Lyric writing can be a daunting task. We might begin passionately inspired by a new
idea, only to spend the next hours sinking into the muddy muck of confusion on
how to express that idea. We may be
mired down by our desire for perfection, our attempts at fitting the lyric to a
melody we’ve already written, or simply our own fear leaving us like a deer in
the headlights.
Lyrics used to make me nervous, where writing melodies and
grooving on a guitar or piano would free my inhibitions and open my soul. I approached lyrics like the burden of the
process; the point at which I knew what I really wanted to say would never
quite shine through. I had many
unfinished songs, and songs in which I’d have to give lengthy explanations for
before I began. I would be happy with
the chorus, and frustrated with the verse, or elated about the verse, and
desolate about the chorus. The few songs
in which I was completely happy from start to finish were few and far between.
My years as a staff writer in Nashville were like graduate school in the
focus of lyric writing. I had mentors
all around me who had perfected the art of storytelling through song. I had the opportunity to collaborate with
many of the legends whose songs I had adored for decades. Slowly, my fear dissipated as a strategy for
writing lyrics emerged. That strategy
because the reason for my new book, Popular Lyric Writing: 10 Steps to
Effective Storytelling, published by Berklee Press.
To give you a brief overview, I’d like to describe some of
the steps of the process here. All my
writing begins with a creative writing called “Destination Writing.” This is no new process, used by literary writers
for years. It begins focused on a
specific time, place, or person, using very sense-bound language involving taste, touch, sight, sound, smell, and movement. Staying focused on these elements allows the
experience or person about which we’re writing to spring to life. Without these descriptions, the lyric simply
revolves around our unsubstantiated thoughts and feelings. To connect with our listener, we must allow
the listener to experience what we experience.
To simply tell the listener we feel a certain way does not elicit that
same feeling in the listener. We’ve got
to form a convincing argument, and that’s where the value of Destination
Writing really takes shape.
The next and most critical step in my writing process
involves the tool of ‘Toggling.’
Toggling is alternating between the sense-bound and concrete phrases
with the more feeling oriented and abstract phrases in our lyric. Each section of the song, from the verse,
pre-chorus, chorus, and bridge, has a specific pattern of toggling that is used
over and over again in popular songs. We
aren’t aware of them as we listen, but when we begin to analyze their
functions, we can see them clearly and apply them to our own songs.
Another tool I use to write is based on my ‘Plot
Progressions.’ These are typical formats
I use to organize the story, and are the basis for thousands of story
developments we hear in our favorite songs.
Once we digest the most common plot progressions, we can easily see how
to use them to develop our own ideas.
There are so many songwriting resources available, and I
strongly encourage you to assess your strengths and weaknesses as you choose
the resources that will help you along your way to becoming a better
writer. If you fear lyrics, know you’re
not alone. Please don’t hesitate to
contact me with your questions, and take advantage of my book and companion
course online at www.Berkleemusic.com, “Commercial Songwriting Techniques.” I also offer workshops in the LA area and
abroad when requested, as well as a new songwriting tutorial called “Songwriting Made Simple” from my
website www.andreastolpe.com.
You can purchase an autographed book from my website, www.andrastolpe.com, or at Borders
Bookstores nationwide, as well as Berklee College of Music’s online
bookstore.
Thank you and I wish you fearless lyric writing,
Andrea Stolpe
Book and Course Testimonials:
“I’ve read just about every songwriting book out there, and
I have to say, yours is the most easy to read and digest. You’ve written it…..like a story, and I can
immediately understand how to apply each tool as I compare my own songs with
the examples in the book.”
Rick S, ‘07
“In a mere 2 weeks and 2 days you have far exceeded my
expectations as an
instructor. I can't say enough about the value of the lyric writing and strategy
course and how much fun you made it. I always looked forward to your comments.
Without exception applying your suggestions improved each of my writings.”
Tom G, ‘05
“Before this workshop I had never composed a whole song
(lyrics included) in my entire life. Now I've composed two!”
Santiago
C, ‘05
“This class has been amazing. Your insight has been so helpful and your
comments just seem to make the exercises 'come to life'. I dread that it’s ending.”
Telita H, ‘05
“…you really opened up my eyes to the possibilities in
creating new and interesting lyrics by…the techniques I've learned. I learned way more than I expected to and
it's really helped my songwriting, from my overall confidence to the way I
approach the development of lyrics. I am
really surprised at the amount of stuff you taught me about the subject…and the
quality of material I am generating now far surpasses anything I've tried to do
over the past fifteen years. Thanks a million.”
Mark R, ‘05
“Your review quenches my thirst for better writing. You
never cease to amaze me by speaking in terms that I 'get' completely. Thanks
again!”
Zane K, ‘06