The Webs of Venezia - Synopsis

Hello again! :) Just coming back real quick before I take a short hiatus (I'll be out of town), to give you all the promised plot synopsis to my melodramatic (wanna-be) operatic masterpiece, Le Ragnatele di Venezia (The Webs of Venezia). I apologize in advance that it still has the musical number notations in it, but I did not get a chance to edit them out. :P Anyways, though, send any complaints or moaning concerning the ending or the horrible melodrama to me in the comments, and I'll be back in a couple of weeks (but I'll still try to respond to comments during this hiatus, though I can't guarantee anything).

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[Opera Begins With Lively Overture, Bridging into Duet/Chorus Piece (see below)]

[Act One: Setting - Venezia LaVeirsi's Quaint 1800's Parlor]

Caecilia Teresina, a pretty middle class girl of a small Italian city, is a very sweet lady. She has long-held, however, the friendship of vivacious Venezia LaVeirsi, who is not. One day, they are together in Venezia's parlor talking. [Caecilia; Venezia; Chorus aria: Bello Come Un Giorno! - How Lovely A Day!] Venezia is practically bursting with a piece of news, and eventually persuades Caecilia into asking about it. So she relays it gladly. [Caecilia; Venezia duet aria: Dire, Quindi, Se Si - Tell, Then, If You Will] Her brother, Petrarcho, is coming back from a visit to his friend, Salvatore Bena. However, Petrarcho will be arriving that very day - and Salvatore will be with him! Caecilia offers to leave, since she would be intruding on their visit, but Venezia won't hear of it. So, instead, she tells Caecilia to go and prepare herself for company. Caecilia leaves to do so delightedly. While alone, Venezia thinks aloud to herself. [Venezia solo aria: A Lungo Ho Capito - Long Have I Known It] Venezia has harbored feelings for Salvatore for a small while, but has concealed from Caecilia this one factor in her excitement, wishing to keep it a secret. Salvatore has been there visiting many times before - being such a companion of Petrarcho - but has never paid any romantic attentions to Venezia. This visit, she hopes, will change that. She intends to somehow let him know... she just doesn't know how yet.

Soon, though, her little soliloquy is cut short by the return of Caecilia, and then her guests arriving. [Caecilia; Petrarcho; Salvatore; Venezia; Chorus aria: Ah, Ma Ora Sono Qui! - Ah, But Here They Are Now!] Venezia manages, by having Caecilia fetch something while Petrarcho deposits his baggage, to get Salvatore alone. She leaves the room for a moment, to call to Caecilia about what she wants, though still within hearing of the parlor. Caecilia's voice is heard offstage in answer to Venezia. As though prompted by the voice, Salvatore - alone - begins his own soliloquy, pondering how unusual he feels towards Caecilia, whom he has seen before, but never much known. [Salvatore solo aria (with minimal vocal appearance of Venezia and Caecilia): E Cos'e Questo...? - And What Is This...?] He loves her, but does not want to come to this conclusion, because he knows her so little. Venezia, though just in the next room, hears him, and thinks sadly to herself of this disastrous happening. But she forces herself to keep a stiff upper lip, and then goes to him. She tells Salvatore that she has heard all of this, and that she is willing to help him gain Caecilia's favor. [Venezia solo aria (with minimal vocal appearance of Salvatore): Signor, Il Tuo Vero Cuore - Sir, Your True Heart] She intends to help him but a little, and meanwhile display her own graces, so as to win his love herself.

[Act Two: Setting - Venezia LaVeirsi's Garden]

However, even with Venezia's miniscule and insincere aid, Salvatore begins to succeed in procuring Caecilia's favor. [Salvatore solo aria: O, Piu Bella Al Mio Occhio  - O, Most Lovely To My Eye] Venezia observes it with both sorrow and frustration, as her own love has only grown for Salvatore. Half desperate, she comes up with another plot. [Venezia solo aria: E Se, Forse... - And If, Perhaps...] She knows of the extreme respect that Salvatore holds for her brother, due to an event a long time ago when Petrarcho saved Salvatore's life. She also is aware that Petrarcho is yet unknowing of Salvatore's very inconspicuous affections for Caecilia. Venezia decides to use both factors to her advantage. So she decides to try and make Petrarcho - who is so very hotheaded - fall in love with her friend Caecilia. Petrarcho, as a far more open man, will be far more easily observable in his love than Salvatore , so Caecilia will perhaps be swayed more. Salvatore, on seeing his friend's so clear affections for her, and her own favoring of Petrarcho, may not dare - out of respect to them both - to start a rivalry, and so might leave off his only newborn attentions to Caecilia. Thus, Salvatore's attention may then be captured by the only other lady holding his friendship (a.k.a., Venezia). Venezia recovers herself in light of this plan, and laughs at the simplicity of love, believing this plan sure to succeed. [Venezia solo aria: Amore, Piu Semplice! - O Love, Most Simple!] Venezia begins work upon her brother immediately, when Caecilia visits them not long afterwards. Soon enough, Petrarcho does indeed seem to be falling, and Venezia gloats to herself over her own brilliance, thinking of the happiness she will so soon attain; her brother's felicity, Caecilia as a sister, and her love for her own. [Venezia; Chorus aria: Immagina, Venezia... Amore, Piu Semplice! - Imagine, Venezia... O, Love, Most Simple!]* However, neither Venezia nor her plan had counted on Salvatore leaving for his home again so soon, as he does but a day later. Venezia is told of it by Caecilia, and - while pretending easiness - is inwardly shocked and distressed by the news. [Caecilia; Venezia duet aria: Il Mio Amore Lontano - My Distant Love] Caecilia also tells Venezia of Salvatore's promise to write Caecilia, and to return in two months.

*All arias (except the original) that are labeled Amore, Piu Semplice merely have the main refrain of that aria repeated in them somewhere, and do not necessarily have the whole aria.

[Act Three: Setting - Venezia LaVeirsi's Quaint Parlor]

This news cripples Venezia's designs. If Salvatore is gone, then Venezia cannot work him for herself. But if he's writing Caecilia, he may still continue his courting of her, though far away. He will also then not observe in person Petrarcho's affections for Caecilia, and so will be unaware of any rivalry, thus being unhindered in his courtship. Venezia is forced by this realization to reconsider her strategies. [Venezia solo aria (with minimal vocal appearance of Caecilia; Salvatore; Petrarcho): Frantumi Sono Mie Speranze - Shattered Are My Hopes] So she comes up with a different solution. [Venezia solo aria (with minimal vocal appearance of Salvatore): Senza Di Te, Amore Mio... - Without You, My Love... ] If Venezia can further her brother's affections for Caecilia drastically in those two months before Salvatore returns, then Caecilia herself may be turned faster by the more serious-seeming, present man, rather than the slow-moving, distant one. Then, when Salvatore returns, he will find Petrarcho in a deeper courtship with Caecilia, and Caecilia will be no longer interested in him, thus achieving Venezia's originally intended result. She is hesitant to use this plan, though, because she fears that it will hurt Salvatore. However, she can think of no other way, and so reluctantly resolves on this plan. She then departs to find Petrarcho. After Venezia leaves, Venezia's maid, Pia - who has watched all these goings-on - comes out. She has heard Venezia's plot. She herself loves Petrarcho, but determines to put her own feelings aside for the moment to try and observe Venezia's efforts. She decides to tell Petrarcho of the plot if Venezia continues on this course. [Pia solo aria: Quello Che Ho Sentito Ma Malate Notizie - What Have I Heard But Ill Tidings?]

However, Venezia , having forgotten something, returns to the scene and hears Pia. Furious, she dismisses Pia from the household. As Pia leaves, though, Venezia formulates another plan. She coyly calls Pia back. Venezia tells Pia that this plot of hers would lead to Petrarcho's happiness, and that Pia will keep her job if she helps Venezia (while keeping a silent tongue). Venezia persuades Pia that Petrarcho's true happiness is at stake. As an added point, Venezia threatens Pia not only with the loss of her job, but also declares that she will tell Petrarcho of Pia's affections for him should Pia refuse or reveal the plan. [Pia; Venezia duet aria: Il Riscatto Del Tuo Silenzio - The Ransom Of Your Silence] Pia considers a moment, and then reluctantly agrees. Venezia applauds Pia for her wise choice, and yet again laughs in the shadow of her triumph. [Venezia solo aria (with minimal vocal appearance of Pia): Bravo, Pia!...Amore, Piu Semplice!] With the reluctant help of Pia, Venezia works on Petrarcho with slow but steady success. She now visits Caecilia with Petrarcho almost every day, and Petrarcho pays some attentions to Caecilia. Caecilia, though, still always in a delight from Salvatore's letters to her, barely notices the key of these attentions, and so welcomes Petrarcho, not realizing his feelings for her. Venezia, wishing to speed the process, one day tells Petrarcho that she feels rather too ill to visit Caecilia, and that he must go alone this time. At first Petrarcho is hesitant to do so, but then, considering the proposition a moment, eagerly agrees. [Petrarcho; Venezia duet aria: Fratello, Mio Caro Fratello - Brother, My Dear Brother] Petrarcho exits. He does indeed go to Caecilia, who - despite slight surprise that her friend is not also present - welcomes him. [Caecilia; Petrarcho duet aria (with minimal vocal appearance of Chorus and Pia): Petrarcho? Che Dolce Compagnia - Petrarcho? What Sweet Company] Caecilia enjoys his company for a period of time, and Pia - who was told by Venezia to follow Petrarcho - reports the goings-on to Venezia. [Pia solo aria (with minimal vocal appearance of Venezia and Chorus): Questo Avere Ho Sentito - This Have I Heard]  Venezia listens thoughtfully.

[Act Four, Scene One: Setting - The Grove Between Caecilia Teresina's and Venezia LaVeirsi's Houses, From Which The City Can Be Seen]

Soon enough, Petrarcho is visiting Caecilia - on his own - almost every day, to his sister's delight. [Petrarcho; Venezia; Caecilia; Pia aria: Rosa, Dolce, Rosa - Rose, Sweet Rose] Time passes quickly this way, and soon enough the two months are almost over. Venezia's plot appears in most areas to be succeeding. However, despite Venezia's displeasure at it, Caecilia continues to receive Salvatore's letters with great joy. Venezia only hopes that the letters will have little effect. [Venezia solo aria (with minimal vocal appearance of Pia): Un Cosi Poco Tempo! - So Little A Time!] Petrarcho's visits with Caecilia have become progressively longer and more serious, but - unknown to Venezia - Caecilia's ecstasy over Salvatore's letters has not diminished, and she little notices Petrarcho's attempts at courtship. [Petrarcho solo aria: Con Molla In Inverno - As Spring To Winter...] Venezia worries about the content of Salvatore's letters, and their effect on Caecilia. So Venezia tells Pia to fetch one of the letters for her, that she may read it. [Venezia; Pia duet aria (bridging into a solo Venezia aria): Tranquillamente, Pia... Di Amore E Di Avere - Quietly, Pia... To Love And To Have] All Venezia wishes for seem very close, and so she is cautious, so that she might not yet lose it. The very same day, Petrarcho leaves to see Caecilia, this time with the intention of proposing to her. Venezia senses his intent and warns Pia to stay out of Petrarcho's sight in her mission. Pia leaves. Venezia likewise departs, to go and await Pia's return. Caecilia and Petrarcho come. Petrarcho reaches Caecilia in the grove by her home, where she waltzes and sings joyously in a complete delight. [Caecilia solo aria: Nessuna Canzone! - No Song I Can Sing!] Petrarcho confusedly asks what is making her bustle about so, behaving in such a way. She replies gladly that she has received a letter from Salvatore, saying that he is returning that very day. The letter also contained a proposal of marriage from Salvatore, which, as she tells Petrarcho joyfully, she intends to accept. She tells him that, as one of her greatest friends, she couldn't keep it a secret from him. [Caecilia solo aria (with minimal vocal appearance of Petrarcho): O, Gioia Delle Gioie! - O, Joy Of Joys!]

Petrarcho is stood aback. He had never even known of his friend's courtship with Caecilia, much less ever anticipated Caecilia accepting a proposal from Salvatore. Caecilia observes Petrarcho's shock, and puts the letter down, concerned that her friend is unwell. She asks him what is wrong. [Caecilia; Petrarcho duet aria: Cio Che Vi Affligge Cosi? - What So Ails You?] He attempts to smile, and act as though nothing happened, saying he is fine. So, trying to forget it, Caecilia converses again with Petrarcho for a small while. Once more she notes his uneasiness and distraction, and asks if he is well. Petrarcho again tries to act as though untouched, and insists that there is nothing wrong. He tries to have Caecilia continue in ordinary conversation. Caecilia, still somewhat confused, tries to ignore the highly apparent discomfort of her friend, since he persists in saying that it is nothing. Meanwhile, as they thus converse, Pia carefully comes in and sees Salvatore's proposal letter which Caecilia has put down. Pia picks it up, and cautiously exits, going back to Venezia. Soon, Petrarcho and Caecilia separate,  and Petrarcho - now alone - reveals in aria his true stance. [Petrarcho solo aria: Cosi Vicino Al Mio... - So Close To Mine...] He has been shocked by this event, and hurt in now realizing that Caecilia never really saw him there in the first place. He recalls that Salvatore is to return soon. Petrarcho does not think he will be able to face Salvatore any time soon, and definitely not Caecilia,  so he storms off, going home to pack his things and enlist as a soldier in the nearby encampment.

[Act Four, Scene Two: Setting - Venezia LaVeirsi's Quaint Parlor (again)]

Meanwhile, at Petrarcho's home, Pia has returned to Venezia with Salvatore's letter. Venezia reads it and is blown aback. Shocked and frustrated, she sends Pia out, barely able to even speak in her upset state. This could ruin all her hopes; she has no way of yet knowing whether Caecilia will accept, and Salvatore is arriving that very day. Venezia is for a moment just in a state of shock. Then, suddenly, Petrarcho storms into the room, perhaps even more upset than Venezia. [Petrarcho; Venezia duet aria: Fratello! Che Stai Facendo? - Brother! What Are You Doing?] He quickly begins to gather his things together. Venezia, flustered, asks distressedly what he is doing. He tells her very briefly of his visit with Caecilia, and of Salvatore's accepted proposal to Caecilia, unknowing that Venezia is aware of the letter and its contents. Petrarcho tells his sister of his intent to go away, and that he won't be persuaded out of it. Venezia is yet more distressed by the news of Caecilia's intent and Petrarcho's decision. Venezia tries desperately to get him to stay, even attempting to cling onto him so that he might not leave. He refuses to reconsider, and so departs, despite Venezia's efforts to keep him there. Once he is gone, Venezia collapses onto the floor in her distress and sobs.

[Act Four, Scene Three: Setting - A Part Of Town, By An Enormous Stone Stairway, and The Street Leading Out Of The Town]

In the meantime, Salvatore has returned, and is just in town, ready to go to Caecilia. He hesitates a moment, unsure whether she will receive him as he'd hoped. [Salvatore solo aria: Il Suo Tocco - Her Touch] But then, suddenly, from atop the great stairway by the road, Caecilia herself comes, and spots Salvatore. She rushes to him, and tells him of her agreement to the proposal. Joyfully, Salvatore lifts her high into the air, and - upon her landing - they sing a happy duet, proclaiming their gladness. [Caecilia; Salvatore duet aria: Altezza Di Nessuna - No Star's Height (Is Greater)] Caecilia tells Salvatore that they must inform their good friend, Venezia, of their news. Salvatore heartily agrees, still very grateful for Venezia's previous aid to him. So the couple leaves, to go and tell Venezia their joyful news. Then, on the edge of the road, Petrarcho is traveling out of town, to go to the regiment's encampment, still upset. Suddenly Pia runs up after him and stops him. She tries to convince him to come back, revealing all of Venezia's plot and how Venezia forced her to aid in it, also revealing her own feelings for Petrarcho. She urges him to come back, at least to speak with his sister. [Pia solo aria: Ti Prego Ascoltami, Petrarcho - Please Hear Me, Petrarcho] Shocked by the message, and touched by Pia's cares, Petrarcho agrees to return, and immediately rushes to go back to Venezia, Pia following. Atop the stone stair stumbles Venezia. She is in a great distress, still thinking she has lost everything. In her hand she carries a bottle of poison, with which she plans to kill herself. She glances down at the bottle in her hand, still unsure, but with a great upset in her mind. She slowly begins a sorrowful soliloquy to herself, thinking of what she is about to do, and what could have been. [Venezia solo aria: Ma Non Doveva Essere - But It Was Never Meant To Be] She opens the bottle, still knowing within her that it is wrong. Her soliloquy intensifies, and a battle rages in her over whether to drink it. Finally, with one final effort, she overcomes the desire to end it all, and she throws the bottle far away from her, down the stone steps. Exhausted from the effort, but half relieved now that it is over, she ends her song. The stage lights dim almost completely, but then, with a sudden scream and ominous turn of the music, the lights flash for a moment, only just bright enough to see a figure fall from the top of the stone steps. When the lights are bright again, the chorus can be seen, crowding in the corner of the stage. Then, from either side of the road, the two couples - Caecilia and Salvatore, and Pia and Petrarcho - can be seen rushing into town, one happily and the other grimly. They meet each other. Pia and Petrarcho ask the other two where Venezia is. Of course they reply that they do not know, but wish to, for they have been searching for her for hours (as Pia and Petrarcho have likewise done). Neither couple has seen her, and Pia and Petrarcho worry. Pia tells them of all that has happened, and Venezia's plot. Now both couples are worried.

Then, the chorus starts loudly crying out and singing, and part of the chorus goes to the two couples and begins to scream and exclaim. [Chorus aria (with minimal vocal appearance of Caecilia; Petrarcho; Pia; Salvatore): O, Che Disgrazia! Tragedia Ci Colpisce! - Oh, What Misfortune! Tragedy Strikes Us!] Petrarcho asks confusedly what has happened. The members of the chorus explain flusteredly that an terrible thing has occurred, and a young woman is injured at the foot of the street's stone steps. She has fallen from them due to an accident. All the citizens rushed when they heard her scream. All have gathered, and a doctor has been called, but there is nothing that can be done, and she is languishing near her end. Petrarcho's mind immediately jumps to Venezia with worry, and he - with the other three - push through the crowd to the end of the steps, to where the injured girl can finally be seen. It is indeed Venezia. Petrarcho cries out in distress, and Caecilia begins to sob. [Petrarcho solo aria (with minimal vocal appearance of Caecilia; Pia; Salvatore): Venezia! Come Puo Essere? - Venezia! How Can This Be?] He mourns. Venezia wakes a little, and sees them before her. They are glad that she has awoken, but are still sorrowful in the shadow of what is to come. Venezia knows she is dying. She confesses to all of them her plot, and muses a little sadly on the irony of her death - how she strove so hard, making the choice not to end her life, and then it was ended for her only moments later. [Venezia solo aria (with minimal vocal appearance of Chorus): Pregate Per Me, Miei Compagni... Amore, Piu Semplice - Pray For Me, My Comrades... O, Love, Most Simple] She admits aloud that Love has conquered her and her arrogance, and that she only hopes they will understand and forgive her for all that she has done. Then, finishing the last full aria in the opera, Venezia dies.

[End Of Opera]

What did you think? Are you, like my previous readers, slamming your head against a wall in frustration? Or are you laughing from the melodrama of it all? (trust me - I would not be offended by this reaction; in fact, it would tickle me pink to know that you were cracking up reading this - trust me, I was too.)  ;) Or are you now depressed? Or perhaps you are now nodding to yourself in affirmation of your decision to never get into opera, haha? Talk to me! I would enjoy all comments - especially heckling ones (truly, when people heckle my stuff, it gives me more laughter than I can say, and it keeps me from getting a big head about it, so I very honestly can say go ahead and heckle.  After all, it is opera! ;)

Meet The Books! - The Webs of Venezia, a.k.a. Le Ragnatele Di Venezia

Hello, all! I'm back again with another Meet the Books! feature today. But, before I begin - as always - I will relay what Meet the Books! is. :) Meet the Books! is a blog feature intending to introduce your stories - novels, novellas, plays, operas, whatever they are - to your blog audience. Anyone can join, and the only rules are to answer the questions and link back here in a comment so I can see. :D I love participation, so feel free to take it up for your novels, novellas, plays, operas, etc. And speaking of operas - that is what I'm here today to introduce.

What is the genre?
What?! Why is Belle blogging about an opera?!
I'm sure those are along the lines of what you're thinking. ;) Well, maybe it's because - in addition to my novels and one Broadway musical - I am in the midst of writing an opera (what?! I love writing music!). Two, to be precise, but I'm only talking about one of them today.  So, the genre is a tragic opera (I know, I know - but really, unless you write operas, nobody today gives your writing any leeway to be nice and thoroughly melodramatic!). And, for those random nerd-dork-geniuses in the audience who know what this means, this opera is an opera-comique (in Italian!).
But before anybody stops reading this post because opera isn't their thing, please! - remember that an opera is nothing above you - all an opera is is a novel put to music and a foreign language (and sometimes not even the latter part). Almost all operas are from novels.

What is the title? Time period?
Le Ragnatele Di Venezia - translated as The Webs of Venezia. And the time period is the middle-ish 1800's - a common time period for operas. :)
How is it written (point of view, MC, etc.)?
Well... currently its only finished guise is in synopsis form, but I'm in the midst of writing the libretto (play format) as well. And the main character is a young, middle-class Italian woman named Venezia LaVeirsi (she is the title-role).
Who are the characters?
Haha! Glad you asked! ;D

Venezia LaVeirsi is a vivacious mezzo-soprano Italian girl with a lot of determination (perhaps a bit too much) and a mind as quick as anything. However, she is a bit... off, to say the least. Being incredibly clever and determined does not change the fact that she is rather childishly stubborn and impulsive. But, somehow, this stubborn, world-wise gentlewoman is very best friends with
Caecilia Teresina, another middle-class Italian who, unlike Venezia, is incredibly innocent and quite naïve. Caecilia is not the main character, but a whole lot revolves around her (unbeknownst to her) in the opera. There's really not much to say about her except that, again, she is about as innocent (and absent-minded) as it gets. She is a soprano role.

Salvatore Bena is a foreign tenor gentleman of a soft-spoken nature. He is very quiet, and so not much is really known about what goes on in his head most of the time, which is a frustration to Venezia, who has hoped for ages that he will notice her, and contrived to try and make him. Salvatore often visits the LaVeirsi home at the invitation of his much-respected friend,
Petrarcho LaVeirsi, Venezia's baritone brother. Petrarcho is a rather impulsive and hot-headed man (rather similarly to Venezia), and often needs Salvatore to balance him out. Salvatore is quite devoted to Petrarcho, on account of a time when Petrarcho saved his life (though in a quite undramatic situation, I assure you; Salvatore was about to be absent-mindedly run-over by a horse and cart in the streets).
Pia Toscana is the LaVeirsi maid who has long harbored feelings for Petrarcho. She is the only person who really sees Venezia's character in the right light, but can't really say much, being only a lady's maid. Pia is a coloratura soprano role.
Other than that, the only characters are unnamed, being the chorus members (a.k.a. the Italian citizens).

What does the plot consist of?
You remember how I said earlier that Venezia had a thing for her brother's friend, Salvatore? Well, the opera centers around her designs - her webs, if you will - to try and secure him for herself. However, that is made rather difficult by the fact that Salvatore feels exactly the same way about Caecilia. So... complications ensue. Yes, I know - the melodrama of opera. ;) But it'll sound better put to music (actually, I intend to post the full synopsis shortly, so then you can get more details plot-wise).
What is the setting?
Well, the scenes are these:
-Venezia LaVeirsi's quaint 1800's parlor
-Venezia LaVeirsi's garden
-The grove between Venezia and Caecilia's houses, from which the rest of the city can be seen
-A part of town, where there is an enormous stone stairway and the road leading out of town
And that about covers it. Not a particularly exciting setting, I know, but the music has been sheer ecstasy to write. :)
Who are the favorite characters so far?
Um... not Venezia...? :P Well, my favorite character to write in it is Salvatore, but no reader has made much comment except to bemoan the ending or comment on the little bit of music that there is.

What is the favorite scene so far?
So far, a scene in the beginning where Salvatore thinks aloud by himself (singing my favorite of his arias so far, E Cos'e Questo...? - translating to And What is This...?).
Any themes of music for this work?
Well, song-wise, I have a pretty good amount composed.
E Cos'e Questo...? (And What is This...?) - a tenor aria for Salvatore with brief parts for Venezia and Caecilia, from Act One.
Nessuna Canzone! (No Song I Can Sing!) - a soprano aria for Caecilia in Act Four, the final act.
Petrarcho? Che Dolce Compagna (Petrarcho? What Sweet Company) - a soprano/baritone duet for Caecilia and Petrarcho in Act Two.
Frantumi Sono Mie Speranze! (Shattered Are My Hopes!) - a mezzo-soprano aria for Venezia in Act Three or Four.
Il Suo Tocco (Her Touch) - a tenor aria for Salvatore... which currently only has prototype lyrics and no melody yet. Possibly for Act Four.
Rosa, Dolce Rosa (Rose, Sweet Rose) - a baritone aria for Petrarcho that I am soon going to tamper with and make into a baritone/soprano/mezzo-soprano/soprano quartet for Petrarcho, Caecilia, Venezia, and Pia in Act Two or Three.
Dire, Quindi, Se Si (Tell, Then, If You Will) - a soprano/mezzo-soprano duet for Caecilia and Venezia in Act One.
And the flourishing main theme of the opera which was my most rewarding and first labor in this work (in fact, I'm still not sure whether it or the opera came first),
Amore, Piu Semplice! (Love, Most Simple!) - a mezzo-soprano aria for Venezia which is carried on throughout the opera, but is first heard in the last part of Act One.
Phew! But that's all of them so far (I know, I know - give me a break! I've only been working on this opera for a year this coming February, after all! I'll compose more music sooner or later). But, soon enough, a professional *cough cough actually just a training professional cough* opera singer will sing it for me, and then I will broadcast it all over the world! Just kidding. But I might post it on this blog. ;)
Any drawings?
Yes! I have here a drawing of Caecilia and Petrarcho in the grove between the LaVeirsi and Teresina homes. It took a while, and unfortunately Petrarcho looks rather wimpy, but at least Caecilia turned out really well. :P

This is the as of yet uncolored scene that goes with the song Nessuna Canzone!... and Petrarcho looks like he has a bad headache. :P

Any snippets?
Not this time. Like I said before, soon I'll post the full synopsis of it (and you can all roll your eyes all you want - this is an opera!). Hopefully it will be sometimes in the next few posts.
Strong point in story?
The musical themes. I feel like the main theme and sub theme (Amore, Piu Semplice! and E Cos'e Questo...?) are coming through really well, and as soon as I research some more (and by 'research', I mean listen to a ton of opera - yay, research!;), I will write some of the orchestration and accompaniment - seeing as, up to this point, I have written only vocal music.
Weak point in story?
Probably the libretto. It's going very slowly, and seeing as Italian is not my first language, I'm not exactly Verdi when it comes to writing lyrics and speech.
What are your plans for it?
To finish it, edit it, re-edit it, and then try and get it out. First, I plan to have my undercover assistant (a.k.a. my best friend who is currently studying abroad for an operatic vocal career, and whom I mentioned earlier) help me in the underground by getting bits of it sung at recitals and things. Then, I will have it performed in larger and larger bits informally, until - bam! - there it is on stage, the full thing. Then, everybody appreciates my genius so much that it is one of the most popular operas since La Boheme I hope and pray that it gets performed professionally and takes off. :)
Any particular writing habits for it?
Well, the whole thing - synopsis and the little bit of libretto that there is - is all written in a big, purple notebook that has a honeybee sticker on it. And I always sit at my little cupboard piano when I'm composing the music (believe me, the name 'cupboard piano' makes it sound small - it's deceiving). I almost always drink coffee, though, when I'm composing.

The unforgettably great (and incredibly handsome) tenor, David Miller.

If it were made into a movie, what would be your ideal cast?
I hope it is made into a movie someday. But, in the meantime... I can't imagine anybody but Angela Georghiu playing Caecilia for some reason (which... is bad for this opera's movie, because Angela Georghiu was performing back in the 90's). And it's the same case for Salvatore - can't see anyone but David Miller playing him (which may be because I see Mr. Miller as the ideal tenor for every opera role...?). I would pick Luca Pisaroni or Thomas Weinhappel as Petrarcho, Beverly Sills as Pia, and either the great Cecelia Bartoli or Maria Callas as the title role of Venezia (again, bad for the movie, because those two were performing in the 80's and 60's unfortunately...). :P
What do you think? Would you go and see it? Would you listen to it? Is the plot melodramatic enough for an opera, or will you have to wait and see the synopsis (which I will post shortly)? Chat with me! :)

Announcing the Posting of a Novel - Feat. Part One of The Pain of a Memory!

Bongiorno (Or buona notte, depending on what time you read this post)! ;) I am announcing the entry of one of my novels onto this blog, that novel being The Pain of a Memory (which was my April Camp NaNo WIP). I know everyone's getting ready for real NaNo, but I'm not doing it this year (let's just say things were not ideal last year). In fact, posting this novel is kind-of my way of defying NaNo and glorifying Camp NaNo while every body else is doing the opposite. ;) But, anyhow, passing up on the matter of intensely-stressing writing-months, I give you the first chapter of The Pain of a Memory. Feel free to just skim read; eat it up; critique; not read it at all and still comment, haha; anything you want. ;) I love critiques, am ecstatic about you even reading the first few sentences, and am eager for you to love reading as much as more than I enjoyed writing it (with hopefully less nervous sweating and laborious thought of editing). ;D Anyways, without further ado, here it is (and I do realize it's incredibly messy, yes). :P

***

Anwynne glanced out the window of her carriage. Only a vast ocean of trees and mountains could be seen through that gap to the outside world. Perhaps another day she would have thought this sight splendid. But this day, she had no wonder to spare for such frivolities or simple beauties.

The scarlet leaves, slowly fading away from the silver-barked trees, were nothing. The silver mountain in the distance, glinting with ice in the lowering autumn sun, was nothing. They were nothing to her this day. They only served as a reminder of exactly why they were nothing to her. The leaves fell like the last days of her journey. The silver, ever-approaching winter, and that distant palace of stone, was like the faraway throne she would soon ascend to.

Anwynne was going to Nistria, a country far from her own Ingrecia. She would be there in but five days. There, as arranged by her own country, she would marry the king-to-be, Angelo I, and take up queenship there. A foreign queen in a cold land, drifting away from her own country with the last traces of autumn. This was why all that she now saw - every tree in that dying forest - was nothing to  her. Soon enough, it would all be gone, passing away like her own nothingness, only to be crowned in cold grandeur, as she would soon also be.

 

Anwynne knew it was her duty to her country to marry the prince. Thus, she was indifferent to it. If it must be, and it would bring greater peace for her country, then so be it. Anwynne had resigned herself to it.

 

And it wasn't as though she was being set up for unhappiness. Her mother had taken every measure to make sure Anwynne was happy. The Nistrian prince was not far from Anwynne's own age, and was known only for his qualities. So Anwynne had decided she would try to love him, and proceed with the alliance. And if she could not love him, then she would merely be queen as she could. It was no matter of any distress to her, and she almost found herself looking forward to the queenship, if nothing else. 

Anwynne glanced away from the window after a moment spent in thought. Her lady-in-waiting, Elystra - one of the only friends she had brought with her from Ingrecia - was sitting opposite her, embroidering some small thing. Maid Elystra had been slightly less unperturbed by the journey. She had been concerned for Anwynne. When told of the alliance, Elystra had tried to speak to Anwynne, and ask her to consider the choice in more depth. Anwynne had told Elystra that nothing would be wrong, and so Elystra had abandoned the subject. She was still sad to leave Ingrecia, no doubt, but she kept silent and went with Anwynne willingly.

Anwynne and Elystra had been friends for many a long year, despite their slight  differences in social rank. Though Anwynne could have chosen many companions for this journey, she only chose Elystra. Elystra was one of the only friends Anwynne had. And Anwynne only desired a little company, so Elystra had been perfect. Elystra had been willing to leave her home, and her inherited nobility, just to come with Anwynne. But this was the sort of character Elystra had, which was exactly why Anwynne loved her so.

 Anwynne's guard, like her attendance, was light. There had been trouble in Belestine - the country they had to pass through to get to Nistria - and so they had chosen to be secretive and stealthy in the mission. Her guard was only composed of about a dozen men, captained by Anwynne's only other friend, Elystra's twin brother, Errius. Other than that, the only guards were two sentries riding ahead to scout for danger.

Anwynne's thoughts were then interrupted by the voice of Elystra. "Your Grace...?"

Anwynne looked over at Elystra. "What is it, Elystra?"

 

Elystra looked down. "I have an odd feeling, Your Highness... that something is wrong, and I cannot brush it away"

Anwynne raised a brow. "I sense that this is not the first time you've had these doubts, Elystra"

Elystra blushed slightly, and took her focus off her embroidery. "I don't know, Princess. Somehow... I've had a foreboding feeling since this journey was proposed..." Elystra shook herself and tried to smile at Anwynne. "But I'm sure it's fine..."

Anwynne shook her head resignedly. Elystra was such a fearful little lamb...

Suddenly, the carriage stopped, and the sounds of the rest of the host ceased.

Elystra stopped embroidering and her eyes widened a bit. "What...?"

 

"I don't know", replied Anwynne instinctively, though Elystra had not finished the query.

Anwynne, in a small burst of courage looked slowly out the window. The guards were standing a little ways off, looking at the front of the carriage, where the Captain was riding. Then some voices sounded from in front of the carriage. Voices she didn't recognize. Then the guards moved closer to the carriage. Wait a moment. Those men were not guards. They were dressed in shabby clothes, and had knives at their belts rather than swords. Robbers. Anwynne quickly pulled the drapes over the window.

Then from the front of the carriage came a sword-like clanging, and the voices getting much louder, and the neighing of frightened horses. Anwynne's heart was beating at an insane swiftness, unable to be calmed by her self-assurances that Errius could handle the threat. She looked over at Elystra. Elystra's huge, silvery eyes were wide with worry, and her skin was even paler than usual, changed to an almost white tone. Her face was no longer so rosy, but ghost-like, and a rogue strand of her straight black hair was hanging over her face.

Gradually the swords stopped, and Anwynne listened as hard as she could for some sign that Errius' soldiers had triumphed. Then the carriage door abruptly opened, and a couple of men were revealed. The one that stood in front was extremely tall, with blue eyes glinting through black hair that hung over his face.

They proceeded - wordless - to take a shocked, but weakly struggling Elystra out and bind her. She tried to pull away, but fainted from using all her energy against them. Once they were finished with Elystra, they then pulled Anwynne out almost effortlessly. Once she was out, though, she kicked and she fought as hard as she could. However, despite her endeavor, they still managed to tie her wrists. After this, she stopped struggling, seeing as it was currently pointless, and she was quite out of breath from trying. So Anwynne had to content herself with glaring as they led her into the forest.

All the guards - and all the other bandits, on that account - were mysteriously gone, along with almost everything the carriage had been carrying. The only ones trudging through the forest, oddly enough, were the two men, Anwynne, and Elystra.

They went a good way into the forest, and entered a sort of cave, that one wouldn't have really noticed unless you were looking for it. Once inside, Anwynne fully realized how many bandits there had really been. There were dozens inside the giant, day-lit cave, surrounding the now tied-up guards of the host, including the two scouts. Elystra was lain on the floor, next to the guards, all of whom were tied up, and most of whom were unconscious.

Suddenly a noise sounded from on top of the rock in front of Anwynne. She looked up. There was a somewhat tall man, with bronze-ish colored hair, and brown eyes that were almost cat-like, perched on a rock in a comfortable, feline position, who when he saw Anwynne, jumped down agilely like a tiger, and moved quickly towards  her.   

"Hello, Highness!", he said in a careless, almost amused tone. "I am most glad to see you here. Captain Orlando Rogan, the Belestinian thief", he continued, bowing. "And welcome to the den of the Silver Forest Bandits"



***

Anyways, that's the first scene. Unfortunately, because this story started out completely improvised (and kept being written that way for looooong time), it isn't separated into chapters, so I'm just going to post it scene by scene instead (or two scenes at a time, depending on how long they are). I hope you enjoyed it! :) What did you think? Hopefully it didn't ruin anybody for reading any of my writing ever again, haha... :P Don't worry, it gets better - at least a little bit. :)

A Few Musings On Celeise

[Content Warning: Medium to high spoilers content within]

For the past couple weeks, I've been doing posts on a particular character for character interviewing. This, of course, is completely normal - just their bio and then their interview. But somehow, this one, Princess Celeise, is different. Maybe it's just because I don't think about her as much as other characters. Maybe it's because of all this posting on her. Maybe it's because my lovely audience has finally awaken me to several factors about her. But, whatever the reason, Celeise has been catching my thoughts lately. Maybe it's conceited to write a whole post just off of one of my own ink-and-paper people. But, I don't intend this post as a boast - just as a mere sharing of my thoughts as of late. Hopefully it won't bore anyone. :)  A few factors in particular I keep thinking about in accordance with Celeise.

How much she was unwittingly like me... A lot of her factors are. Her father, King Edarian, is her best friend, and she can't imagine anybody better - she even dreams that her future spouse will be like her father. Maybe it's because of my own love of my father - I truly cannot think of any better man, even in my wildest dreams. If I could just manage to fall in love with someone half as good as my dad, I'll be happy forever. Maybe it's a bit cleche to say that I can't imagine life without him, but it's true. And really, even though - unlike Celeise - I do have very close friends besides him, my dad has always been one of my first best friends, and still is one of my foremost. Maybe that's why I always liked King Edarian so much too - while he wasn't very much like my father, I could see through Celeise's eyes the same admiration for him; wanting more than anything to be like him, to measure up to him, never wanting to disappoint. The thought of any reader ever misunderstanding Edarian and disliking him always made me mad, perhaps also for this reason. I wanted everyone to love him as much as Celeise and I did - writing Edarian almost was a way for me to make the world love my dad too, I think. But in Celeise, I hoped to communicate that aridity of spirit, a sheer depression and loneliness - it could make someone fall into despair, but if they strove on, they could overcome it. I still have problems with it a lot. Celeise struggled with it without even knowing it existed before Percy came, but then afterwards she knew it and fought it - and she was better. Maybe Celeise's struggle and eventual victory over it was my way of giving all with that state hope.

*super spoilers* Another thing that I always seem to come back is the fact of Celeise's betrothal, and the contrast between the two sides of the said arrangement. Prince Lothaire - when his brother, king Lucellus, arranged it - was resentful of it. He even grew to despise his brother for it. How could a choice like that - a choice for his life - be made by someone else, even whole kingdoms? And he hated the idea, and vowed he would avenge himself -make himself superior somehow to his brother, who had thought himself powerful enough to direct Lothaire's life. Little did he know, though, that his bride faced the same fate. And what did Celeise do? She didn't resent her father for it. She didn't even resent the arrangement. She humbly submitted herself to it - even when her own heart raged against it, she chose to say, "No - not my will be done, but thine." This perhaps is the difference between Lothaire and Celeise - between the villain and the heroine. One chose to fight, the other chose to give in. And anyone who reads the story can see very well where each separate one ends up. The flip-side of the coin was all Lothaire needed to look at - maybe it would have changed him. And in their sheer contrast, perhaps this is why one ends with his resentment still nursed as well as if he were Achilles, and the other - in her plain humility - has forgiven everything done to her.  How they treat their fellow also makes them so different. Celeise loves her father more than anyone else in the world, and Lothaire never so much as said "I love you" to his brother, even before he resented him. *super spoilers end*

Maybe with all Celeise's grandeur, one might think her vain. But maybe I - like Percy - always saw through that, even from the beginning. When I described her as being beautiful, I never intended just to give all good traits to her, nor to bow to the flooding obsession with beauty. I never meant for her to have mile-long lashes and perfect bow-shaped lips that are always smeared with paint. I only meant for true beauty in her. One might note that I also describe Mina as beautiful. Perhaps a reader might think that it is too much for both heroine so be acclaimed as lovely. But, to my own mind, I think all women should be beautiful. Not in the sense I noted above - not in the flawless made-up look that is little short of a clown - but in a true sense. Women just are beautiful. Men are not beautiful by definition - there are a few that maybe women would call such, but no man would ever agree. Women are just meant to be beautiful, and even other women say so.
Perhaps I just overthink some things. But, whatever it is, somehow Celeise has caught my mind. I hope she catches yours too. :)
What do you think? Have you any characters who you ponder often? Have you anything to add? Tell me your thoughts, if you will. :)

Meet The Books! - In Greater Hands

Bongiorno to my lovely crowd, to whom I bequeath on this day    well, you'll see soon enough. :) I am introducing my one and only, ever, of-all-time NaNoWriMo project, from NaNoWriMo 2016, an unusual story for me. And please, feel free to participate in this! All you have to do is take questions and answer them for your own project (and you're welcome to take the picture as well if you so wish). Only rule is to link it back here so I can see! :)
What is the genre?
Well, when I first talked about it on this blog, I was told by a commenter that it seemed to be a genre called Sci-Fi Contemporary. I personally have no idea what that is, but apparently I am writing it. :P
What is the title? Time period?
The title (of the first book) is In Greater Hands, named because originally (and it still might be, I don't know) it was intended as an allegory for Divine Providence. And the time period is the near future (originally I set it at about the year 1121 or so).
How is it written (point of view, MC, etc.)?
It's in my favorite POV to write in, third person (limited), except it only has one MC directing the POVs - that MC is Leta Arsteva, a young Russian cadet in a global secret service.

Who are the characters?
Cadet Leta Pyotrovna Arsteva, the MC, is a young (very young!) cadet training in a global secret service, training to be a special force active service (kind-of like a secret agent mixed with a Navy SEAL). She has been training since the age of twelve, and is at the time of the story (the main part of the story, that is) still only nineteen. Her country, Russia, was in political and cultural turmoil for years due to the government's instability when she was small, and due to the incapability of the country to deal with all the random outbursts, Leta's mother was shot in a random attack. Because of this, Leta's father, Dr. Pyotr Arsteva, devoted himself to trying to alleviate the turmoil, helping one political side to gain an edge. However, shortly after Leta turned twelve, the opposite political side gained ground for a little while and found out of Dr. Arsteva's opposition to them and aid to their enemies. Because of this, Dr. Arsteva was arrested and shot (if anyone's wondering, this political side is much like a neo-communism government - at this point it had infiltrated many nations, including Russia and the USA). Leta wandered, alone, for days in the chaos while the fight against this government continued (eventually the side her father was with won out, but this did not happen until later). She found a secret recruiting station and tried to enlist, to help the cause her father had died for, but she was too young. However, a council member of the global welfare secret service, Lady Lecta, was at the recruiting station and took a fancy to Leta. She took Leta in as her ward, and Leta has been training there ever since, up to the beginning of the story.
Lord and Lady Lecta are a couple; Lady Lecta the English council member of the global secret service, and Lord Lecta the president of its head base in Bath, England (if you have not guessed, the Lectas are British. The name 'Lecta' is not their natural name, but was changed to protect any existing family). And... as to their characters... well, they are about as boring as shortbread cookies and even more so in that they don't even go well with coffee. So much for those two. :P

Training-Sergeant Travers is a minor British character who is only being mentioned here because he is the first character you really meet after Leta, as he is her physical trainer, and an old friend of

Major Bertie Fleming, one of the three members of the numero uno top special force team for the secret service. In fact, he is the head member. One wouldn't expect from talking to this jokey Aussie guy that he is one of the world's top special force members. He is originally from Australia, and his team members, Captain Lewis Drew and Major Kate Ayura, are Australian and Indian. Bertie is one of the two main sunspots in the book, being exceeding cheerful and optimistic. He befriends Leta almost immediately when he is encamped at the main base where she is training, even though - despite being unconscious of it himself - he has met her before...

Vic Vance or Lt. Vicinius Vance in full, as he later becomes, is an unusual sort. It seems as though everything unpredictable and completely dependable was somehow mixed into one person. It's hard to predict a single thing he does or says, but somehow whatever he does do or say always seems to turn out alright, no matter how crazy it was. Initially, Leta and Vance's meeting is a bit rocky, but they soon get to be very best friends. Vance is an unusually intelligent (for being just out of college) young newspaper man (he is only a newspaper man insofar as what he does is for a news company; he programs computers and other complex technic devices). He has an enormous great dane named Rolf (who I wanted to name 'Scooby', but I vaguely remember another great dane already having that name... ;). Vance is an extremely tall American from Texas (with NO cowboy accent!), being almost six foot seven, and has dark, messily swept-back hair and lime-green eyes.

Vance (my image).

Professor Tsonja Ivanovna Ristoff is a reclusive Russian professor of engineering (she does not teach or anything; the reason I call her a professor is because she has extensive degrees. I suppose, technically, she would be called a doctor, though). She has worked in the past as a satellite tracker for both the Russian government and a little bit for the global secret service, and devotes her time to decoding cryptic messages she finds enfolded in transmissions. Because of her extensive knowledge in the realm of coding, her experience, and her being the daughter of Prof. Ivan Ristoff (who was the most proficient scientist in the global secret service once upon a time), the secret service sends Leta to gain Tsonja's services.

Captain Sam Bastikka is the Mr. Sunshine of the book besides Bertie, of course. He is a widowed Jamaican pilot - Lord Lecta's private pilot for a while, in fact - who is hired to be the special force team's pilot after a certain disaster occurs. He is one of my favorite characters, being so profoundly joyful and supportive, telling all his lovely little tales of home, and having that oh-so warm and endearing South-African accent (which I just ADORE listening to ever since I listened to our old parish priest, who had a very thick one). Ahhh. I love, love, love that accent. I wish I could replicate it in writing. Sam has a young son named Felix who is very relevant in a later part of the book, but not for the present.
Captain Ciaran Dunborough is a minor character until a later part in the book, but I had to mention him because he is an awesome Scottish guy, and this is my book where I get to go crazy patronizing all the super awesome real-life countries that I love the idea of, including Scotland (and Russia, and Australia, and Africa... which is actually technically not just one country). :P
Anyways, that about sums the characters up... finally, haha. ;)

What does the plot consist of?

It consist of the political scourge that is sweeping two major nations, Russia and America, trying to overthrow the governments (Russia has already overpowered it once - as relayed above - and replaced it with a just, reformed tsardom, but it is slowly coming back despite precautions). I named it - temporarily - ULF, the United Liberic Fraternity, which is somewhat a terroristic mix of extremist liberal and communist ideals (remember that since this was originally a analogous rather than face-valued plot, I intended merely to have an antagonistic force that could be clearly interpreted as evil). It sort-of has a rather Egalitarian set of ideals, which - don't accuse me of laying out my opinions on politics because I assure you that wasn't my intent in this book at all - I called Libericism, rooted obviously from the word 'liberty', a concept they erroneously make to uphold. Anyways, though, when it starts threatening the Russian tsardom, even to the point of attempting a kidnapping of the Tsar himself, the global secret service goes on a campaign to stop it, using its very best special force team (mentioned above). But, as the battle continues, more and more people are pulled into the fight for true freedom, including Leta, and it is wondered, are any hands great enough to fight this? (Yes, I fully realize it is haphazard. But you must pardon it in the light that a) it was written for NaNoWriMo, and b) it was intended as analogous of a larger thing, not face-valued). The analogy thing, though, I must give credit to a friend for, because I was inspired to make it so by Miss Lucy Agnes, who once upon a time also used an unusual sci-fi setting to tell an enormously analogous story (with great skill and genius too, I might add).

What is the setting?
The setting is a military secret service's bases in the year 1121, in a world that has
1. Russia with a reinstated and reformed tsardom, after a bloody and harsh Counter-Revolution.
2. America now split into two different  countries, the original USA, and a ULF-governed denomination.
3. A secret service for true global welfare unknown to all but the highest in each country, based in England (England was in a different sort of crisis from America and Russia, but it was also in need of addressing, which is why the service originally existed).
4. A sect of said secret service having discovered possible ways to bridge civilization into other galaxies (shhh about this last one - it's being saved for the sequels!).

Who are the favorite characters?
Well... um... actually, nobody but me has read more than snippets of it. However, from popular opinion of snippet-readers, I would say that Bertie and Vance are the favorites. Vance is the favorite of my writing confidante and me, and Bertie is the favorite of my only other prospective reader and the blog audience originally introduced to this book.
What is the favorite scene?
Um, so far, the scene where Leta first encounters Vance. However, that could be due to the fact that this is one of the only scenes that is in common reading circulation at present. :P
Any themes of music for this work?

Well, um... kind-of...? Once, for a writing challenge, I wrote a scene with Bertie and Leta off of the song If Ever I Would Leave You from the musical Camelot. And I Had The Craziest Dream and Too Marvelous For Words (the former by Nat King Cole, the latter by Frank Sinatra) have both been used as unofficial themes for Bertie and Tsonja before (who, both from popular demand and because they just belong together, are now officially a couple again! Yay!). Um... I really want a theme for Vance, but I cannot find the right one currently.

Any drawings?
Um, I drew a very amateur picture of Leta, but it is rather too amateur for me to want it to see the light of day, if you know what I mean. :P
Any snippets?
Definitely.

***

The figure of an aircraft sped closer overhead, as though it was trying to land. It was so close, the wind-force of it licked a wheaty bush of Leta's hair into her face. Its shadow zoomed over again - even closer - and Leta instinctively ducked and rolled for cover. Her hand flew to one of her holsters. The plane landed on the runway crudely, a loud skidding noise echoing from it. Almost as soon as it was steady, the hatch-door opened, and a man in a blue pilot suit rushed out. He immediately ran to the back of the flier.
"Get some fire extinguisher!", he yelled to come nearby workmen on the runway. "Tail's caught fire!"

***

Leta's heart raced. She rolled behind the corner of a building. She put her hand to her holster and held her breath. She peeked ever-so-slightly from the corner of the building. A shadow leapt across the path a little ways back. Leta drew her gun quickly, but not quickly enough. A bullet sped right in front of her face and banged into the building wall.

***

Travers signaled to the control man to let loose the latch for the plane's hatch-door. Then he turned back to Leta. "You remember how to land properly? The safe landing ground is to your right slightly. Follow the wind just long enough to get in position before you pull your cord. And remember", he added. "If you don't land correctly, you could cause countless injuries to yourself or others, from a twisted ankle to a twisted spine"
Leta nodded to show she understood. Thank you for giving me so much pressure...

***

"Why should a council member's arrival cause such a fuss?", Leta queried.

The woman looked hesitant. "Only one of the two expected Italian council members was present, M'am"

"What? Why was there only one of them?"

"Well, M'am...", she began pausingly. "The Italian council member - he's been assassinated!"

***

Leta almost walked headlong into a few people coming down another corridor of the hallway, two men and a woman. She stopped, embarrassed, and saluted to them in respect. They each returned the salute, but the two men saluted rather unusually, with their hand cocked.

One man, smiling, to Leta's great surprise, stepped forward and held out his hand. "Major Bertie Fleming, M'am, at your service" He spoke with a slight but distinct Australian accent, and bore no name on his uniform... neither did either of the other two, oddly enough...

***
There was Travers... but he was not alone. A very small flier, charred and wrecked was heaped on the runway behind him. But, almost worse-looking than the plane, there was a man with Travers. His leg was bleeding openly through a tear in his uniform and it looked twisted. He leaned on Travers partially, as though his leg indeed was twisted. His caramel-ish hair was rumpled, and even singed in one place, and his uniform, while mostly intact - excluding an enormous gash down the left leg - but was entirely filthy; whether with blood or with dirt was illegible.
Leta couldn't quite see his face... Who was he? Suddenly he turned a weathered face up. It was Bertie.

***

Leta happened to glance across the counter. There was that sweep-haired weirdo   whoever he was     still looking over at her from the other counter. Leta looked away. Creep.
***
"Well, that's the easy solution", the man answered nonchalantly. "Most guys would have done that in such a case"
"Why didn't you?", Leta queried dryly.
He shrugged again. "Me, I like to keep things interesting - surprise people. Didn't I make it so much more interesting this way?"
***
After what seemed a very long moment, the door of the house opened. A tall, light-blond woman with icy eyes and a keen gaze opened the door. She was far younger that Leta imagined if she was Ristoff, being probably only in her twenties.


She looked at them both scrutinizingly and then spoke. "Who are you? What is your business?" She spoke her Russian with the thick tone that went  with it, speaking easily and indicating clearly her nativity in it.
***
Leta watched the scene, careful to keep back in the crowds with Vance. Tsonja had been right - the tsar was getting away from the rest of the crowd with a ULF. Two nearby men had cases that could conceal guns. This was apparently going to be interesting...
***


Vance shook his head. "It's our job - if we don't do it, lives get lost. I'm afraid time can't be wasted, kid. Tell Sam to have an emergency take-off and escort the imperial family back to Moscow. We need to follow and see if we can find out more. We can't protest - that's an order from the captain"
Leta bit her lip anxiously. "... Affirmative, Sir"
Vance smiled at her firmly. "Just remember what I said about trusting me, Miss Leta. I won't misuse the gift"
"Just make sure to come back!", Leta shouted to him as he ran on.
Vance nodded brightly. "Always!", he called over his shoulder as he drew his gun and went after Bertie, disappearing from sight.

***
Vance's last word still sounded in Leta's mind. It had been a promise... a promise to return. She told him to come back, and he'd given her his word - to take hope that he would. Always. Leta bit her lip and looked down. What made her think she could trust him?


He'd given her a promise. A promise to return. Vance was a man of his word, and he had promised her. He promised he wouldn't misuse her trust. And so he wouldn't.
***

And that's about it for now, because those were selective snippets from only about 30k worth of the almost 50k story (which - fun fact - I have not worked on even to edit since last NaNoWriMo. Can you tell from the snippets? ;)



Strong point in story?
Well, the action is pretty constantly kept up, but I'm not sure that I would view this as a strong point. I believe I would label the characters (who are a sheer joy to write, truly) as the strong point.
Weak point in story?
Um, probably the prose. See, because it was a NaNoWriMo project, it is exceedingly messy of writing and has little beauty or poeticism to speak of. I would be surprised if - when I finally go through it - more than half of the writing is salvaged.
What are your plans for it?
Well, I'm going to write a trilogy (as once upon a time, Miss Lucy did) after the vague styles of C.S. Lewis, H.G. Wells, and some modern-ish writer who writes a lot of military fiction. The first book is In Greater Hands, the second will be Against The World, and the last will be Beyond The Stars. The first two (and part of the last one) will cover the fight against ULF and the recovery from it, and the last two books (mainly the last one) will cover a first stretch out to the stars in hope of recovering the culture so damaged in these struggles (for anyone who's wondering, I also intended the basic timeline in this book to be the preceding history to a friend's space world - we collaborated briefly upon the matter to ourselves - so if you ever read a book that has similar past events and similar country names and backgrounds to this here, then you'll know it's either a plagiarizer or my writing confidante). ;)

Any particular writing habits for it?
Yes, definitely! For instance, I wrote the WHOLE thing with scratch pens (my name for hotel pens, because they scratch the paper a lot more than other pens do). And it is also the only one of my stories which I did not write the majority of listening to music. In fact, only a few select separate scenes that aren't connected to the whole were written using any form of music. It was mostly a melody-less work (perhaps this is a factor in its rather sub-par writing quality...?).
If it were made into a movie, what would be your ideal cast?
Hmmm, I think I would take Lily James as Leta (only because Leta is loosely self-based, and somebody told me that Lily James looked like me, only much prettier, sooo... it works). I would have Grace Kelly play Tsonja Ristoff, Nelson Eddy play Bertie, and a young, darker-haired Robert Taylor play Vance. I don't know for Sam, but I would take Chris Evans as Ciaran. And I believe that sums up anyone of particular importance.
Well, that's wraps it up. What did you think? Would you read it? Who would be your favorite character? Are you - like me - still puzzling over what the heck a 'Sci-fi Contemporary' is? Is anybody else fancying some Il Divo music right now...? ;)