I\u2019ve watched some of my students grow into exceptional writers, begin relationships with publishers, and end up with staff-writing deals\u2014even number one singles. But most of the songs I heard were \u201cgood\u201d\u2014and \u201cgood\u201d isn\u2019t good enough to rise above the work being produced by the top hit makers.<\/p>\n
Recording artists who are writing for themselves need to write exceptional songs that define and support their artistic identity, while having an emotional impact on the listeners. Those of us who are writing for artists other than ourselves, need to craft material that compels artists, producers, publishers and A&R executives to choose our songs over all the other songs being submitted for the project\u2014including those written or co-written by the artist, the producer or someone else on the \u201cinside.\u201d<\/p>\n
One of my most important jobs as a teacher is to identify and share the common denominators I observe in successful songs\u2014and to steer my students away from the pitfalls I notice in those songs that fall short. While there are no rules in songwriting, and no right or wrong way to do it, here are some of the biggest lyric pitfalls I consistently notice:<\/p>\n
Many writers write solely as a means of introspection and catharsis. They bleed onto their paper or computer, dispersing their angst into the world on the wings of their highly personal lyrics.<\/p>\n
Some of these writers rely on abstract poetic phrases and images, effectively shrouding the meaning of their lyrics in so much symbolism that they exclude their listeners from understanding or empathizing. They are writing for an audience of one.<\/p>\n
The goal of effective songwriting is communication\u2014and that requires bringing your audience into the equation. If you want your songs to affect me, don\u2019t write about your life\u2014write about\u00a0mine<\/em>. Some of the most successful writers are those who write about their lives in a manner that makes listeners wonder, \u201cHow did she get inside my heart and know exactly how I feel?\u201d<\/p>\n Few artists record songs with nonlinear, nonliteral lyrics unless they are self-written. While this approach might work if you are Coldplay, Train or another recording artist writing songs for your own band or artist project\u2014and attaching them to amazing melodies\u2014it is a rare writer who can evoke emotion by writing in this style.<\/p>\n If your goal is to share your music with the world, be sure that you write in a style that speaks to your audience and communicates the message you intended.<\/p>\n One of the\u00a0least<\/em>\u00a0effective ways to evoke emotion is to write lyrics that simply state how the writer feels. Reporting how you feel\u2014for example, \u201cI am sad and lonely\u201d\u2014clearly conveys how the writer feels, but typically fails to arouse emotion in the listener.<\/p>\n One of the\u00a0most<\/em>\u00a0effective ways to evoke emotion is to invite your listeners into your world by allowing them to \u201cwatch\u201d a story unfolding. Compare the two lyrics below and note which one makes you feel something.<\/p>\n I\u2019m sad and lonely without you I wish I could go back in time Versus:<\/p>\n Last night I woke up from a dream at 2 a.m. I stumbled to the closet\u2014pulled on your Titans T-shirt The second lyric never stated how the writer feels; it never said, \u201cI\u2019m lonely; I\u2019m sad; I miss you; I\u2019m hurting\u2026) Instead of reporting the writer\u2019s feelings, action, images and detail were used to \u201cshow\u201d the scene, as if it were a video. You were able to surmise how the writer felt from the actions that unfolded in the lyric, and more importantly, you\u00a0felt<\/em>\u00a0the emotions the writer strove to evoke.<\/p>\n Incorporating action, imagery, and detail in your verse lyrics is virtually mandatory for success in the current country music market; it forms the foundation of today\u2019s Music Row hits. But a look at some of the best lyrics in songs by artists such as Katy Perry, TobyMac, Kanye West, Guy Clark, Lana Del Rey, Taylor Swift and others will reveal that this technique is used in some of the most successful songs in a wide variety of genres.<\/p>\n An easy acronym to remind you to use this tool is:<\/p>\n \u00a0Note that most often, the function of the chorus is to present a summation of the concept, and to hammer home the title. The \u201cstory\u201d is most often told in the verses. This is why the action, imagery and detail are most often incorporated into the verses.<\/p><\/blockquote>\n Not every song will necessarily tell a story, but this is a crucial tool to master and have in your toolbox regardless of the style in which you write.<\/p>\n Ideally, the title is the heart of a song\u2014the focus\u2014and every line of lyric will contribute to leading your listener to the title. When we hear the title, it should be satisfying because it is the organic result of the lines that preceded it. Verse lyrics that neither support nor logically lead listeners to the title tend to leave listeners unsatisfied.<\/p>\n We can avoid this pitfall by being certain to include phrases and imagery that have a clear connection to the title. Notice that in the example below, the first lyric fails to support or lead to the title, \u201cThe War Of Hearts.\u201d The second example benefits from phrases that relate to\u2014and direct the listener to\u2014the title.<\/p>\n Please don\u2019t say it\u2019s over Versus<\/p>\n Accusations rain like bullets The first example fails to include any words or phrases related to \u201cwar.\u201d The second example incorporates the words \u201cbullets,\u201d \u201csurrender\u201d and \u201cweapons\u201d to lead to and support the title.<\/p>\n \u00a0It can help to create a\u00a0lyric palette<\/em>\u2014a list of words and phrases that relate to the title\u2014that you can choose from and incorporate into your lyric. For the title \u201cWar of Hearts,\u201d a lyric palette might include words and phrases that relate to \u201cwar,\u201d such as: battle, wounds, land mines, casualty, fallen soldiers, assault, white flag, battleground, peace, guns, bombs, attack, combat and fight. If a lyric is written prior to deciding on a title you can go back during the rewriting process and add supporting words and phrases.<\/p><\/blockquote>\n By using this tool you can effectively set up your title and add to its emotional impact. But careful not to overuse it or the result can seem contrived.<\/p>\n Imagine reading a terrific first chapter of a book, then eagerly turning to chapter two, only to find that the second chapter has essentially reiterated the information you\u2019d already learned in chapter one. You\u2019d likely be disappointed, and if this pattern continued, you\u2019d probably stop reading the book. It\u2019s the same with songs. To hold your listeners\u2019 interest, your songs need to develop and progress.<\/p>\n Many developing writers fail to bring new information into their second verses. An easy way to find your second verse is to answer one of the following questions:<\/p>\n By answering one of these questions, you will be insuring that your second verse lyric takes the song to a next level and does not repeat the information expressed in the first verse.<\/p>\n One of the biggest songwriting pitfalls I observe is the failure to use fresh, original images, or find new ways to express our messages. It\u2019s easy to settle for a \u201cpretty good,\u201d serviceable line of lyric, but predictable, unexceptional lyrics won\u2019t rise above the competition.<\/p>\n The Lyric Clich\u00e9 commission confirmed the following phrases have exceeded their limit and may not be used again until 2047:<\/p>\n \u00a0Note: Rhyming \u201clove\u201d with \u201cthe stars above\u201d has also exceeded its limit.<\/p><\/blockquote>\n Leonard Cohen purportedly filled a notebook with approximately eighty verses before choosing the strongest ones for his modern-day classic \u201cHallelujah.\u201d I\u2019m not suggesting that every writer writes eighty verses for each song. But it\u2019s self-defeating to believe that the very first thing that pops into your mind, or comes out of your pen, is such sheer perfection that not even one word could possibly be improved.<\/p>\n The solution: rewriting. My entire career is based on having rewritten (and re-demoed) the same song seven times, at the request of an excellent publisher who refused to allow me to settle for less than my best work. That seventh rewrite led to my first chart single\u2014which subsequently led to signing a staff-writing deal, and every milestone in my career. What if I had decided I\u2019d had enough after the third rewrite\u2014or the fourth? What if after the fifth or sixth rewrite I\u2019d said, \u201cI like it the way it is. What\u2019s this jerk know anyway?\u201d<\/p>\n When you\u2019ve completed a draft of a lyric, look it over\u2014one line at a time. Put a check mark next to those lines you are truly proud of\u2014lyrics that you know are better than \u201cgood\u201d\u2014lines that would make an artist say, \u201cI wish I\u2019d written that,\u201d or \u201cI\u2019ve never heard that concept expressed in such an interesting way.\u201d<\/p>\n Then circle those lines that are predictable, mundane, \u201cokay\u201d lines\u2014lines that anyone could have written. Revisit each of those lines and explore new ways to convey those ideas until you land on \u201cWow!\u201d<\/p>\n One amazing song will take you much farther than fifty perfectly crafted, \u201cpretty good\u201d ones.<\/p>\n Remember \u2026 if you don\u2019t give publishers, artists, producers, record labels and listeners compelling reasons to choose your songs over the competition\u2014they won\u2019t.<\/p>\n Successful lyric writing is not just about getting lucky. Luck is great, and I hope you find it\u2014but it\u2019s amazing how much luckier we get when we write lyrics that are truly exceptional\u2014lyrics that rise above the pack. These tools may not necessarily come easily for you, but that doesn\u2019t mean you can\u2019t acquire them with practice.<\/p>\n2. Telling Instead of Showing<\/h3>\n
\nI never knew a heart could hold so much pain
\nAll I have is hurt and regret
\nI\u2019d give anything if only you would love me again<\/p>\n
\nTo when our love was new
\nCause I miss you more than words can say
\nAnd I hope you feel it, too<\/p>\n
\nWatched the cold, gray shadows cross this empty bed
\nA sliver of moon shone softly through the curtains
\nTo the tear-stained pillow where you used to lay your head<\/p>\n
\nAnd breathed a memory of summer in the scent of your hair
\nThen I fell to my knees and said, \u201cGod if you\u2019re listening,
\nAnswer this heartbroken lover\u2019s prayer\u201d<\/p>\n\n
3. Failing to Support the Title<\/h3>\n
\nCause it\u2019s tearing me apart
\nOnce you were my angel
\nNow we\u2019re in a\u00a0WAR OF HEARTS<\/strong><\/p>\n
\nAnd they\u2019re tearing us apart
\nLet\u2019s surrender our weapons
\nIn this\u00a0WAR OF HEARTS<\/strong><\/p>\n4. Writing a Redundant Second Verse<\/h3>\n
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5. Settling for Clich\u00e9, Predictable Phrases<\/h3>\n
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