Et quoi faire maintenant?

In Art, the opposite of Consistency is not necessarily inconsistency; the opposite (or, Complement) ought to be Variety.
George Harrison’s song for the sovereign of rodent grains, “Mice Wheat Lord”
I don’t think it can be time to procrastinate yet ....
Porridger’s Almanack (Breakfast of Ganglions)

A prune isn't really a vegetable. a cabbage is a vegetable.
— Frank Zappa, “Call Any Vegetable”

Now that the church choir’s repertory is settled through Epiphany, in theory I could set to creative work again, but I don’t have any piece I am “burning” to write. I have a libretto written by a friend suitable for a chamber opera, and in the back of my mind this has always been in the “to be written” file. The last I was in touch with my friend Charles Turner, he was working on a piano reduction of an opera. The need for a reduction, for a vocal score, a problematic, labor-intensive whose result (as Charles noted) pleases neither the composer nor the pianist seriously puts me off the prospect of opera. However, when I consider The Orpheus of Lowell, if I keep the instrumentation of the accompaniment compact, the singers can just read the score, perhaps. Separately, the first two “we didn't select your piece” notices have come in, from Voices Up! and Bent Frequency. I hadn’t had much hope for the latter, knowing one of the judges on the panel, who has been less than open to my work historically. And I have sent so many scores to various Calls, that I honestly don’t remember what I sent to Voices Up! In spite of my making note of most of my score submission activity. Exaltabo Te, Deus, perhaps, a piece I like a lot, but like so much of my work, not everybody’s money.