Songwriting Guide
Steps to Songwriting Success, by Jason Blume
Quotes:
“My writing had been a means of self-expression – a catharsis. […] Until that night, there had been no consideration, or even awareness, of the listener; when I wrote, it was solely to please myself.” – pg. xix
“Songwriting seems to start with an introspective base. From there, serious songwriters need to step outside of themselves to develop their craft.” – Brendan Oskrent, pg. 2
“Songwriting is an art that is based on successful communication.” – pg. 3
“The desire to love and be loved is a basic human need. The joy of finding love, the pain of losing love, looking for the right love, complaining about the wrong love, missing a past love, hoping for a future love, the fear of losing love, the fear of finding love, cheating on a lover, being cheated on by a lover, wanting to be loved, wanting to be loved differently, and wanting to be loved by someone other than the one who loves you are all prevalent themes in popular songs. It’s no wonder that ‘love’ is the most commonly used word in songs – even more than
‘baby.’” – pg. 27
“There are three subjects to write about: life, love, and death. The secret is writing the same old stuff and staying inspired by simple things.” – Craig Wiseman, pg. 29
“Write what’s real for you. Write what you feel. And write what you love.” – pg. 34
“Be conscious of the message your songs are sending and be sure that it is consistent with the image you hope to present.” – pg. 35
“No one else in the world shares your life experiences, or your unique way of interpreting and processing the events and images around you.” – pg. 50
“What I look for in a song is kind of like going on a blind date.” – Judy Stakee, pg. 53
“When you read a book, if te second and third chapters reiterate the same information you’ve already learned from chapter one, it’s unlikely that you will keep reading.” – pg. 58
“Great songs are rarely written – they’re rewritten.” – pg. 76
“Writing a capella means composing melodies in your head, without a guitar or a piano. For me (and for many of my songwriting students), many times it’s been the ticket to crafting the strongest melodies.” – pg. 100
“I was confusing the ability to play a musical instrument with the ability to compose catchy, memorable melodies in my head.” – pg. 101
“Changing the ‘lyric density’ by using fewer words, and correspondingly longer notes, […] will add contrast.” – pg. 107
“Y’all have enough words in this verse for a whole album!” – pg. 109
“Songwriting is 10 percent inspiration and 90 perspiration.” – pg. 114
“Analyze those songs you love, noting how their melodies were constructed.” – pg. 126
“The very first step in the demo process is being sure that the song itself is ready.” – pg. 133
“I had no idea of the quality of the demos my competition was producing. I was amazed at how much the demos sounded like finished records.” – pg. 137
“You don’t have to be an expert in every aspect of the songwriting and demo process. What you do have to do is honestly examine your strengths and weaknesses.” – pg. 142
“If your goal is to be successful in the music business, you have to pay as much attention to the business as you do to the music.” – pg. 170
“While very few songwriters are born with […] connections, somehow, the successful ones manage to develop them.” – pg. 203
“It’s easier to establish relationships with people who are working toward success than with those who have already achieved it.” – pg. 203
“The bottom line is that writing songs in the privacy of your own home – and keeping them there – won’t accomplish your goals.” – pg. 204
“The best collaborations are the result of a hard-to-define chemistry between cowriters.” – pg.
206
“Hang out with people who are smarter, more creative, and more talented than you are and aspire to their level. I think that’s what mentoring is all about and that’s what the songwriting community is all about. You should hear and be exposed to as many people who are better than you are as you possibly can and hope that through osmosis it sinks in.” – Robert K.
Oermann, pg. 207
“The art of pitching songs can be as creative as writing them.” – pg. 219
“One thing’s for sure – if you don’t send out your songs, nothing will happen.” – Ira Greenfield, pg. 230
“They don’t call this show art – they call it show business. It is a business but at the same time you don’t want to lose sight of your craftsmanship and your art. There are too many writers today who are paying way too much attention to what is commercial and what is on the radio and to little to listening to their inner soul, to their inner heart. You have to find a way to bring both of those into your writing to be a great writer.” – Robert K. Oermann, pg. 234
“There’s no doubt that it’s tough to have a full-time job, maintain relationships, take care of all the responsibilities of life, and still have the time and energy left to write songs.” – pg. 239
“In the early stages of writing, each song is really a stepping stone to the next, a learning
process that gets you one step closer to the song that might have a chance of being successful.”
– Gloria Sklerov, pg. 240
“I learned pretty young that no one knows what they’re talking about. At least, if you follow your own path, you’ll have no one but yourself to blame.” – pg. 246
“If you had no emotional response to these disappointments you’d probably lack the sensitivity required to write.” – pg. 247
“Never give up. […] You may have already written the song that is destined to change your life – or you may write it tomorrow.” – pg. 248
“Instead of criticizing yourself for what you haven’t yet achieved, be proud of yourself for pursuing your goal and striving to improve your craft.” – pg. 252
“These artists and their songs found success because of their individuality – not in spite of it.” – pg. 254
“Reach down in your soul and write a truly great song. Make sure you’ve gone over it and it doesn’t have any weak spots musically or lyrically. Then, if you keep every four-leaf clover you find, always keep change in your pocket in case you pass a fountain, keep your eye out for shooting stars, and watch out for mirrors and ladders – that song has a chance.” – Wade Kirby, pg. 257
Notes:
Parts of a Song:
• Verse – Provides the exposition: the information that will lead to the song’s hook or title. It sets an emotional tone. Usually 4-8 lines long.
**The last line of a verse can dovetail into the first line of the chorus.
• Pre-Chorus – An optional climb or set-up. Usually 2-4 lines long.
• Chorus – The gist of the song, where the idea is delivered. Summarized idea and
emotion while hammering home the title. Should be easy to remember. Should not be a place to present new or detailed information (that belongs in the verses). Usually 4-8 lines long.
**Song title almost always appears at least once in the chorus, sometimes even twice.
• Bridge – Serves as a departure or release. Can add contrast and a new perspective, since it differentiates lyrically from the rest of the song. Usually 2-4 lines.
Incorporating Detail, Action, and Imagery:
• Describe where you are (the room, the outdoor setting)
• What sounds are you hearing? Is music playing?
• What’s the weather like, what time of day is it?
• Are you sitting, standing, leaning on something?
Signature Lick: An instrumental hook, often included in the song’s intro, at the song’s turnaround, and at the outro. The majority of rap songs use these.
Recording a Demo: To play a song for an artist, a full demo is what’s normally needed In order to compete with what’s going on out there.
• *NSAI maintains a limited listing of Nashville-based demo services*
• Look for collaborators who own home studios where you can demo the songs for free.
• Most cities have 24-track studios available for $50 per hour
• If you need to hire an engineer, ask to hear samples of the engineer’s work before making a decision
• Ask to hear samples from the studio, too
• It’s cost-effective to record more than one song during a session. In Nashville, it’s not unusual to record 5-6 songs in one 3-hour period
• Professional demos of urban, R&B, or pop songs are usually $500 per song, and total cost ends up being $1200 per demo
• Provide as much detail as possible, and be specific: ”I’m looking for a contemporary feel along the lines of xxx by xxx, with an electric guitar sound similar to the song xxx”
• As you produce more demos and practice skills, you will get better at them and require less studio time.
Lyric Sheet Info:
• Title
• Lyrics themselves
• Writers’ names
• Contact address
• Telephone
• Copyright symbol with year (you can mail songs to yourself and keep the envelope sealed)
Song Arrangement: The way different sections of a song are pieced together in relation to each other.
• Verse, Chorus, Verse, Chorus, Chorus The Music Business:
• Writers virtually never sell their songs; instead, we assign the right to publish our songs.
• It’s impossible to place a price tag on one of the most important benefits a publisher offers. The credibility that accompanies being associated with a respected publishing company opens up doors.
• To attract a publisher: attend an event where publishers are reviewing songs
• 4 Steps to get your foot in the door with a Publisher
1. Write an incredible song with a songwriter who already has an established connection
2. Have your collaborator present the song to the Publisher
3. Call to introduce yourself as the cowriter of the song and thank the Publisher for their praise, enthusiasm, and excellent constructive feedback
4. Request a meeting to discuss plans for the song, and to play several others
• Ask the Publisher, “Who do you hear recording this song?” and “How might you get this song heard by them?”
• Unless you’ve entered a publishing agreement, you own the publishing rights, and corresponding income, to any song you have written. Therefore, if you’ve written a song (and haven’t published it), you are a song publisher.
• Perhaps the most important factor to consider when deciding whether you should represent your own songs is your personality type.
• Those who are self-publishing because legitimate publishers are not willing to represent their material would put their time to better use by concentrating on honing their songwriting skills. Remember: 100 percent of nothing equals nothing.
• Songwriters’ Guild of America (SGA) has a Publishing Agreement designed to represent the writer’s best interests on their website, and can be used as a model.
• Staff Writing Deals: Acquired by having a good working relationship with a publisher over time, and consistently presents songs with strong commercial potential.
• You can read The A&R Registry to figure out who’s looking for songs, and what they’re looking for. You can even call a label and say, “I represent a small catalog of songs I feel strongly about. Who is on your roster, and what are they looking for?”
• Taxi is an organization that publishes a pitch sheet, and then sends the best submissions on
Collaborators: Someone to inspire you: A good collaborator encourages you not to settle for mediocrity. You can push each other to do the best work you’re capable of. Cowriters can also provide emotional support, as the art and business of songwriting can be frustrating and disappointing.
• By blurting out a line you think is “stupid,” you may spark something in your cowriter that leads to them coming up with the line you’ve been looking for
Cover Letter Advice: Don’t explain what the song means, and don’t describe the song. Keep it brief, and to the point. Send no more than 3 songs at a time. Usually if a writer only sends one song, they must feel it’s very special and right for the project.
Staying Persistent: Set a time and place to focus on your creative work: a coffeehouse or public library. Making time for your creativity and your writing is as important as any other
appointment or obligation.
• The Artist’s Way is a workbook with spiritual slant to discover and recover your creative self.
• If you’ve been writing for at least a year, and have completed at least 20 songs, you need to begin pursuing the business side.
• It’s like spinning the Wheel of Fortune. If you’re consistently writing excellent, not just
‘good’ songs, it’s likely that a certain percentage of times, the wheel will land on you and you’ll get your shot. All you can do is write to the very best of your ability – and be ready when opportunity knocks.
Actions:
• Keep a “Hook Book” – a list of titles and ideas
• Ask yourself “Then what happened?” when writing verses
• When describing rhythm (as someone who doesn’t play an instrument), learn to use Nonsense Syllables. Also, repeating words or phrases can add interest to the song.
• Read The A&R Registry
• Submit pitches to Taxi
• “Ten Magic Minutes” – to write whatever you feel. Sometimes feeling safe for ‘no- critics’ and clearing baggage will lead to your best writing
• JBSongdoc2@aol.com & JasonBlume.com – have your songs professionally critiqued
• Enter Songwriting Competitions:
