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But some people prefer paper. And that’s fine. That’s what this is: an analogue version of these things. Just because we use paper doesn’t stop us getting organized! The Organized Songwriter Journal.
Read MoreBut some people prefer paper. And that’s fine. That’s what this is: an analogue version of these things. Just because we use paper doesn’t stop us getting organized! The Organized Songwriter Journal.
Read MoreWhen I left my corporate day job to be a full-time songwriter, I knew I needed to have a goal. Not a normal thing for songwriters, maybe, but I knew how to write a business plan, so I thought I ought to do that for this new career. I gave myself five years from leaving my day job as a high-flying investment banker to achieve my dream. If a major music publisher hadn’t signed me by then, I would go back to my old post again, if they’d have me.
After a lot of work (with the help of Berklee Music et al.) I was signed by a Nashville publisher, Brentwood Benson, part of Sony Music (now part of Universal Music). I had achieved my goal! I was thrilled to be working in my dream field, and I got plenty of congratulations from my former day job colleagues.
But there’s more to this story.
Just after I was signed, I got a call from someone from my former corporate day job. This colleague had a friend of a friend (actually a friend of his daughter at school) who was trying to accomplish the same thing, but he was a lot younger than I was. Since I’d had done a similar thing and made it work, he wondered if I’d listen to a CD of his songs and give my honest feedback. Of course, I agreed right away — on my journey, I’d been given a lot of help from people along the way (for which I’m still hugely grateful), so I was only too happy to do the same.
A few days later, sure enough, I received a CD and a letter from the father of this young songwriter, asking for whatever help I could give. As promised, I gave it a listen.
This was his first CD, one that he’d recorded at the house of a friend who was keen to help, just like I would have done. The songs were… well, OK. They were never going to make it in the charts, but there were a few pointers I gave to help him on his way. He was still in his mid-teens and so still under pressure to do well in his exams at school. Plus, he didn’t have exactly the kind of look the charts would have been looking for: he was a young, chubby boy with messy ginger hair, wearing baggy jeans, a T-shirt, and a hoodie.
However, several things made him stand out from other musicians:
• He left school at the age of 16 to follow his songwriting work.
• He spent a lot of time gigging in London even though he didn’t have money to afford it.
• He treated songwriting as his work, not a hobby.
• He realized he needed to be different from other artists.
• He spent as much time as he could to move his work forward.
So, after I had given him whatever my suggestions were on his songs, his father kindly emailed me to say thank you for that. Now, can you guess the identity of this young up-and-comer?
Ed Sheeran
Despite the success he ended up achieving, at the time, I knew that when I heard that first CD, it was not great writing. And I knew that there was a lot of work needed to move from writing OK songs to top-charting songs. But that’s just what he did: he worked, and worked, and worked. Not just once a week but pretty much every hour, every day he could. Not just his craft, but he worked his network and his technology, as well.
And after more work than most people would even think about spending on songwriting, it paid off, big-time.
As of October last year, Ed Sheeran was the 17th-highest-earning British musician, with a net worth of £160 million. From 2006 to 2019, he went from just OK to that kind of success.
By now, it should be clear that if you put enough time and energy into your songwriting work, it can turn into something special. So if you love your craft, like all things: never, ever give up on it.
In his autobiography A Visual Journey, Ed said:
"I’m proof that people aren’t born with talent. If you listen to my early recordings, I can’t play the guitar and can’t really sing or write music very well either. It’s all come through practice; everything comes through practice. You start off with a little spark, and it’s whether or not you nurture that spark. You have to expand it and work on it."
Is Ed’s success due to me? Probably not. Even though I love to think it would have helped him along his way, but that’s not why I write books anyway. I write books about how to write songs because anyone on their journey is on the same journey as I am. I’ve been helped so much by other people on this journey; if I can help in any way, then it’s a privilege to be able to do that. We are all nurturing our spark, whether they are a glimmer or a flame.
So, how can we nurture that spark, to turn our ideas into finished, cut songs? That’s what The Organized Songwriter is all about. And more.
Looking forward to this! A book like this really should hit the deadline!!
Very close to finishing the design of both the main book and a new Workbook too for 'The Organized Songwriter' book!
FREE sample from the main book here and subscribe to know when it’s launching soon!
S.
When I was researching my last book, Song Maps - A New System to Write Your Best Lyrics, I discovered a fundamental truth. Now please note, I don’t try to make people cry. That’s not a nice thing to do. But I realized that sometimes there are things that move people to tears in a most profound way. That’s if people are generally open to that kind of thing.
This idea is very much linked to the whole point of the book I wrote, Song Maps, because they affect the flow of ideas. And, for those who are songwriters, this is the secret weapon for many genres of songs. For example, this is why Country songs are all about dogs dying, lovers leaving or running away with best friends. It’s the reason there are so many love songs at all. It's why the Gospel story is such a rich source of songs that deeply move people.
So, here it is: People are deeply moved by:
LOVE IN THE FACE OF ADVERSITY
If you think back to all the songs that slew you, that turned you from a happy, carefree person to a blubbering, shaking wreck, it will probably be, on some level or another, because you have been confronted with love in the face of adversity.
Look at classic lyrics like the lyric to “I Will Always Love You” by Whitney Houston/Dolly Parton or “Leaving On A Jet Plane” by John Denver.
The most potent example I discovered is a song written by songwriting icon, Phil Coulter, sung by Sinead O'Connor called “Scorn Not His Simplicity.” It's not a love song. It's not even a Country song. When I discovered it, I played it to some friends who'd come for a dinner party, and before Sinead had got to the second Verse, one of my friends was in tears (sorry, it wasn’t what I had in mind!).
When I finally got to talk to the songwriter, Phil, I congratulated him on writing such an incredible song, and even he (with his Irish modesty) admitted that he was very happy with the way it turned out. Without a doubt, it's a powerful song, and it demonstrates, almost flawlessly, the power of this principle to move people. I challenge you to listen to it and not be moved.
So, where we place ideas in our lyrics counts. If we place them in a way that shows love in the face of adversity, it counts big time. This is also why writing in 3D is so powerful. This is why we will only develop titles to their full potential if we organize ideas into their most powerful order (a writable idea) and then turn them into amazing lyrics that genuinely touch people when they hear the finished song. This is why we use Song Maps.
Have you tried to use this in your writing? If not, maybe have a go. But be careful with your listeners!
S.
Here's a new word. Actually, it's a new word I made up my self –
This is a general lyric tool, inspired by the beautiful book "The Craft of Lyric Writing" by Sheila Davis. What I mean by "universalizing" is turning our experiences into things that somehow resonate with our listeners in a far more powerful way than if we tell them every detail.
One of my co-writers put it very well when he said:
"The songwriter's challenge is to turn the specifics of their lives into something everyone can hang their stuff on."
This might at first seem to be a bit of an idea crusher – having to make every idea 'big enough' to write a song about. But, while I do think ideas need to be substantial enough to write, I think that's looking at universalizing the wrong way round. I believe universalizing opens up a whole new world of potential song ideas because it's about harvesting elements of what may seem to us as sometimes negative, mundane detail to produce wonderful principles that can unlock, inspire, empower and ignite our listeners' lives through our lyrics.
Instead of writing a song about the fear of going to see the dentist to fix a long-standing toothache, write a song about how taking charge of our lives empowers us to live life to the full.
Perhaps, from our experience of deep frustration or even failure, write a song about how we will persevere. Or maybe, how we draw strength from our faith in dark times or how, with a bit of belief from a loved one, we become empowered to achieve more than we ever thought possible.
I suggest the following three-step method:
Recollection: Think of several recent struggles or challenges you have had, no matter how mundane they might feel to you. (Hey, be kind to yourself here – this isn't supposed to drive you to your therapist!).
Extraction: What life lessons can you derive from those experiences, replacing your specifics with generalities?
Mapping: Using an appropriate Song Map (Tension/Response, for example), turn one of these life lessons into a Writable Idea.
What recent experience, struggle or meaningful moment could you universalize into a great song idea?
S.
Welcome to the third tool in my series on Songwriting Tools. In my book “Song Maps – A New System to Write Your Best Lyrics” I mentioned in passing a new Song Map: Gradual Reveal. For those readers who have written in to me asking for more information about it you certainly deserve this since:
You spotted it in the first place, and
You took the trouble to write to me!
So here it is.
Gradual Reveal is a brilliant alternative to Timezones, Places and Roles if you want to tell a story without being specific about any of them. I love this Map because it enables us to create a deliberate sense of anticipation and suspense until the payoff, which is saved for later in the song, e.g. the Bridge or last line of V3. It also enables us to paint a picture that starts with a blur and ends up in HD Quality before landing the payoff.
It’s a great Map to add to the 7 universal Song Maps covered in the book because, like those, it also lends itself to any lyric-driven genre – Pop, Country, CCM. It also helps us use the powerful lyric writing technique: “Show, don’t tell”. This is because by definition we are using the amount of information we disclose as a way of systematically moving the lyric forward.
In terms of difficulty, I’d place it somewhere between Places and Literal/Figurative.
Gradual Reveal can be represented as follows:
Verse 1 – Setting the scene
Chorus 1 – Title
Verse 2 – More detail
Chorus 2 – Title
Bridge – Payoff
Chorus 3 – Title
To use Gradual Reveal it might be helpful to ask yourself the following questions:
What is the central theme or idea you want the title to represent? Is it strong enough to write a song about? Will it resonate in the genre you are writing in? When you find this, it will become your Chorus idea.
What are the essential key elements needed to set the scene of the song? Literally, if you were watching the very first opening frames of a movie of your song, what would you be seeing, feeling, hearing, touching, smelling etc. Who would be in the picture? What “place” (in the broadest sense) are they at? This is V1.
What new elements of the picture you are paining need to be filled in to set up an effective payoff? What do they look like? How does this make your picture more granular? This is V2.
What does it all mean? What is the payoff? Can the picture you’ve painted in V1 and V2 resolve? How can the listener relate to the picture in front of them? What are the lessons to be learnt from this picture? This is your Bridge, Outro or Refrain.
While I haven’t got space here to write a lyric, in my book Song Maps, in Chapter 5, the Writable Idea and Lyric for the Places Map, “How Many Times” is a good example of Gradual Reveal even though it also follows a Places Map. Check it out.
Some points I’d make:
Holding back certain details (clarification of the relationship between the singer and the person they are singing to) adds an element of deliberate suspense to the lyric until V2 arrives.
The trick with Gradual Reveal is to hold enough detail back at the same time as disclosing enough detail to keep your listeners engaged with the lyric at each stage of the song. Economy and conciseness of words are important to getting this right.
A couple of the commercial examples below were actually written for movies and it’s worth digging into the context of these to help decode how they work a little better.
Here are some commercial examples I’d also suggest you look at to see how this Map works:
Pop: “A Thousand Years” by Christina Perri
Country: “You Should Be Here” by Cole Swindell, “Gone” by Montgomery Gentry, “9 to 5” by Dolly Parton
CCM: “The River” by Jordan Feliz
Jazz: “Black Coffee” by Ella Fitzgerald
If you have a copy of the Song Maps Workbook handy you could take a similar approach to Timezones, Places or Roles, by simply substituting the respective structure with that of Gradual Reveal.
So this is Gradual Reveal. I’d encourage you to have a crack at writing with it because it’s very cool when it’s executed well and demonstrates strong, grown up crafting as well as being very effective in communicating the emotion of a song.
Feel free to share this! If you had a moment to drop me a line I’d love to hear how you get on at simon@simonhawkins.com.
Happy writing!
Simon.