STRATEGY TWENTY - EIGHT
Reuniting as Plot Device

Some Background

In our cycle of phases of intimate relationships–attraction, commitment, and disaffection–reuniting's a fitting windup. This strategy includes not only the “making up” plot, but also the somewhat mystical theme that “somewhere, somehow, we'll be together again” as in some of the following titles:

Pinpoint the Motivation

Like the breakup song, a makeup/getting-together-again plot requires having a clear scenario in mind. In other words, when you write about getting back together, you need to know why your leading characters separated in the first place. For example, were they too young (“Our Day Will Come”)? Was one involved with someone else (“Somewhere Down the Line”)? Were they being separated by long-distance careers (“Somewhere Down the Road”)? Incubate.

Prewriting Suggestion

It's possible that the second-person viewpoint–addressing “you”–will be the most effective for this lyric. Decide whether your singer is thinking the words, or talking them to a singee who is present. Picture the scene. Consider, too, if your concept might make an effective duet–if the two people are in accord (as in “Reunited”). This song has been plotted from one person's viewpoint.

Making Up: Example No. 1 (Verse/Chorus/Tag)
READY WHEN YOU ARE

Since the day we said goodbye
I've tried to get you out of my heart.
But I can't stop wond'rin' why
We fell apart.
Like two children with a new balloon
Caught in a tree,
We let go of the string too soon,
We gave up too easily.

I'm READY WHEN YOU ARE
To try our love again,
To give and take and bend
The way I know we need to do.
I'm READY WHEN YOU ARE
To learn where we went wrong
We started out so strong
I think we owe ourselves
A second chance–don't you?

On a scale from one to ten,
Guess we made about an eight or a nine.
In a less than perfect world,
That's doin' fine.
But perfectionists like you and me
Expected more.
Well, I'm wiser than I used to be:
We had something worth working for.

(repeat chorus with tag):
I'm READY to start again
READY to give you my heart again
Please say you're READY too.
By Sheila Davis and Doug James
© 1981 Solar Systems Music/Sumac Music. Used with permission.

Comment

This one started with a colloquialism that I believed hadn't been used as a song title. The next question I asked myself was, of course, what's the scenario? Ready for what? Several potential plots came to mind: 1) Sex: I'm ready when you are to get it on; 2) Love: I'm ready when you are to commit to each other; 3) Making up: I'm ready when you are to get back together. That's the one I decided upon because it held the potential for more drama. In the process of setting the lyric to a “power ballad” melody, Doug James came up with the tag ending to the final chorus which enables the singer to end the song (on the open vowel too, on a high note) rather than use that old standby for many verse/chorus songs, “repeat chorus to fade.” I agree with Billy Joel who once said, “Good songs don't fade, they end.”

Here's a student lyric that expresses a similar desire to hold on to a good thing.

Making Up: Example No. 2 (AABA)
ONCE MORE FROM THE TOP

I walked out the door
And knew I'd gone too far.
How could I go when breaking up
Would break my heart.

We have started something here
That's too good to stop.
So let's try again
ONCE MORE FROM THE TOP

We knew how to take
But we were too scared to give.
And you gotta give to get
That's just how it is.
But that was then.
Baby, now I'll give all I got
Just to take it
ONCE MORE FROM THE TOP

We'll find ourselves again,
Define ourselves again,
Remember seasons when
We had it all:
We spent the winter nights
Lying so safe and warm
In a world that was filled with our love.
It's still waiting there for us.

No one said the road was easy.
But that's okay.
We've had our share of growing up
To do on the way.
But now, at last the time is right
So, let's take our shot.
Yes, let's take it
ONCE MORE FROM THE TOP
Lyric by Arline Udis/Music by Hec Stevens
© 1989 Regina Kaye Musk Inc./Seaport Music/Protoons, Inc. Used with permission.

Comment

In this song, the AABA melody came first and evoked from Arline Udis a positive plea that reinforced its inherent emotion. For her title, she drew upon the show business rehearsal term that's become a colloquialism. The winning combination attracted the attention of Judy Torres who chose the song for her debut Profile Records album.

WrapUp

That completes the cycle of intimate relationships as plot strategies. Now on to more devices to help you transform the personal into the universal.