Life Updates

     Well, in all this time, it is a logical assumption that I have been doing things. (Or, at least, if I haven't been doing things, that I've successfully wasted a whole year.) 

Life in General

    To start, as I mentioned in my last post, my family moved this summer. They are now living down South, and I still abide in the lands of the North. I'm in a music school at present for a dual degree in Music Performance and Music Education (my primary instruments are voice and piano). I got another new sibling this past summer, and he's very cute and very fat. Pressured by location, I am back to the Novus Ordo grind and in the choir. I live with my best friend and writing confidante, and we have gotten a lot of nonsense and very little writing done thus far with this arrangement. On the side, I teach music, work a pretty effortless desk job, and help direct a high school musical theater group. Those are really the biggest things that are going on at the moment. 

Writing

    As far as writing goes, I was somewhat productive up until the school year started. The Second Brother is now finished and under critique from beta readers, and the sequel(s) have been started with some headway. I decided to trash My Land, My Heart (the idea was very trite), and my opera's present plot, In Greater Hands, and my Giselle retelling are also prospectively on the chopping block. I wrote some draft ideas for He Travels the Fastest, and I may be writing it in earnest as the next main project. I came up with another archive novel idea (which I will probably expound on in another Meet the Books! at some point). 

    Probably the biggest thing that happened as far as writing goes was a redraft, though. My writer friends on Camp NaNo may remember that I have a coauthored novel project which has never been talked about on this blog (mainly to respect my coauthor's privacy). Now, however, Grim has her own blog, and I plan to introduce the story via Meet the Books! sometime very soon. In a nutshell, the story was dull, medieval fantasy of a rather cliche type and has been - um - remodeled, shall we say? Very, very remodeled... Anyhow, more on that later.

Reading

It would take all night for me to cover the reading of a year, so I will just touch on some honorable mentions:

The Journal of Hildegard of Bingen, interpreted by Barbara Lachman

• You must read it!
• Don't read my translation because it was terrible. The lady was intent on making St. Hildegard out as some proto-feminist or female priest or something. Her footnotes were beyond weird. Do yourself a favor and find a better version. 
• Overall, even with the terrible commentary, it was quite a fascinating look into life in a twelfth-century abbey. St. Hildegard was quite an inspiring woman, too - scientist, singer, composer, doctor, abbess, and mystic, and writer of the first musical, to boot. 

Awake, Not Woke: A Christian Response to the Cult of Progressive Ideology by Noelle Mering

• This fabulous book takes the reader through a careful reconstruction of the processes leading to common political thought today in America. She then proceeds to look at each aspect of the philosophy through a Christian lens, with frequent recourse to the Bible, Catechism, writings of the saints and other great Christian authors. Certainly worth reading.

Beethoven: Anguish and Triumph by Jan Swafford

• Okay, guys, you need to know about Beethoven. For better or worse, intentionally or not, this guy created the musical world we live in now. (The musical nerd side of me wants to promote it more, but I think I'd probably better stop before I get carried away.)
• The one huge problem I had with this book was the anti-Catholicism of it all. The author showed rather painfully that she had no competent understanding of Christianity at all. She was quite biased when mentioning anything about the Church, and very strangely positive about every conflicting philosophy except traditional Catholicism. I find this a very high failing when dealing with a composer like Beethoven, who had a complicated and influential relationship with Catholicism. You'd think she would put a little more time and thought into that aspect of the book at least for Beethoven's sake. 

A Man for All Seasons by Robert Bolt

• To be perfectly honest, I was actually a bit disappointed by the play. It was not as good as the movie (*gasp*), and the author had a very strange way of looking at St. Thomas's philosophy that didn't really show up in the original movie version. 
• All the same, beautiful verse, splendid play. Definitely go watch the Paul Scofield movie. 

Music

    Well, All's Fair got two new songs added to it that it really didn't need and doesn't have a place for. I also wrote a quite useless, cheery little WWI style song and a fantasy for oboe and piano (the fantasy was for a composer's competition which I did not win but had a lot of fun with... the WWI song still has no purpose). I sang on the radio over the summer and got to perform at the reopening of a certain old theater building here, so that was cool. I also got somewhat addicted to TwoSetViolin for a period. 

    As far as music goes, I'm quickly gaining a persona as someone who collects and learns really random instruments. I've sung and played piano for a while now, but I now also play organ, banjo, and ukulele. I dabble in recorder and bagpipes. I plan to take up violin or cello for my strings class this semester and drop the recorder as soon as my wind exams are over. If anyone has need of a dying cat meme track, I would be happy to pick up my recorder for a little bit longer.

Well, that's really about it. How about all of you? What has life held for you this past year? How are the writing projects? Reading? And my musical buddies? (Does anybody else name their instruments...???) 

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).

***

[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! :)