? That night he does have good dreams. 

Phase Four (Suprise Edition): El’s Wisdom Saves The Day

Mike, Will, and El spend Christmas Eve morning babysitting Holly, and really, Mike doesn’t think he’s ever seen a more adorable sight than Will teaching his little sister how to draw. They lounge about the living room floor, eating candy canes with the radio on, and Mike spends most of the morning with a dopey smile on his face, which El definitely teased him about, but he’s far too gone on the whole situation to really care. Of course, when she drags him into the kitchen under the pretense of getting snacks, he starts to care a little more.

“What are you doing?” Blunt and straight to the point, as she always is.

“What do you mean?” Mike tries to dodge the question. “We’re babysitting Holly.”

El sends him a pointed look that Mike just knows she’s picked up from Max. “I mean, what are you doing with Will?”

“Oh, that.” Mike struggles for an answer. “I don’t really know.” Truthfully, there have been half a dozen times over the past few days where Mike thought that Will was going to say something to him. He had been hoping that something would be Will confessing his feelings because after all, Will had always been the brave one.

“The plans,” El prompts. “Have they been working?”

Mike fills up a glass with juice for her, and then for himself, just to give his hands something to do. “I think so,” he says slowly. “I mean we keep having all these moments.”

“Moments?”

“Yeah, like, when we were ice skating, or even last night when we watched that movie, he put his head on my shoulder.”

El sips her juice. “You want to know what I think?”

“Always.”

“I think plans are stupid. And we’re not stupid.”

“Well,” Mike says, thinking of the party. “We’re probably a little stupid.”

El giggles. “No, I mean that you don’t need a plan. Will’s my brother, and I know he is brave, but he will never tell you how he feels without you bringing it up first.”

“Well, maybe if I drop enough hints-”

“Hints?” El makes a face of disgust. “No hints. I hate hints. I wish people would just say how they feel, all the time. It would make everything so much easier.”

And Mike has to agree. “So, you think I should just confess? Just say it?”

“Yes.”

“Okay. Okay, but what if he doesn’t like me back?” Although a lot of his doubt had been washed away this week, Mike can’t help the little bit that remains.

El’s tone is gentle when she speaks. “Mike, none of that matters. Will loves you and he is always going to be your best friend. Even if he doesn’t feel the same, he won’t be angry. He would never be angry with you. You should just tell him.”

And that’s probably the most reassuring thing Mike has ever heard in his life.

“God, when did you get so wise?” He nudges El with his elbow.

El grins. “I’ve always been wise.” And for a moment, she seems so different to that little girl Mike had once hid in his basement.

“California’s been really good for you, huh?”

El nods. “Yes, it really has.” Then she pauses. “But I would still come back to Hawkins, if I could.”

“Really? Even after everything bad that’s happened here?”

“Hawkins is my home,” she says simply. “The first place I ever had a family. You, Max, Lucas, Dustin.” She floats her juice out of her glass and sends the bubble of liquid floating up towards the ceiling. “And now Will is my family, too. And I had brothers and sisters before, but they weren’t the same. Will and Jonathan and Joyce. They’re my family.” The juice falls back into the glass with a splash. “Me and Will have talked a lot. Helped each other. We understand each other. And I think we could do it - move back here.”

“Yeah?” Mike feels a little emotional. Not just about El and how free she’s become, but about the possibility that the Byers could once again call Hawkins their home.

“Yes. We’ve come a long way, Mike.”

He nods. “Yeah. Me too.”

They share a smile, and despite all their teasing and their hijinks, Mike feels truly grateful to have such great friends.

Then the doorbell rings and he hears Max shout, “Wheeler, open up. We’re freezing out here,” and the moment is effectively ruined. 

He sends an exasperated glance at El. “Can’t get one moment of peace around here.” 

The doorbell rings again, and El grins and runs into the hallway. “Who needs peace when you have friends?” she calls over her shoulder.

Mike supposes that’s true. The parents arrive back home a few minutes after the party, so he’s able to give Holly back to them, and join the others in the basement. Mrs Byers pokes her head in after a few moments and pulls El and Will away for ‘family stuff’, whatever that means. And with Will gone, so is Mike’s safety shield and the interrogation starts immediately.

“So, what’s been happening-”

“The ice skating was totally romantic. You guys looked like you were on an actual date-”

“I know that the sleeping bags are still in the laundry, Wheeler, so don’t even deny that my plan worked-”

“Okay, everyone shut up,” he says loudly. He tries to summarize. “Nothing has happened, ice skating was fun, don’t even talk to me about sleeping bags, and no, Dustin, cinnamon in the face is absolutely not romantic.”

“Hey, let’s not forget that there wouldn’t even be a plan, if not for me. Cinnamon or no cinnamon, I deserve credit.”

Mike makes a face. “Let’s not get ahead of ourselves. Nothing’s even happened yet.”

“But you’ve shared a bed, right?” Max asks, leaning forward. “And Will is definitely not wearing his own jumper.”

“You held hands, basically all day at the ice skating rink. That has to mean something-”

“Okay, okay,” Mike holds his hands up, somewhat regretting even getting himself into this situation. “If something does happen - and that’s an if, I’ll let you know. Now, can we lay off the questioning? I feel like I’m in one of my mom’s rom-coms.”

“The fact that you even know what a rom-com is tells me everything I need to know,” says Max.

Mike flips her off.

“Mike!” Will’s voice travels down to the basement. “Come up here for a second?”

Lucas grins. “Better go see what he wants, huh?”

“Yeah, have fun up there, loverboy-”

“No, Dustin, absolutely not.”

Mike scurries up the stairs, feeling a little relieved to escape the questioning (and Dustin’s horrifying nicknames). He passes El on the way up. “Any idea what’s up?”

Her eyes gleam. “Good news, I think.”

That bodes surprisingly well, so Mike runs up the rest of the stairs, taking them too at a time. In the front hallway, Will is waiting for him.

“What’s up?”

Will doesn’t say anything, just grabs Mike’s arm and pulls him outside onto the back porch. 

“Okay,” Mike laughs, as he follows. “What’s going on?”

Will pulls the back door shut, and turns to Mike. He’s beaming, eyes alight, and Mike suddenly thinks that this is it. His efforts over the past few days haven’t gone unnoticed. And Will’s about to tell him that he feels the same. That he likes him. Will opens his mouth to speak, and Mike’s heart just about jumps out of his chest.

“We’re moving back to Hawkins!” Will bursts out, looking giddy with happiness.

And…that’s not what Mike expected. His heart dampens a bit in disappointment, before he actually processes the words that Will said, and it speeds right back up again. “What?”

“Yeah! We decided just then. Well, officially decided - we’ve been talking about it for months and I wanted to tell you so bad, but I didn’t want to get your hopes up just in case - but we’re doing it. We’re moving back.” 

The excitement in Will’s voice is palpable and Mike can’t help the reflexive smile that slides onto his face.

“This holiday, it was sort of like a trial run,” Will continues, a little less breathless than before. “To see if we could do it - you know, to see if me and El were okay. Make sure we don't feel anything, anymore.”

Mike nodded slowly, still feeling a little speechless.

“And we didn’t. So, we’re doing it. Just in time for senior year, too.”

And suddenly, Mike feels as if all his worries have evaporated. It was a quiet whisper of fear that he hadn’t expressed to any of his friends, when they first came up with the plan. That maybe, just maybe, if all of this worked, and Will did love him back, he would only end up going back to California and they wouldn’t even get to be together. Not properly. But now? The very thing he had wished for, ever since the Byers’ first moved away, was coming true. 

Will’s still looking at him, eyes bright and hopeful, face plastered with a smile that makes Mike’s heart jolt. Distantly, he hears his friends' voices in his head. Dustin’s bold, ‘what’s the worst that could possibly happen?’ Lucas’ dry, ‘assuming, of course, that he’s not already in love with you.’ Max’s - well, Max’s voice is less of a voice and more of a very pointed look. And lastly, El’s gentle and understanding, ‘you should just tell him.’

“Mike.” Will’s voice is a little hesitant. “Everything okay?”

And Mike means to say something reassuring and celebratory, he really does. He means to tell Will how excited he is that he’ll finally be coming home. Instead, his mouth moves without any input from his brain.

“I love you,” he blurts. No bells and whistles, no ribbons or wrapping. Just that, plain and simple. I love you. 

He looks up at Will, trying to gauge his reaction. Good or bad, he just needs to know what he thinks. Will’s face however, is schooled into a polite sort of confusion.

“Uh, I love you, too?” 

And it hits Mike, that Will, in all his unwillingness to make any assumptions, doesn’t quite grasp his meaning.

“No, that’s not what I mean,” Mike manages, heart pounding. “I mean - of course, I love you, but I really mean that I love love you. Like I’m in love with you.”

And now Will’s face shows his feelings, eyebrows raised slightly in shock, mouth parted, eyes wide in a mix of confusion that moves to understanding that moves to something akin to affection.

“Romantically.” Mike feels the need to clarify. “I mean in a romantic sense.”

“Oh,” Will says softly. And then they both just stare at each other for a moment, and Mike feels like if Will doesn’t say something right now then he will actually explode.

Will takes a little step closer, and Mike hones in on his mouth, telling himself it’s only because if Will speaks, his non-existent powers of lipreading will allow him to understand quicker, just what he is saying. But Will’s mouth doesn’t start forming a sentence. Instead, it just moves closer, and closer, and closer, until he’s hovering just an inch away from Mike’s lips. Suddenly, Mike tears his eyes away from Will’s mouth (which looks soft and pink and oh, so kissable) and up to meet his gaze. 

“Hi,” he whispers, and Will’s eyes crinkle in amusement.

“Hey.” Will shifts closer still, bracketing Mike against the porch railing with his arms.

“This is…cozy.” Mike mentally slaps himself for the awkwardness of that comment, but Will is huffing out a laugh that he can feel brush against his lips, and all rational thoughts disappear from his brain.

“Mike?” Will breathes, voice barely more than a whisper. Mike doesn’t think he’s managed a reply, but Will continues on anyway. “I love you, too.”

Then Will tilts his head forward, just a little bit more, and kisses him. And any semblance of sanity that Mike has left in his brain immediately melts into a puddle and seeps out of his body and between the porch floorboards. Will’s kiss is somehow exactly what Mike expected. It’s just Will. Soft and sweet, but also sure of itself, with a hand reaching up to gently hold Mike’s jaw. He tastes of peppermint, like the candy canes they were just eating, and his lips are warm. He eases Mike back against the railing, and Mike lets him, sure that if Will’s other hand wasn’t holding his waist, he would currently be collapsed on the floor. 

When Will pulls back, Mike feels in a daze. He vaguely registers that Will is saying something to him, and pulls enough power back into his brain to ask: “What? Sorry, what did you say?”

Will gives him a knowing little grin, like he is well-aware of the effect he is having. “I asked if this is why you’ve been acting so weird? Not just you, but everyone.”

“Oh,” Mike says, cheeks flushing. “Maybe a little bit. We were kind of trying to make you fall in love with me - we had a whole plan and everything. Three steps.”

“Three whole steps?” Will teases. “Well, too bad the whole thing was unnecessary, because I’ve been in love with you for years.”

Mike pretends that he doesn’t hear the amazed little giggle that exits his own voice box. “Lucas said something like that. That the plan assumed that you weren’t already in love with me.”

“Ah, yeah, he kind of already knew,” Will admits sheepishly.

“What ? He knew?”

“Well, falling in love at eleven-years-old is a big deal! I had to tell someone, and it’s not like I could talk to you, so Lucas seemed like a good option.”

Mike shakes his head in disbelief. “I can’t believe he knew this whole time.”

“Yeah, we’ve had a lot of phone calls about it,” Will says. And then Mike pauses, as he realizes something.

“Eleven-years-old? You fell in love with me when you were eleven-years-old?”

Will flushes. “Um, yeah. It’s been a long time, I know, but-”

“I was ten,” Mike cuts him off, and Will blinks up at him. “I was ten when I fell in love with you.”

“Oh,” Will breathes. Then his face breaks out into a grin and he pokes Mike in the ribs. “So, you totally fell first. I am never going to let you live that down.”

And then he darts forward once more to place a quick kiss on Mike’s lips. When he goes to pull back, Mike grabs onto the front of his sweater - no, Mike’s sweater, that Will is still wearing - and holds him in place. He feels Will smile against his lips for a moment, before he obliges and kisses Mike again. 

Mike lets his brain go fuzzy and focuses on the smooth, warm movements of Will’s mouth. He lets himself get swept away on the wave that’s crashing through his body, making his stomach feel pleasantly warm, and his skin tingle. Where Will learnt to kiss like this, Mike has no idea, but he isn’t complaining. When Will pulls back, Mike has to physically stop himself from chasing his lips again, and Will huffs out a little laugh.

He feels as if a million thoughts should be racing through his brain right now - he should be trying to process the wave of happy emotion he is currently feeling, but instead when he opens his mouth, all he manages to say is: “Kiss me again?”

And yep, he supposes that just about sums up the only coherent thing in his head right now. Luckily, Will obliges, and tilts his chin up to capture Mike’s lips in another kiss. And wow, it’s just as head-swimmingly good as the last two, and Mike knows he is never going to get sick of this feeling. Will retreats though, after only a brief moment and bumps his forehead gently against Mike’s.

“We should probably head back inside. The others will be wondering where we are.”

Mike’s about to protest, but then he thinks about everyone coming looking and finding them kissing on the porch, and makes a face. He doesn’t think he could stand the smug looks.

“Yeah,” he agrees, tangling Will’s hand in his own. “Let’s head back inside.”

He lets Will pull him towards the basement, and they pause on the stairs. Will holds up their joined hands. “Should we just tell them now? Get it over with?”

Mike’s about to agree, when another thought occurs to him. He looks at Will with a conspiring grin. “Or, we could make our own plan.”

Understanding blooms on Will’s face and he grins wickedly (and damn, if mischievous is not a good look on him). After a few minutes of planning, they push open the basement door, hands still joined. The chattering of their friends grinds to a halt, and Mike can see four sets of eyes look at his and Will’s hands, and then look frantically at each other.

“We have news,” Will says brightly, pulling Mike down onto the couch, so close he’s almost sitting in his lap. The others glance at each other once more, before jumping into a flurry of motion. Dustin drops the VHS tapes he was holding, Lucas and Max hurry over from where they were chatting by the window, and El releases her hold on the Millenium Falcon toy she was hovering, letting it drop to the ground with a crash. All four scramble over furniture items to come sit, stand, and kneel in front of the couch, and Mike feels vaguely like he’s a kindergarten teacher about to read a storybook. He nudges Will’s arm and asks: “Ready?”

Will nods and looks across at them all, pausing for a long moment to let the tension build. “Okay. Our news is…”

He stalls for an unbearably long time, so Mike pinches his side, wanting him to just spit it out so they can get their friends' reactions.

“Okay, okay. We’re moving back to Hawkins!”

“What?”

“That’s your news?”

“But what about-” El catches on quickly, and shuts Dustin up with an elbow to the side.

“Yes! That’s the big news,” she says, standing up and shoving herself onto the armrest of the couch next to Will. She slings her arm around his shoulder. “We’re moving back! For senior year.” She glances down at everyone’s shocked faces. “Well, aren’t you all pleased?”

Immediately, the rest of the party scramble out their happy responses. Max jumps up and squeals, wrapping El into a hug as Lucas and Dustin do the same to Will. Due to their proximity, Mike gets an elbow or two in the ribs and he shoves both of them off. 

“Okay, okay,” he laughs. He slides his hand onto Will’s leg and grins internally at the way Dustin’s eyes boggle. “Glad you’re all so pleased.”

Will leans forward and rests his chin on a hand, face breaking into a cheeky smile. “You all seemed so shocked. I mean, what other news were you possibly expecting?” Then he slides his hand into Mike’s where it’s resting in his lap, with a big exaggerated movement that draws everyone’s attention.

Lucas stares at Will, as if attempting to telepathically communicate. Will just stares at Mike who, in turn, stares at Dustin, who stares at El, who stares (and probably succeeds in telepathically communicating) at Max, who stares back at Lucas. 

Max is the first one to break the silence. “You’re fucking with us, aren’t you?”

And that’s enough to send Mike into a fit of laughter.

At once, four voices break into excited chatter. 

“I told you, Mike. Didn’t I say that this was a good idea-” 

“I know that my plan worked best. Ice skating is the perfect date-”

“Oh, come on, Lucas, you seriously think yours was the best? The sleeping bags are literally still in the laundry-”

“Okay, okay, okay,” Will laughs. “Everyone calm down.”

“So,” says El. “Are you dating now?”

Mike glances sideways at Will, feeling a little embarrassed by all the attention. And by the fact that they hadn’t actually taken the time to decide on that answer. But Will smoothes away his worries with a quick nod of his head.

“Yeah, but you don’t have to make a big deal of it.”

“Are you kidding? This is a huge deal-”

“You so owe us, Mike. This whole plan was a huge success-”

Mike sees Will’s confusion and leans over to give him a brief overview of the whole plan thing. “It’s kind of embarrassing, really,” he mutters at the end.

Will sends him a bright smile. “Nah. It’s kind of sweet.”

Max mimes vomiting at them, so Mike throws a pillow at her.

“So, Will, enlighten us. Did our plans work?”

Will contemplates. “Well, Lucas’ definitely. Max’s was a nice addition. Dustin - your plan was just chaos and I’m still finding cinnamon in my hair.”

“Hey-” Dustin tries to object, but Mike cuts him off.

“El’s plan worked the best.”

The others look around at each other in disbelief. “What? El didn’t even have a plan, she helped with mine,” says Max.

El smiles from her perch next to Will. “My plan was the best plan, because it wasn’t a plan.”

“She basically told me just suck it up and get it over with,” Mike explains. “Really, someone should have said something sooner.”

“We tried-”

“You wouldn’t hear a word of it-”

“Oh, so now you’re capable of talking to Will like a normal person-”

Will ducks his head down to stage-whisper in Mike’s ear. “They’re just so supportive, aren’t they?”

“Truly, we have incredible friends.”

Will laughs and wraps an arm around El. “Well, I definitely have an incredible sister.”

And honestly, the whole moment is so incredibly saccharine that if Mike was surrounded by any other group of people, he would have found the entire thing obnoxious. But he supposes that they are a bunch of sixteen-year-olds at the end of the day, and this has been a long time coming, so he sits back and lets the conversation wash over him.

After the chaos dies down a bit, Dustin brings back their attention to what is really, the most important question.

“Wait, so, you weren’t joking before right? With the whole distraction bit? You really are moving back to Hawkins?”

Will and El exchange glances. “Yeah, we are,” Will says. “The lab and the Upside Down - it’s all gone now. And it’s been long enough that El won’t be in danger, and long enough that living here doesn’t feel like a nightmare, anymore. So, yeah. We’re moving back.”

Will’s words bring the tone down just a notch, and Mike finds himself feeling silently grateful as the high-strung energy seeps out of the room. 

Max gives a firm nod and turns to El. “It’s going to be okay. In fact, it’s going to be great. And nothing’s happened for almost two years. You’ll be safe.”

“I know we will,” El says. “I’m sure of it.”

They all settle a little as the news sinks in. Lucas pulls El into a celebratory hug, and Dustin beams around at them all. 

“The party,” he proclaims with grandeur. “We were once apart, but now: together once more.”

Everyone collectively rolls their eyes (“Dustin, stop being pretentious-” “You seriously have got to start talking normally-” “You’re so overdramatic-”).

But the message sinks in nonetheless. The party is back, and they’re back for good. Mike grins to himself and nudges Will in the side. 

“Worthwhile trip, right?” he whispers. “And it’s not even Christmas Day yet.”

“Like I said,” Will whispers back. “Christmas Eve is always so much better.”

And he’s right. Between the overlapping chatter of his friends, the faint sound of Christmas music and wine glasses clinking from upstairs, the way Will is sitting next to him, their ankles tangled together, Hawkins has never felt more like home. 

[narse-tantalus]

Since I just saw a post on the same blog about countering the spread of misinformation using the SIFT method I'm going to apply it here.

Stop

Is this post provoking an emotional response? Yes

Is it trying to? Also yes.

What do I already know about the source? Twitter screenshots on Tumblr are unreliable. I know nothing about the linked pmc19.com but it doesn't look like a government or university website url.

Investigate (The Source)

What can you find about the author/website creators?

the link to pmc19.com/data resolves, and that website does seem to be the source of these claims, although the current numbers are slightly off those reported in the tweets, likely because we're a week later.

pmc19.com links to a PDF with "Background on Dr. Hoerger and the PMC". There they discuss how Dr. Hoerger (who claims copyright of the webpage at the bottom) is trained in clinical psychology, has taught and was doing an MBA in 2019 on strategic management. It claims he's "an expert in personality, emotions, and affective decision science..." and mentions he did a masters degree wich involved a lot of stuff... And also epidemiology.

The PMC is apparently "The Pandemic Mitigation Collaborative" with unnamed members who have " led many projects to keep people safer during the ongoing COVID-19 pandemic." and "The PMC dashboard is cited in grant applications, including at least two grants already funded. It has been cited by trusted organizations like the People’s CDC, news outlets, and scientific journals, including several papers published in JAMA journals."

Which really sounds like they think I should trust them at least as much as I trust people who write grants, and/or "The People's CDC" -- this makes me think they are unlikely to be an accurate source.

Here's Dr. Hoerger's bio at Louisiana Cancer research center:

https://www.louisianacancercenter.org/people/michael-hoerger-phd

It says "Dr. Hoerger conducts psychosocial research to reduce the emotional and physical burden of serious illnesses. Dr. Hoerger is an international expert in psychosocial oncology as well as pandemic mitigation." And the lists a bunch of psychology stuff. Literally never mentions pandemics again. If he's an "international expert in pandemic mitigation" a) I'd expect him to work somewhere other than a Cancer center b) I'd expect his bio to mention his pandemic mitigation work. Maybe he's new to all this pandemic stuff? He certainly doesn't claim to be an epidemiologist on the pmc website, just to have worked on a project that involves it.

When I google "The Pandemic Mitigation Collaborative" the second result is this webpage which questions their methodology and suggests that their model is incapable of making accurate predictions -- claiming it's always going to be biased towards whatever happened on the same dates last year -- both low and high. (I'm summarizing and interpreting a huge amount here,so read it yourself, and the source is just a blog post so not intrinsically more credible...) But it is note worthy that the main 3rd party discussion of this organization is someone questioning the utility of their predictions.

https://buttondown.com/abbycartus/archive/we-need-to-talk-about-the-pandemic-mitigation/

What is their mission? Do they have vested interests? Would their assessment be biased?

Their mission seems to be to "track" or predict cases of covid -- but like better than the real CDC and epidemiologists. Presumably this is born out of concern for immunocompromised individuals, or boredom, or needing a project for a Strategic Management MBA, or distrust of Official Sources.

They appear to have a vested interest in pandemic mitigation, and therefore alarmism and possibly in not agreeing with official sources. Their assessment may well be biased!

Do they have authority in the Area?

No. They mention precisely 0 epidemiologists working for or with them. I don't see a reason to trust their models more than my physics grad student friends who made pandemic models on a lark in 2020.

Find Better Coverage

The official CDC (Centers for Disease Control) webpage on Covid data is here:

https://covid.cdc.gov/covid-data-tracker/#datatracker-home

It indicates lower numbers than last year for everything they track, numbers that are kind of ticking up in recent weeks, but numbers that are forecast (if I'm reading that right) to reach a smaller peak than in prior years.

Notably the CDC is not making any directly comparable claims about number of people infected or infectious. Or how many might be infected next month. I believe this is because these are fundamentally unknowable from the data they have, and that speculating on them would be irresponsible for public communicators of science. Sure, one could create models that predict those numbers, but publishing the results to the public without context on the uncertainties of the models would be irresponsible since people might make life or death decisions like wearing a mask or getting a vaccine based on those bad predictions. Or they might just rage at people online who disagree with them. Idk, I'm not a science communicator.

Don't trust the CDC? Tough. The New York Times ended their own covid tracking in 2023 saying:

After more than three years of daily reporting of coronavirus data in the United States, The New York Times is ending its Covid-19 data-gathering operation. The Times will continue to publish virus data from the federal government weekly on a new set of tracking pages, but this page will no longer be updated.

This change was spurred by the declining availability of virus data from state and local health officials. Since few states report more than once a week (and some no longer report data to the public at all), the weekly data reports from the C.D.C. have become the most reliable source of information on the virus’s spread.

There new webpage is here and it was last updated in March 2024, it says:

These Covid tracking pages are no longer being updated. Get the latest information from the Centers for Disease Control, or find archived data from The Times’s three year reporting effort here.

John's Hopkins University has this to say:

On March 10, 2023, the Johns Hopkins Coronavirus Resource Center ceased collecting and reporting of global COVID-19 data. For updated cases, deaths, and vaccine data please visit the following sources: Global: World Health Organization (WHO) U.S.: U.S. Centers for Disease Control and Prevention (CDC)

So yeah, reputable sources have stopped caring and link you to the CDC as the place to get your info.

Trace Claims, Quotes, and Media to their Original Context

The pmc19.com website does appear to be the original context for these claims. Thank you OP for linking that.

My Verdict:

These claims are misinformation. Specifically they claim numbers that are based on a model that was not created by subject matter experts, that disagrees with the trends reported by the CDC and it's epidemiologists. Either government employed epidemiologists are wrong and no university epidemiologists want to call them out on it... Or the PMC is wrong. Since they aren't epidemiologists... They're probably wrong. Moreover: If you don't trust the CDC you shouldn't The PMC because in their technical apendix they claim to use CDC data to make their projections. The only way the PMC could be right is if all other epidemiologists are wrong about the COVID pandemic and how to interpret wastewater and hospitalization data.

The PMC and Dr. Hoerger are engaging in academic sounding BS. They have incentives to be alarmist and fear monger, and don't seem to care or understand that they're using a model that probably doesn't have predictive value.

Data source: https://pmc19.com/data/

[thewistlingbadger]

I'm annoyed that the many issues with canon Timebomb due to the rushed way the show handled the pairing have started to seep into the fanfic sphere too - namely, Jinx's mental illness being downplayed, Ekko having no personality, relationships or individual motivations outside of his relationship with Jinx and the Firelights being non-existent.

It's got to the point I actively seek out fics published between S1 and S2 over newer ones. They are more likely to nail Jinx and Ekko's characterisation and their dynamic where even the show's writers couldn't.

As someone who doesn't ship timebomb I completely understand your take and it is VALID. Timebomb as a concept is very interesting because theoretically you have these two childhood friends that lost each other only to be reunited later in life as enemies on opposing sides. That is some really compelling groundwork for a romantic relationship! However, the show doesn't really do anything to actually frame them like this. We rarely get to see Jinx and Ekko interact in the whole show, let alone exchange any dialogue with each other.

The timebomb "content" in season two feels misplaced and undeserved because it IS. The only time we've seen these two actually together in a meaningful way in s1 is their fight one the bridge. That fight made it clear that these two have a history that the audience isn't privy to and this one scene is the entire foundation for arcane! timebomb. Ekko has an entire episode in season two that is NOT dedicated to expanding his character, NOT dedicating to elaborating on his relationship with Jinx, but an episode that is dedicated to exploring an alternative reality where Jinx grew up to be a different person. We spend all this time with Ekko and Powder and then the show acts like their dynamic is somehow transferable to Ekko and Jinx by showing us that somehow when Ekko went back to Jinx he was able to reconcile with her and save her life and get her to fight one last time.

To me this makes no sense because episode 7 really didn't show us anything illuminating about Ekko or his relationship with Jinx. It didn't explain what happened between them, or why Ekko would have romantic feelings for Jinx. We go the whole show without ever actually getting any context as to what happened between them, so the nature of their relationship is truly a mystery. Ekko doesn't go through any major development in that episode, he stays consistent throughout the whole time. Ekko in general is unfortunately a character that goes unexplored throughout the whole show. We don't know much about who he is as a character and his goals, motivations, or reasonings. This same issue occurs with The Firelights. We know they're a group of rebels, but what do they ACTUALLY want and what are their plans to achieve their goals?

Ultimately it was decided that none of this mattered because instead of using the groundwork laid out in season one, season two only had one thing in mind: their end goal. And that end goal consisted largely of fan service, which is why we got a timebomb kiss. Not because it added to Jinx and Ekko's story (the kiss wasn't even between Jinx and Ekko lol) but because the ship is popular and they knew a kiss would make fans happy. A large part of the fandom is very happy with the fan service they received in this season and now they are, predictably, running wild with it. Timebomb has become even more popular than it already was and most of the content is very sweet in nature. I'm glad that shippers are fed and enjoying themselves. However, I cannot look past how the adoration for the ship has made people turn a blind eye to what was established prior to season two. The Firelights are important to Ekko, and Jinx killed many of them over the span of several years. Jinx was born with mental illness and her illness impacted her everyday life. Ekko and Jinx seemingly have a complex history that needs to be unpacked before they can even ATTEMPT to be on good terms again. The last time we saw Ekko and Jinx in s1 they LITERALLY tried to kill each other! This is a relationship that deserves and NEEDS time to be understood.

As for Jinx's mental illness being downplayed? 100% true. In season one Jinx's mental health was vital to the story the writers were trying to tell. They didn't want Jinx to seem like a manic, Joker-type character. They wanted her to be someone the audience would simultaneously pity and fear. But in season two, the end goal was to have Jinx reconcile with Vi and be a hero. To the people behind season two, this wasn't possible without stripping Jinx of everything that made her a fan favorite. Season one was all about rejecting the past and embracing who you truly are and what you've become. Jinx's final action in season one is sitting in the Jinx chair, proclaiming she has changed, and then nuking topside. But in season two, Jinx answers to the name Powder and says "Jinx is dead." In season two, Jinx becomes completely pacified and is no longer a murderous criminal who struggles with daily hallucinations. The erasure of her mental illness and identity has led fans to come to the conclusion that she was never really "that messed up" to begin with, all her problems were because of Silco and now that Silco's gone, she's better. This view is incorrect because we see Jinx have meltdown before she even meets Silco AND arguably Jinx reverting back to Powder isn't inherently a good thing. Powder isn't inherently the "better" version of Jinx. The fact that she even reverts at all goes completely against the message of season one and Silco's dying words, "Don't cry. You're perfect."

[pangur-and-grim]

ALSO BOOK NEWS!!!

the revisions have been approved by my agent 😤 so we'll be querying publishers in september (which probably means a lot of waiting and hoping and getting rejected, but I'm still excited to be one step closer to sharing my old man wizard yaoi with the world)

[atopvisenyashill]

i know i’m always bitching about gaps in the collection at my job and my weird patrons but LISTEN my six the musical readalikes is doing surprisingly well (i shouldn't be surprised, library patrons in general love historical fiction especially bad historical fiction lmao) so i was looking to refill it and i wanted some more ~diverse titles and we have one (1) book about black royals in fiction and as far as i can tell like....absolutely fuck all on asian royals? which reminded me about how grrm has bitched at several points about how there's not a lot of good historical fiction on moorish spain or the maghreb in medieval era, and that's what he likes to read above all else - not a historical tome but history as a story, history written from the point of view of someone interesting.

this post has no point beyond me and george both agreeing there is a HEINOUS, near CRIMINAL lack of popular historical fiction about anywhere outside of europe. someone get on this so that old man can get more excited about world building in dorne pls!!!!

[skierisa]

i start panicking whenever i start researching for international scholarships in france, like what tf is the criteria for choosing it? im almost 20, i should be in the middle of my studies by now (graduated in 2022). yeah i know 20 is still a young age but still... i wasted two years of my life already and i dont wanna lose another one

[otogariado]

i get why people would opt to say walter was a terrible person since the beginning, but i think that's like, the most boring takeaway you can get about his character. he was already insecure and prideful from the start, and it's what would hurt him and keep hurting him. but like, being insecure and prideful are regular traits any regular person can have. the actions that he makes because of these traits, which in turn keep fueling his ego more and more, are what makes him an interesting character. and he was already pretty capable of hurting other people, but he wasn't doing it out of malice, but more because of careless selfishness at first. what makes walter terrifying is that the more he does it, the more he becomes aware of what he's doing, and the more he keeps going and keeps being more and more meticulous and deliberate about what he does that hurts people and even to the point when it was specifically to hurt people.

i think the traits were there in walter from the beginning—the pilot did a pretty good job of establishing how powerless he's felt all his life and just how susceptible he is to letting this newfound perceived power get to his head so easily. he even says this explicitly in 5x06 "Buyout" when he tells jesse "i'm not in the money business, i'm in the empire business". but saying he was this monster from the start kind of implies he didn't undergo through a character arc throughout the show when it's quite literally what he did. he got worse. so much worse. through mostly the fault of his own fragility.

[sysig]

TVAU Outfit, coming someday (Patreon)

[ru5t]

actually that's just a good thing to point out I think: the bar for entry to Tech's canon is technically only two music videos [1] [2] and i would recommend listening to the rest of the [album] for more vibes and such (in order, to start). other than that, I Made It Up With Friends.

it's inspired by music, and finding identity (a lot of killjoy characters are or began as self-inserts), and figuring all of this -life, morality, etc.- out yourself, so. build-it-yourself dustverse is very on brand. if it looks fun, i full 100% recommend jumping in with both feet and figuring it out as you go ♥

[nonbinary-octopus]

maybe quality but less in the "is this a good book" way listed in the poll, and more of a "is this formatted well/consistently" and "have all the typos been caught" way

self published books can be a little inconsistent with that and it really helps to have more eyes on it before it goes out

I have a question for readers, but I have a super small following here so it's probably not the best sample size BUT

If you could get books directly from your favorite authors (so you don't have to worry about publishers gatekeeping out stories that you'd love and that they really want to write) in a way that also lets the author keep a way larger portion of their sales (so they can afford to keep writing without fearing for their livelihood), what, if anything, would discourage you from doing this and drive you to want to buy from big publishers/retailers instead?

[plugnuts]

What if I released chapter two of the fic that I started writing in March

[copperbadge]

I'm getting depressingly good at identifying the formula for Pop Academic Books About ADHD.

Regardless of their philosophy it pretty much goes like this:

1. Emotionally sensitive essay about the struggle of ADHD and the author's personal experience with it as both a person with ADHD and a healthcare professional.

2. Either during or directly following this, a lightly explicated catalogue of symptoms, illustrated by anecdotes from patient case studies. Optional: frequent, heavy use of metaphor to explain ADHD-driven behavior.

3. Several chapters follow, each dedicated to a symptom; these have a mini-formula of their own. They open with a patient case study, discuss the highly relatable aspects of the specific symptom or behavior, then offer some lightweight examples of a treatment for the symptom, usually accompanied by follow up results from the earlier case studies.

4. Somewhere around halfway-to-two-thirds through the book, the author introduces the more in-depth explication of the treatment system (often their own homebrew) they are advocating. These are generally both personally-driven (as opposed to suggested cultural changes, which makes sense given these books' target audience, more on this later) and composed of an elaborate system of either behavior alteration or mental reframing. Whether this system is actually implementable by the average reader varies wildly.

5. A brief optional section on how to make use of ADHD as a tool (usually referring to ADHD or some of its symptoms as a superpower at least once). Sometimes this section restates the importance of using the systems from part 4 to harness that superpower. Frequently, if present, it feels like an afterthought.

6. Summation and list of further resources, often including other books which follow this formula.

I know I'm being a little sarcastic, but realistically there's nothing inherently wrong about the formula, like in itself it's not a red flag. It's just hilariously recognizable once you've noticed it.

It makes sense that these books advocate for the Reader With ADHD undertaking personal responsibility for their treatment, since these are in the tradition of self-help publishing. They're aimed at people who are already interested in doing their own research on their disability and possible ways to handle it. It's not really fair to ask them to be policy manuals, but I do find it interesting that even books which advocate stuff like volunteering (for whatever reason, usually to do with socialization issues and isolation, often DBT-adjacent) never suggest disability activism either generally or with an ADHD-specific bent.

None of these books suggest that perhaps life with ADHD could be made easier with increased accommodations or ease of medication access, and that it might be in a person's best interest to engage in political advocacy surrounding these and other disability-related issues. Or that activism related to ADHD might help to give someone with ADHD a stronger sense of ownership of their unique neurology. Or that if you have ADHD the idea of activism or even medical self-advocacy is crushingly stressful, and ways that stress might be dealt with.

It does make me want to write one of my own. "The Deviant Chaos Guide To Being A Miscreant With ADHD". Includes chapters on how to get an actual accurate assessment, tips for managing a prescription for a controlled substance, medical and psychiatric self-advocacy for people who are conditioned against confrontation, When To Lie About Being Neurodivergent, policy suggestions for ADHD-related legislation, tips for activism while executively dysfunked, and to close the book a biting satire of the pop media idea of self-care. ("Feeling sad? Make yourself a nice pot of chicken soup from scratch and you'll feel better in no time. Stay tuned after this rambling personal essay for the most mediocre chicken soup recipe you've ever seen!" "Have you considered planning and executing an overly elaborate criminal heist as a way to meet people and stay busy?")

Every case study or personal anecdote in the book will have a different name and demographics attached but will also make it obvious that they are all really just me, in the prose equivalent of a cheap wig, writing about my life. "Kelly, age seven, says she struggles to stay organized using the systems neurotypical children might find easy. I had to design my own accounting spreadsheet in order to make sure I always have enough in checking to cover the mortgage, she told me, fidgeting with the pop socket on her smartphone."

I feel a little bad making fun, because these books are often the best resource people can get (in itself concerning). It's like how despite my dislike of AA, I don't dunk on it in public because I don't want to offer people an excuse not to seek help. It feels like punching down to criticize these books, even though it's a swing at an industry that is mainly, it seems, here to profit from me. But one does get tired of skimming the hype for the real content only to find the real content isn't that useful either.

Les (not his real name) was diagnosed at the age of 236. Charming, well-read, and wealthy, he still spent much of his afterlife feeling deeply inadequate about his perceived shortcomings. "Vampire culture doesn't really acknowledge ADHD as a condition," he says. "My sire wouldn't understand, even though he probably has it as well. You should see the number of coffins containing the soil of his homeland that he's left lying forgotten all over Europe." A late diagnosis validated his feelings of difference, but on its own can't help when he hyperfocuses on seducing mortals who cross his path and forgets to get home before sunrise. "I have stock in sunburn gel companies," he jokes.

[captainfantasticalright]

In 1985, one of the only persons interested in an interview with a “new” writer called Terry Pratchett, after his publication of the Colour of Magic, was one Neil Gaiman. Neil Gaiman was writing for Space Voyager at the time. "The Colour of Pratchett" was the name given here:

It ran exactly one page inside the June/July issue of that year. The interview took place in a Chinese restaurant in London.

Here is Neil many years later holding that issue. You can see it here if you want. Warning: extremely emotional video.

Neil arrived wearing a grey homburg hat. “Sort of like the ones Humphrey Bogart wears in movies” he later wrote. (Before saying that in fact he did not look like him, but like someone wearing a grown-up’s hat). Terry Pratchett, photo courtesy of one @neil-gaiman, was in a Lenin-style leather cap and a harlequin-patterned pullover. At this point, Terry was already a hat person, although not that hat.

Terry offered Neil this : "An interview needn't last more than 15 minutes. A good quote for the beginning, a good quote for the end, and the rest you make up back at the office"*. (Terry Pratchett had worked many years in journalism by this point ).

But the meeting went terribly well. The two of them realized they had "the same sort of brains". So well indeed, that in 1985, Neil had shown Terry a file containing 5282 words, exploring a scenario in which Richmal Crompton's William Brown had somehow become the Antichrist. Was a collaboration in the cards as of that moment? Not really. But Terry found in Neil someone to whom he could send disks of work in progress and to whom he could pick up the phone sometimes when he hit a brick in the road of his writing.

Terry loved it and the concept stayed in his mind. A couple of years later, he rang Neil to ask him if he had done any more work on it. Neil had been busy with The Sandman, he had not really given it another thought. Terry said, "Well I know what happens next, so either you sell me the idea or we can write it together". **

On collaborating together:

Here is a video of Sir Terry saying why he chose to collaborate with Neil, another video talking about the technical difficulties of writing a book when the two of them where miles apart ,and some pages from Interzone Magazine Issue 207 published December 2006:

An Interview with Sir Terry Pratchett and his works- and Neil Gaiman, where he shortly addresses the process of writing Good Omens.

Terry shortly mentions,

“Neil doesn't rule out another book with me and he was good to write with...yep, it could happen. With anyone else? I don't know, but probably not.?”

Neil says,

"Terry took that initial 5,000 words of mine and ran it through the computer (because I’d lost the files in a computer crash) and made it the first 10,000 words, and it was definitely Good Omens at that point. Neither one thing nor the other, but a third thing.”

"I think Terry could do a very good impersonation of me if he needed to, and I could do a very good impersonation of him; so we knew the area of the Venn diagram in which we were working. But mostly the book found its own voice very quickly. It helped that we were both scarred by the William books when we were kids...”

And as you know, unless you’ve been living in Alpha Centauri, the rest is history. That was the beginning of what would become William the Antichrist and later would get the name Good Omens:The Nice and Accurate Prophecies of Agnes Nutter, Witch. (Title provided by Neil Gaiman and subtitle by Terry Pratchett).

More about the writing process:

Terry took the first 5,000 words and typed them into his word processor, and by the time he had finished they were the first 10,000 words. Terry had borrowed all the things about me that he thought were amusing, like my tendency back then to wear sunglasses even when it wasn't sunny, and given them, along with a vintage Bentley, to Crawleigh, who had now become Crowley. The Satanic Nurses were Satanic Nuns.

The book was under way.

We wrote the first draft in about nine weeks. Nine weeks of gloriously long phone calls, in which we would read each other what we'd written, and try to make the other one laugh. We'd plot, delightedly, and then hurry off the phone, determined to get to the next good bit before the other one could. We'd rewrite each other, footnote each other's pages, sometimes even footnote each other's footnotes. We would throw characters in, hand them off when we got stuck. We finished the book and decided we would only tell people a little about the writing process - we would tell them that Agnes Nutter was Terry's, and the Four Horsemen (and the Other Four Motorcyclists) were mine.

From the introduction to William the Antichrist:

“In the summer of 1987 several odd ideas came together: (..)I found myself imagining a book called William the Antichrist, in which a hapless demon was going to be responsible for swapping the wrong baby over, and the son of the US Ambassador would be completely undemonic, while William Brown would grow up to be the Antichrist, and the demon would need to stop him ending the world. The unfortunate demon, whom I called Crawleigh, because Crawley was a nearby town with an unfortunate name, would have to sort it all out as best he could.

It felt like a story with legs.

Terry took the 5,000 words, and rewrote them, calling me to tell me what he was doing and what he was planning to do. The biggest thing he was going to do, he told me, was split the hapless demon into two characters – a would-be-cool demon in dark glasses (which was, I think, Terry’s way of making fun of me, a never-actually- cool journalist in dark glasses) who had renamed himself Crowley, and a rare-book dealer and angel called Aziraphale, who would embody all the English awkwardness that either of us could conceive.”

William the Antichrist being a direct inspiration of the 1976 film The Omen. If the baby swap had just been a little bit messier and the kid had gone off somewhere else he would have grown up as somebody else. “And then there was a beat and I thought, I should write it, it will be called William the Antichrist” says Neil. ***

“The first draft of Good Omens was a William-book. It was absolutely in every way it could be a William book. It had Violet Elizabeth Bott, it had William and the Outlaws, it had Mr. Brown”.

Over time they realized that they would have more creative freedom if they in their own words filed off the serial numbers. William and the Outlaws becoming Adam and the Them.

But the spirit of Just William was never far away.

The joy for Neil was to construct “perfectly William sentences”. The one when Anathema tells Adam that she has lost the Book, and he tells her that he has written a book about a pirate who became a famous detective and it is 8 pages long… that’s “a William sentence”.

If you want to read more details about William The Antichrist, here are some slides I made.

Good Omens was also inspired by a particularly antisemitic moment in The Jew of Malta and John le Carre's spy novels. (Neil’s ask)

 Then I was reading The Jew of Malta by Kit Marlowe, and it has a bit where the three (cartoonishly evil) Jews compare notes on all the well-poisoning and suchlike they’d done that day, and as a Jew who never quite gets his act together, it occurred to me that if I were the third Jew I’d just be apologizing for having failed to poison a well… And suddenly I had the opening of a book. It would be called William the Antichrist. And it would begin with three Demons in a graveyard… (x).

“When we finished the book we estimated that the words were 60% Terry’s and 40% mine, and the plot, such as it was, was entirely ours.” -Neil Gaiman

"Neil and I had known each other since early 1985. Doing it was our idea, not a publisher's deal." "I think this is an honest account of the process of writing Good Omens. It was fairly easy to keep track of because of the way we sent discs to one another, and because I was Keeper of the Official Master Copy I can say that I wrote a bit over two thirds of Good Omens. However, we were on the phone to each other every day, at least once. If you have an idea during a brainstorming session with another guy, whose idea is it? One guy goes and writes 2,000 words after thirty minutes on the phone, what exactly is the process that's happening? I did most of the physical writing because: 1) I had to. Neil had to keep Sandman going -- I could take time off from the DW; 2) One person has to be overall editor, and do all the stitching and filling and slicing and, as I've said before, it was me by agreement -- if it had been a graphic novel, it would have been Neil taking the chair for exactly the same reasons it was me for a novel; 3) I'm a selfish bastard and tried to write ahead to get to the good bits before Neil. Initially, I did most of Adam and the Them and Neil did most of the Four Horsemen, and everything else kind of got done by whoever -- by the end, large sections were being done by a composite creature called Terryandneil, whoever was actually hitting the keys. By agreement, I am allowed to say that Agnes Nutter, her life and death, was completely and utterly mine. And Neil proudly claims responsibility for the maggots. Neil's had a major influence on the opening scenes, me on the ending. In the end, it was this book done by two guys, who shared the money equally and did it for fun and wouldn't do it again for a big clock." "Yes, the maggot reversal was by me, with a gun to Neil's head (although he understood the reasons, it's just that he likes maggots). There couldn't be blood on Adam's hands, even blood spilled by third parties. No-one should die because he was alive." -("Terry Pratchett : His World”)

(Here are some slides of mine where I go into some other details concerning the origins of Good Omens).

Another wonderful insight with Rob Wilkins in "The Worlds of Terry Pratchett".

*Quote: from Terry Pratchett A Life With Footnotes by Rob Wilkins, but said by Terry of course.

** All the quotes, facts listed here : see above.

***all other quotes by Neil Gaiman from various interviews and asks I’ll link.