Thea Devine today, remembering how my mom loved country music. She had a really nice singing voice, and oh, be still my heart, she could yodel. I mean, really yodel, with that back of the throat crick that you can’t just learn ( I tried). And folk music. Mom loved folk music; Burl Ives. Susan Reed. Names you probably don’t know any more. Names I grew up with so of course, I was going love folk music as well. All that came to fruition in college when I met a guy and he gave me a guitar. And book on How To Play.
The guy didn’t last. The guitar did. I painstakingly practiced those three major chords, C-F-G, until I was proficient enough to play “To Everything Turn Turn Turn,” and then there was no stopping me. I mean, do you know how many songs you can play if you know three chords? If you can figure out progressions? Or learn tablature instead of music?
John and I lived in the Village when we were first married. We spent a lot of time in folk clubs. Saw Buffy Ste. Marie, Tom Paxton, Tom Rush, Fred Neil, John Hartford, David Blue — names perhaps you don’t know any more. Names I grew up with. I never stopped playing. I don’t play well, but I love to play, learn songs, and write lyrics and chord them, as much as I love to write books.
It occurred to me that story premises are kind of like chords. That you can play a dozen plots off of one premise just like you can play any number of songs off three chords:
(C) the heroine is running (from, to)
(F) her (ex, her past, her future, the consequences of her actions, her childhood nemesis, her inheritance, her sisters, her stalker)
(G) and complications (bad guys, the hero, her presumed dead husband, a long lost friend, the death of a sibling, a quest) ensue.
Add an A-minor — obstacles: no money, trapped in a blizzard, electricity goes out, she lost her job, a parent dies, a serial killer is after her, all of the above — and voila. The makings of a plot, which can twist in any one of several directions as you figure out who “she” is, what she’s running from, and which of the complications are going to prevent her from getting to her goal.
But I expect those of you who play know all this. However, it’s comforting to fall back on when plot seems like a foreign word and everything you come up with feels like you’re duplicating every storyline ever written.
But, three chords: dozens of songs. One premise, dozens of variations. Really, it’s true, it works.
Do you play? Do you write lyrics? Did you ever think of plot in terms of chords? Does it help?
Thea Devine is the author of twenty-five historical and contemporary erotic romances and a dozen novellas. She’s currently at work on her next erotic contemporary romance.