Aw, so sad - I feed bad for Wolfram, but the theme of Yuuri-gets-everything-without-trying certainly goes along with the manga, so it reads very realistically. Here's hoping for a sequel! ^_^

i love this piece, and i love ur style too, made me really happy! Wolf sounds so clumsy, but i love it. but truly, i was expecting them to kiss or something at the end. >_o

i truly love this story

I liked this story it was sad but got more lighter near the end. Anyways, good job and off to read the other part XD.

I enjoyed this, especially the middle chapters in the cave -- nice angst.

The last chapter felt a bit rushed and a little too easy -- one minute, they're not speaking and the engagement is off, the next minute, Yuuri is out of the fountain and everything is nearly back to normal. The ending was satisfying and sweet, if a touch inconclusive (but you fixed that with the sequel, so I'm fine there).

I liked the first-person viewpoint; it was especially effective with all Wolfram's internal mulling over the engagemtnt. I wouldn't have minded a bit more description of settings and actions, but I'm not sure Wolfram would have noticed much more than you put in already. And you do a nice job with the stage business, too.

In minor stylistic picky stuff -- you need to watch your tenses. Even in first-person, switching from simple present tense ("I hear the scratches from Gwendal's quill") to past-progressive ("Conrad and Gwendal were sitting comfortably") in the same paragraph is a bit much; when you add a switch to present-progressive ("I am pacing") in the next paragraph and then to simple past ("Gwendal commented") in the paragraph after that...well, it gets a little distracting.

Changing tense in fiction is usually a signal that something is going on with time -- either there's a flashback going on, or several things are happening simultaneously, or something is happening and happening and continuing to happen for a while longer, etc. Simple past tense and simple present tense are the two most commonly used for "now" in the story; it doesn't matter which one you pick as your baseline, but once you pick, you need to stick with it. You don't seem to have any trouble at all getting this right in your dialog, so you should be able to fix it in the narrative parts without too much trouble.

I'm looking forward to the sequel.