Map out an outline of the song as soon as you decide on a hook. Knowing where you are going helps you avoid saying too much before you get to the 2nd verse. Second verses are not that difficult if you have planned out your whole song’s structure and you already know what you are going to say in advance, and you avoid saying those things earlier in the song. A map will help you do that.
Say ONE thing in each verse that supports your hook. Don’t try to say 5 different things in one verse. Say one thing at the time and elaborate on it to develop it well. If you communicate one clear message, you’ve done your job.
I believe that to be successful as a songwriter, you have to be very versatile. I have had songs recorded by a very wide variety of artists. But, the area in which I have had the most success is writing my life. When I have written the experiences that have shaped and melded me, I have had success. In my former life, I was a youth “wise guy”. So, I saw the good, bad and ugly of street life. Those experiences creep into my writing often. There is a spiritual thread that runs through much of my writing. In many ways, I process and “work through” that time in my life through my writing. I am a very passionate person, so that part of me runs through my music as well. I believe that your unique life experiences give you the BEST shot at crafting a song that stands out. Nobody has lived YOUR life. So, write it. Don’t try to shine it up or make it sound better than it has been. Just write it. Be raw and real.
Songwriting is all about connection. Whether you write for yourself, or you are writing for commercial purposes, the goal is still the same. It’s all about connection. Even people who aren’t trying to get their songs recorded are generally interested in playing their songs for people and moving those people with their music. I don’t know anyone who truly writes ONLY for themselves. So, if you write songs and only play them for yourself in your home, this article may not be for you. But, if you EVER play your music for other people, I’m talking to you.
One of the worst feelings as a writer is playing your song for someone and seeing that glassy stare that says, “this isn’t doing anything for me”. When I’m playing my songs for people, I love to see a smile break out on their face, a tear roll down their cheek, or their foot tapping.
I can’t count the number of times I’ve been asked “How in the world do you come up with a new song every day?” Here’s the short answer on how I pull that off.
Ideas. I have a database that includes over 600 titles. I can always find something interesting there to write. It saves time, so I rarely sit around for an extended time trying to figure out what to write. I come in prepared and that makes getting started easier.
Map. As soon as we choose an idea to pursue, we map out where we want to go with the idea. We try to come up with every angle we can think of and then choose the best, more interesting one to chase. Then, we map out what we are going to say in each separate part of the song. Coming up with a one sentence summary of each verse, the chorus and the bridge (if needed) makes writing the song easy. This is sometimes the most time-consuming part of the process. The map serves as our outline as we write and keeps us focused.
For centuries tales of Monster Dragons have been told in folklore, art, and in the last century, motion pictures. As kids, we believe Dragons are REAL! They seem like giant fire spitting creatures with bulging eyes — unbeatable. But as we grow older, we realize they aren’t real. Monster Dragons are made up, and they lose their magical power of us.
When I turned 15, dreaming of pursuing a career of songwriting and rapping, I moved to out of my family house and rented a little apartment upstairs of Tehran’s one of most famous studios, The Pop Studio. After a few years, I found myself fortunate to be programming tracks in that recording studio and making a good living doing demos and recordings of OTHER PEOPLE’S music. I told myself I’d get to my own music one day.
What kind of song are you looking for? Hopefully, they will answer with something more than just “a hit”, but unfortunately that’s the most common answer I get from the artists. Their response to this question can tell you a lot about the song you should write if they are willing to share. Best case scenario is when they say something like “I need an up-tempo song like blah blah that talks about blah blah”. If they give you a precise answer, then you have a much better chance of writing specifically what they need.
Are there any slots on your album that you haven’t filled yet? Sometimes, I ask this question and discover that they have 8 ballads that they love and 10 up tempos, but really nothing in the mid-tempo range. That kind of info is GOLD. I don’t want to be in the pile with 8 other ballads or 10 other up tempos. I want to be in the pile with little or no competition.
Be the kind of co-writer you hope to find. If you are organized and professional, then you will be more likely to attract that kind of person. If you listen more than you talk, you will find co-writers who listen to YOU. The more respect you give the more you will receive.
Be open to lots of different things. People who are willing to try new things get more opportunities. I am on a writing retreat with an artist that I just found out about the day before the event. I was a last-minute call because someone dropped out and they knew that I would be open to being a last minute replacement.
At least twice a week I get an email seeking advice on how to overcome writer’s block. For many songwriters the worst part of the whole writing experience is just getting started. Those times when we sit down to write, and nothing comes out. We feel like we have nothing to say. Well here are 5 techniques I’ve used to permanently eliminate writers block and free up creativity.
Most of us tend to gravitate toward the same kinds of things when we write. We write grooves and we make it the way it feels that we like it to feel. And we tend to write topics we like as well. But there is one thing to remember, what we want isn’t necessarily what it is supposed to be. When we are writing music to be released, basically we are making a craft for a market. We can’t just say “this is what I like, and people must like it”. Use these exercises to stretch your writing boundaries.
Write a one sentence summary of your song. Let’s say my hook is “Must Be Doin’ Somethin’ Right”. My statement of purpose would be “I must be doing something right because I don’t deserve a woman as amazing as you.” When you write the song, be sure that EVERY line in the song supports that one idea. This helps especially if you tend to wander with your lyrics. Make sure you are writing about ONE thing.
Map your song before you start. If you determine what you want to say in each verse and the chorus BEFORE you start writing, it makes the writing part much easier. In “Must Be Doin’ Somethin’ Right”, the map would look like this:
When I got my first songwriting deal, my publisher and our other songwriter, would write 2-3 times a day. Every day. The volume of out put from our office was crazy. We were cranking out between 30 and 45 songs per week between the three of us. I had nothing to compare it to, so I didn’t think much of it. I thought every writer in town was working that hard and writing that many songs. As time went by, I discovered that most writers were NOT writing that much. I asked the other writers from our team why they wrote so much. They told me that they wrote a lot because they wanted to increase their chances of getting a cut AND because they wanted to have songs to pitch to every artist. And, they believed that writing more improved your writing exponentially.
I was talking to someone recently about their songwriting goals. He expressed frustration over their lack of success in achieving any of them. So, I asked for more details. He laid out a list of goals that would be ambitious even for a seasoned pro. In fact, I had only achieved one of his goals. His list read something like this:
I have to agree 10,000 percent with this quote. I have often read, mostly in interviews with recording artist, things like “I only write when I’m inspired”. I believe this is a myth that some writers and recording artists perpetuate that great songs simply fall from the heavens and only a few chosen ones, like them, are given these gifts. But the real truth is that songwriting is no different than any other skills in life. The more we do it, the more we exercise the muscle, the better we get at creating. Songwriting to me is not really that much of “talent” it’s more of “hard work”. What you need to become a great writer is to practice constantly. The more we play with words and notes, looking at all the possible meanings and emotions, the deeper we understand the possibilities.
Pitching your songs. It means playing songs for publishers, artists or record label people in hopes of getting them to record or help you get a song recorded and it is one of the most important steps of being in the music industry as a writer – otherwise your songs without being pitched basically means nothing – yet, pitching is one of the areas where songwriters make the most mistakes. And, those mistakes can be costly. Sometimes the cost can be losing all your credibility as a writer while maybe your songs are actually pretty good, but you’ve already ruined your reputation by making these simple mistakes. You don’t get too many chances to make a good impression before you are put on the “burned bridge” list. Here are some of the important dos and don’ts to remember when you pitch songs.
Writing songs with artists is a completely different game. Writing songs with artists is a completely different game than writing songs FOR artists (which we already talked about) or simply writing with another writer to try and craft the best song possible. When you write with an artist in the room, the goal is to help that artist find their voice. In order to do that, you have to ask a lot of questions. When I’m writing with an artist, I am doing everything in my power to find out what they want to say. In an easy artist co-write, the artist KNOWS what they want to say, and you just help them write it. In an artist write I had with Sam Veil (Singaporean artist), he walked in and said “I need a big stadium song. I have this chorus started and here’s the title.” Most of them aren’t that easy. Many times, an artist just walks in and says “I need a hit”. That’s not much to go on.
Writing songs for artists is a guessing game. When I’m shooting for a particular artist as I write, I’m trying to guess what that artist wants to say. Not only that, I’m trying to guess what they haven’t already said so that I can help them say something new. I look at it this way. If I just started dating someone, and valentine’s day rolls around, it’s hard to know what they might like. But, if I’ve been married 10 years to the same person, I’ve got a pretty good idea what kinds of gifts they would appreciate. The key is history and knowledge of the other person. How do I get that kind of knowledge about artists? It’s not as hard as you think!
When I’m teaching or mentoring someone, I often get asked what I mean when I talk about the “craft” of songwriting. I think of songwriting as a trade that has been passed down through the years much like a silversmith, a painter, or a sculptor would do. Most songwriters I know were mentored by a more experienced writer whether it was in a formal setting or informally through simply co-writing together. So, when I speak of the “craft” of songwriting, I am talking about those things that have been passed down through the generations from songwriter to songwriter. I thought I would share with you the essential elements of the craft that my mentors have shared with me. These elements hold true whether you are trying to write commercially, or you just want your songs to be enjoyed and understood by your friends and family.
“How do I know when I’m ready to write with a pro songwriter?” – I get this question very often. Here’s what I would call my “Ready To Write Checklist.” If you can check these off, you are probably as ready as you’ll ever be:
I am armed with lots of ideas. You don’t want to go into a “writing session” and hope to wing it. The better prepared you are, the more confident you will be. Go in with as much ammo as you can prepare in advance.
One of the most difficult moments in the process of writing a song is “bridge time”. I have been in many co-writes where we agonized over whether or not we need a bridge. At one point, early in my career, I came to my mentor to ask him if I needed a bridge in a song I was working on. He asked, “Is there a river to cross?”. I had no idea what he meant, so he said “Don’t build a bridge if there’s not a river to cross.
I can write only 10 songs and have several hits in the bunch. Songwriting is a craft that takes years to develop. No painter paints a masterpiece within his first ten pieces of art. Most people have to write hundreds of songs before they write a hit.
I can move to LA or New York for a year and get my songwriting career going and then I’ll move back home. Most people I know spent 5-7 years trying to write full time in a music centre before they succeeded. It’s not going to happen in a year.
The line between pro songwriters and aspiring pro songwriters is primarily a line of thought. Pro songwriters learn to think differently as they write. That different line of thinking usually involves a series of questions that they keep asking as they write. Those questions cause the song to be more commercial than it would have been without them. Here are some of primary questions a pro asks while songwriting.
The Definition of Songwriting Insanity. I’ve read that the definition of insanity is doing the same thing and expecting different results. I believe there is a lot of truth in that statement. If you want something you’ve never had, then you are going to have to do things you’ve never done. It’s shocks many people to learn that I am a shy person by nature. I’m very introverted and, given the choice, I would almost always choose to hang out with my inner circle – my girlfriend and a handful of close friends. It is totally against my nature to play shows in front of hundreds of people, to speak before a large group, or to “work the room” at a party and talk to strangers. I really struggle to get out and “network” in the music business. I don’t like going out and making small talk with people I don’t know very well.
Where should I take the second verse? Should I switch to first person? What is the chorus missing? Is my set-up line better using the opposite technique? Songwriting choices. Many are conscious, and many are made so fast we don’t realize we’ve made them. But no song can be written without making choices. Many writers approach writing by intuition, without making conscious decisions: whatever comes out they insist is “great” and “perfect,” inspired, perhaps, by a life event. It feels real to them. They spill the words out on paper as if writing a diary entry and wouldn’t dream of changing a word.
You've spent a lot of time songwriting, brainstorming production ideas and many hours in the studio recording your babies (aka your songs). You think the work is finally over, but you're far from the finish line. It has just begun, and now it's time to prepare for your successful release. You've worked hard on the creative side of your music, but the only way to make music your career is to have a strategy and business plan in place. I'm going to give a few tips that will help with a successful release as an indie artist. These are all the things I've learned from mentors along my journey to releasing my albums and EPs. We'll start with promotion and the truth is, it begins months before a single hit the airwaves or internet. This is a long thought out process that goes past the isolation rooms and mixing boards.
There are many different song “forms” that writers use. I have three that I lean on more than others. Obviously, the forms with a big chorus are more “commercial” and radio friendly, but there are times when the song just needs another form to do it justice. So, this post is just about creative writing. We’re not worried about radio or artists here. These are my favourites. In all of the forms, I will call the verses “A”, the chorus “B” and the bridge “C”. I will call an instrumental “S”.