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Reba’s “Consider Me Gone” (II)

Reba’s “Consider Me Gone” (II)

The “Consider Me Gone” Simile Concern


Let’s run through how the song gets us to Verse 2, where the problematic simile sits.

The first verse is a good scene.  Even if you’re not watching the video, you can picture what’s going on.  The second line helps establish that the speaker wants a more meaningful relationship with the “you” in the song, and is frustrated.

After all, we all know who we have “weather” conversations with: strangers and those we don’t know very well to fill awkward silences.  Nice line.

The verse also does an economical job of getting to the crux of the song – “we’re at a crossroads here.”  The open question then becomes, so what is the speaker going to do about it.  Enter the chorus.  Which fulfills it’s job.


No Need For An Ocean


My issue is the use of the simile at the start of the second verse. More specifically, the “window or ocean” references used: “With you I’ve always been wide open, like a window or an ocean”.

Why?  Because they are being used as a part of a simile as a device to better define a specific thought. However, they aren’t the same explanation.

Right now you’re saying “Sure they are – they’re both “open” – everyone say’s “open a window to let some fresh air in,” or “they sailed the open ocean”  so why don’t they work together?”

Let’s take the open window first. Great image for the simile.

If you’re being honest with someone (wide open) that’s similar to the perspective into a home an open window provides. It gives you a perspective INTO something, or access INTO some place usually locked away and hidden. Works great for the verse because the speaker is reinforcing that they’ve never hidden anything about themselves.

An “open ocean” on the other hand, is the image of vastness, emptiness and the ability to be lost in a massive expanse of water beyond where the eye can see. Not really the same as the “open window” idea – it’s actually the opposite. Instead of providing access, it provides the ability to evade or hide from.

The song lyric actually helps provide a clue that the simile isn’t really tracking because the next line is needed to explain the confused simile just created: “There is nothin’ I’ve ever tried to hide.”  It’s the song lyric throwing up a red flag.

In this case, there’s no need for the “or” except perhaps to make the meter and rhyme work. But in finding a solution the simile is compromised.

Lesson here?

Don’t sacrifice one thing (solid song craft) in order to make another work in your song (meter and rhyme work). It should ALL work.

And, no song is ever perfect! As a songwriter keep plugging away and remember that Reba’s 34th number one, her longest ever in the number one spot – has a bit of a simile problem. Perfect isn’t necessary – just what resonates with listeners!


Consider Me Gone
Songwriters: Steve Diamond, Marv Green

Every time I turn the conversation
to somethin’ deeper than the weather
I can feel you all but shuttin’ down.
And when I need an explanation
for the silence, You just tell me
“you don’t wanna talk about it now.”

What you’re not sayin’ is comin’ in loud n clear.
We’re at a crossroads here.

If I’m not the one thing, you can’t stand to lose,
If I’m not that arrow to the heart of you,
If you don’t get drunk, on my kiss,
If you think you can do better than this,
Then I guess we’re done.
Let’s not drag this on.
Consider me gone.

With you I’ve always been wide open
Like a window or an ocean.
There is nothin’ I’ve ever tried to hide.
So when you leave me, not knowin’ where you’re goin’
I start thinkin’ that we’re lookin’
We’re lookin’ at goodbye
How ’bout a strong shot of honesty?
Don’t you owe that to me?


One Comment

  1. I agree that it does sound weird when it is being sung, however, the simile is not that bad. i.e. the “wide open sea” ???

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