You Don't Move Me Anymore
Way back when, while I had friends who mooned over Mick Jagger, I had a thing for the cadaver next to him. When Keith Richards released a solo album, I was first in line to buy it. As expected, there's some great guitar on it. And as expected, his voice sounds like someone who has boozed, drugged, and smoked his way through all his years on earth. I'm sure I'm not the only person who mentally pictures Keith Richards at age 2 with a Marlboro hanging from his lips. His is not a a polished voice, but a blues voice--and he's no great lyricist, but I like his music.In particularly, he has a song called You Don't Move Me. And of course, it makes me think of writing. Because I recently read a manuscript that . . . well, didn't move me.
I tried to think of why. Each sentence was perfectly crafted. No extra words. Spare. Lean. Writing that I admire.
There were no errors of grammar. Nothing to stop this editor in her tracks.
The voice . . . solid.
The problem at hand? Yes, the hero faced a pretty Herculean crisis.
But I was not moved.
And it was only later that I realized this newer writer had grasped the mechanics of writing, but not the emotion. And later still that I realized PLOT DOESN'T EQUAL CHANGE.
That was it. Because really, when I arrive at a "meh," that is sometimes the problem. Plot advances story. It has a beginning, a middle, an end. But how does the main character CHANGE? Is there an emotional core to the book? It doesn't have to be this massive "message" book. But really . . . there's a story arc, and there's a character arc. If I am, say, going along with a cop on a case, and he solves the case, but isn't forever changed by the case, then it's just a procedural.
That Keith Richards was right. You need to MOVE me.
So how are you going to move your readers?
Labels: character arc, plot


