EbbaTriesToWrite

Summary: What if August never told Wilhelm he knew Simon was going to the police? In doing so things changed enough that Simon never ended up pulling Wilhelm aside to tell him he loved him. And Wilhelm never changed the speech.

Excerpt:

Wilhelm had even managed to do the speech. It might not have been his words and he didn’t really mean anything he said, but he had done it. He had made August sit back down and spoke the words he was supposed to, and he had done it well. He might have been shaking, and felt like he was a second away from vomiting the whole time, but he had done it.

Simon had smiled at him afterwards and it felt like something had healed inside of him. Hope had bloomed in his chest and then the world decided to stomp on it, crushing the buds into dust ensuring that nothing like that would ever grow inside of him again.

Wilhelm is fighting a panic attack. He is actively battling every ounce of anxiety in his body. He cannot have a panic attack right now. He is on the phone with The Royal Court explaining (albeit not effectively) that he does not want to be King. He does not want to give a speech. He does not want this title. And, yes, this realization and the willingness to call stemmed from stupid teenage bullshit like his ex being out on a date with someone else, but it's a truth nonetheless. Wilhelm is telling the truth. And it makes him anxious.

When you have severe anxiety, it often feels like you are not in control of your body at all. You want to climb out of your skin. We see it with Wilhelm in season 1 when he bangs on his head or picks at his nails. He cannot control it.

In season 2 we see it with his shirt collar, we see it in his inability to keep still, and in the fact that he literally throws up at the thought of talking in front of his classmates. So, yes, getting on the desk was odd and unexpected, but he's actively pushing down years of anxiety. He has been fighting this phone call for years and now he cannot ignore it anymore.

Summary: What if Chauncey had been more cruel and vindictive and less clumsy?

The man cracked his knuckles as he stalked down the stairs towards him and Stede couldn’t help the way he scrambled backwards until he was pressed flush against the wall. He regretted it almost instantly when Chauncey started laughing. He sounded utterly mad. It was terrifying.

“Chauncey,” Stede croaked, his throat was so dry and speaking hurt, but there had to be something sane left in the other man that could be reasoned with, “think about what you’re doing.”

Icarus laughed as he fell.

Threw his head back and

yelled into the winds,

arms spread wide,

teeth bared to the world.

(There is a bitter triumph

in crashing when you should be

soaring.)

The wax scorched his skin,

ran blazing trails down his back,

his thighs, his ankles, his feet.

Feathers floated like prayers

past his fingers,

close enough to snatch back.

Death breathed burning kisses

against his shoulders,

where the wings joined the harness.

The sun painted everything

in shades of gold.

(There is a certain beauty

in setting the world on fire

and watching from the centre

of the flames.)

Chapters: 1/1 Fandom: All For The Game - Nora Sakavic Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Characters: Andrew Minyard, Jeremy Knox, Laila Dermott, Alvarez (All For The Game) Additional Tags: Trojans - Freeform, Hurt/Comfort, AFTG Winter Exchange 2021, Angst with a Happy Ending, Fluff, Alternate Universe Summary:

Andrew never left California and ended up with the Trojans instead of the Foxes. This is just a peak at his life with them.

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My @aftgexchange gift for the Winter Exchange 2021 for @ebbatriestowrite

Happy Birthday @fight-surrender ! 🖤

A commission by @carryonsimoncarryonbaz that I'm so grateful to have received...! Viv is an incredible person, and I loooove this fic, Howlin' Forever! Go give Viv some birthday love!

So um, my gay girl demographic really liked my last Niamh Brody art, so… Here’s another, with her girlfriend

writing the middle of a fic: i am absolute garbage. what is this fucking plot? is there a plot? ffs is this over yet? what are words.

“Representation isn’t about pressing things into places where they don’t exist. It’s about portraying reality as it actually is, because we don’t do that.”

“ when you do stories about the working class or the lower class, it’s very obvious. Then, you talk a lot about class. Journalists ask you those questions, those issues are debated. But when you do stories about the upper class, the class issue isn’t brought up in the conversation surrounding the piece.

“When we depict the working class through Simon and Sara, I don’t want it to be portrayed as the working class is usually portrayed. That it’s dirty, poor, problematic, with problematic family relationships.... it also shows how the working class can be.”

“that it’s still hard to be homosexual or bisexual or LGBTQ+ at these schools. You think that the rest of Sweden has come far, we’re at the forefront, we have democracy and equality and equality between the sexes. But there are people at these schools who might be together with their roommate, but that’s not talked about until a long time has passed”

“I think it was important that this LGBTQ+ theme that it isn’t a sign, that it just exists in the world.”

As filmmakers at some point you have to take a stand about reproducing certain stories around LGBTQ+ characters, and instead just let them be people and characters who “happen to” have a certain sexual orientation or a certain identity, but that’s not at the forefront, it’s there as part of their character.”

“Creating representation is just about saying: Let’s look at the whole world. Let’s look at all the stories that can be told and that aren’t told, and are actively disregarded”

“That’s what I like about making this into a youth series, we constantly show and we trust our audience. We don’t have to tell our audience how they should feel and think or what is right or wrong”

“ so important to have a wide search in casting, and not be stuck on a particular skin colour or a certain clothing size, or whatever”

“in film or tv, you look for the things you’re familiar with. It’s a vicious circle when you don’t see people like you portrayed. Then you don’t think you stand a chance, and you don’t apply for things.”

“And then somebody is watching this and seeing themselves in it. Maybe they cry maybe they laugh, it’s magic”

“That we talked about, was that we’d cast real young people. That they’d look like real young people, because a lot of the dramas I watched, I loved everything, everyone I saw... but I was never able to feel that “she looks like me”, we might think about the same things but that person is gorgeous. We have the most beautiful cast in the world.. but they look like real people.. it’s so damn important ” “and most importantly they’re not 30 year olds playing 16 year olds”

That’s something.. the pressure, that anxiety, that coverage that isn’t just like normal media, but anybody could film you... that’s something we worked hard on in this series because it’s something that is part of everybody’s not just young peoples lives.”

“Whereas now, you’re meant to have YouTube channels or you can look at the whole Megxit thing, and just posting or participating in the media where ordinary people are. This causes that last wall to fall, in front of the small private space you may have”

“You want to get famous. You want attention. You might think that you want attention, when you might need acknowledgement. But attention doesn’t have to be positive. It can be very damaging. Everybody needs that acknowledged. To feel that you’re capable and pretty or whatever it is. That you are enough.”

“Those who become known on social media... often have a particular socioeconomic background. You must be able to afford to buy things or be able to generate collaborations.. the class structure is perpetuated”

“At that age, you feel a lot of things very deeply. You think it’s your last chance. Or, “I will never” it’s rewarding to dramatise and work with..