To be successful, a song must be able to reach out and touch the listener and make him or her feel something. This means the song ideally needs to be about something that everyone is familiar with. It also means the lyrics should be honest, believable and heartfelt so that people can easily relate to them.
Taylor Swift says heartbreak is her favourite emotion when she is writing songs. She believes songs about people who are heartbroken tend to make the best and most interesting songs because most people can relate to how it feels.
“I think when you’re heartbroken you need music more than when you’re not,” she says. “There’s something so beautiful about people who are heartbroken. They think about things much more.”
She adds: “When you’re in love and you’re happy you don’t need to think; it’s just there. Love is one of those things that’s so simple, you only need to think about it when it’s bad. When you write a song about what you’re thinking… there’s such a gratification and it helps you move on.”
Taylor Swift is renowned for writing hit songs about her own relationships. For example, she has admitted that ‘I Knew You Were Trouble’ was about the break-up of her relationship with One Direction’s Harry Styles. And tracks such as ‘Dear John’ and ‘All Too Well’ were reportedly written about her former flames John Mayer and Jake Gyllenhaal.
She says that when she eventually runs out of stories about her own life, she’ll start writing heartbreak lyrics from other people’s point of view.
Adele is another leading singer-songwriter who shares Taylor Swift’s view about the power of heartbreak songs. “Heartbreak can definitely give you a deeper sensibility for writing songs,” says Adele. “I drew on a lot of heartbreak when I was writing my first album, I didn’t mean to but I just did.”
Richard Marx – whose hits include ‘Right Here Waiting’, ‘Now and Forever’, ‘Too Late To Say Goodbye’ and ‘Hold On to the Nights – also believes sad songs can make the best songs. “I just don’t find that there’s much poetry in a successful relationship,” he says. “The poetry comes from unrequited love and heartbreak and longing … I just find that even as a listener I don’t want to hear happy love songs, let alone write them.”
And the legendary Burt Bacharach also admits that he is drawn to heartbreak songs. “I’ve never been a terribly sad or depressed person,” he once remarked. “But when I write, I just happen to go toward that sort of thing … Maybe that’s because ‘she loves you’ or ‘I’m so happy’ don’t make for such good songs.”
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“SURPRISING RHYMING” – The Alternative Rhyming Dictionary for Songwriters and Poets – is available from Amazon as a US paperback, a UK paperback, and across Europe. It is also available as an eBook from Amazon’s Kindle store in the United States, the UK and Europe, as well as Apple’s iTunes Book Store, Barnes & Noble’s Nook Store and Rakuten’s KoboBooks.
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![“HOW [NOT] TO WRITE A HIT SONG! - 101 COMMON MISTAKES TO AVOID IF YOU WANT SONGWRITING SUCCESS” is available from Amazon as a paperback and also as an eBook from Amazon’s Kindle Store, Apple's iTunes Store, Barnes and Noble's Nook store, and from KoboBooks.com.](https://thehitformula.com/wp-content/uploads/2013/05/how-not-to-write-a-hit-song-smashwords-cover-blog-widgit-188x282.jpg?w=145&h=218)
A 5-star rated book at Amazon, “How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a US paperback, a UK paperback and as an eBook from Amazon’s Kindle Store. It is also available from Apple’s iTunes Book Store, Barnes & Noble’s Nook store, and Rakuten’s KoboBooks.
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“How [Not] To Write Great Lyrics! – 40 Common Mistakes To Avoid When Writing Lyrics For Your Songs” is available from Amazon and Barnes & Noble as a US paperback, UK paperback and as an eBook from Amazon’s Kindle Store. It is also available from Apple’s iTunes Book Store, Barnes & Noble’s Nook store, and Rakuten’s KoboBooks.
Read a FREE sample of the book HERE (USA), HERE (UK), HERE (Australia) and HERE (Canada).
While it’s true that the melody and the title are regarded as the most important parts of a song, don’t make the mistake of believing that the quality of the lyrics doesn’t really matter if your song has a strong melody, a catchy hook and great beats.
“If you’ve got a killer tune and a killer set of chord changes and you’ve got no lyrics, you’re screwed,” award-winning songwriter and producer Francis “Eg” White once told the Daily Telegraph. He has worked on hits for artists such as Adele, Joss Stone, James Blunt, Duffy, James Morrison and Will Young.
So don’t settle for lyrics that you know are second-best. A song with a dynamic melody and trite lyrics is still unlikely to be successful.
Of course, songs with weak lyrics occasionally do well in the charts, but their success is usually down to an outstanding production or because the artist concerned is already a big star with a loyal fan base. If you’re an aspiring new writer submitting a demo to a music publisher, A&R rep or a record producer, you’ll need more than just an excellent melody to stimulate their interest.
You have to be able to offer them a complete work that combines a highly commercial melody with well-chosen words and descriptive phrases that make sense and actually say something.
“Lyrics are kind of the whole thing,” says US singer-songwriter Alison Krauss. “It’s the message. Something might have a beautiful melody but if it’s not the truth coming out of your mouth, it’s not appealing.”
Music industry professionals expect to hear inventive lyrics that avoid clichés and convey an interesting story or message in an easily understandable way.
They want great words that support a memorable title, a strong melody and a catchy hook … all of which should come together to evoke an emotional response within the listener.
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“How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a paperback, or as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.
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The Songwriting Charity has announced that English musician, songwriter and record producer Rupert Hine is to become a patron of the London-based music charity.
Launched in 2011, The Songwriting Charity addresses the emotional health and well-being of children and young people of all abilities through the art and craft of songwriting and music technology. It helps children to generate creative energy around issues that impact on their lives, through songwriting and performance.
Rupert Hine follows British songwriter Guy Fletcher, who joined as a Patron last summer.
During his 35-year career, Hine has worked with a wide a range of gold and platinum-selling artists – including Tina Turner, Chris de Burgh, Rush, Bob Geldof, Stevie Nicks, Kevin Ayers, Thomson Twins, The Waterboys, Kate Bush, and Suzanne Vega.
As a songwriter, his songs have been recorded by million-selling artists such as Tina Turner, Stevie Nicks, Dusty Springfield and Wilson-Phillips.
Hine said: “The Songwriting Charity powerfully illustrates how children working together creatively as a team can rise above their individual practical difficulties and limitations and create something fun or even beautiful in a field that is very close to my heart. I fully endorse their vision and look forward to helping to expand their reach in any way I can.”
Nathan Timothy, CEO of The Songwriting Charity, said: “This is another landmark in our charity’s young life. Rupert shares my passion for developing artistry and for using songs and songwriting to positively change the lives of people all over the world. I’m so proud that Rupert Hine has agreed to become a Patron. And I’m delighted to welcome him as part of the team as we celebrate the charity’s second birthday!”
The Songwriting Charity has so far worked in 450 schools around the UK and has linked with projects in Italy and Canada. The charity’s work has positively impacted on the well-being, self–esteem and confidence of more than 12,500 children and young people.
Its unique one-day workshops present children with opportunities to sing, write lyrics, perform and record their ideas both individually and as a team.
So far, some 460 songs have been written by young people for young people – covering concerns such as bullying, world peace and friendships. The songs are hosted on the charity’s Soundcloud page and have been streamed more than 91,000 times.
Find out more about The Songwriting Charity, or make a donation, HERE…
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Also available from Apple’s iTunes Store (Books/Arts & Entertainment/Music), and Barnes & Noble’s Nook store.
Alicia Keys recently revealed that she managed to maintain her unique voice and songwriting style despite being pushed “in different directions” early in her career.
She thinks writers have to really believe in what they want to do—and then keep working at it until other people start to believe in it too.
The 32-year-old singer-songwriter is classically trained and is a highly accomplished musician. She began playing the piano at the age of seven and studied classical composers such as Mozart and Beethoven at performing arts schools in New York.
However, it seems her rich musical knowledge and diversity proved to be quite a challenge for her managers in the early stages of her career. They found it hard to package her as a typical pop songstress.
“People definitely tried to push me in different directions for sure,” she recently told VH1’s Storytellers. “I was very familiar with the street, had a lot of street knowledge, very clear, very rough around the edges. But at the same time I had studied classical music.”
She added: “I loved everything from Biggie Smalls and Jay-Z to Nina Simone, Patrice Rushen and Donny Hathaway to Erik Satie and Chopin, and everything in the middle. There was no kind of direct path or prototype for anyone to follow. So I think all they knew to do was to kind of push me as close to maybe something they saw that worked before.”
A lack of focus is one of the biggest weaknesses of many new songwriters. This is usually because the writers have no idea where they are heading when they start out. As a result, their career simply meanders from one direction to another with no clear distinction between them—and often with no real progress.
Fortunately, Alicia Keys was strong enough to maintain her focus and remain true to herself. “It was my goal to make people love me,” she said.
When starting any new job, you are more likely to be successful if you are given a proper description of what you’re supposed to be doing … and what you’re expected to achieve.
Songwriting is no different, except it is down to you to define your job description in terms of genre, style and career path, and then set yourself clear goals—and stick to them.
Watch this Songs in A Minor documentary about Alicia’s early career …
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“How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a paperback, or as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.
Read a FREE sample of the book HERE (USA), HERE (UK) or HERE (Australia).
Hal David, one of the greatest lyricists of all time, always believed it was essential for writers to stay as objective as possible about their lyrics. He stressed the importance of being able to step outside of yourself and hear the song from the listener’s point of view.
“One thing a lyricist must learn is not to fall in love with his own lines,” David once remarked. “Once you learn that, you can walk away from the lyric and look at it with a reasonable degree of objectivity.”
A common mistake among many new lyricists is their failure to take a step back and recognize when they are using over-elaborate imagery and ‘poetic’ lyrics that just don’t work with the song. Far from being impressed with how clever and creative the lyricist is, music publishers and A&R executives are more likely to see unnecessarily flowery language as a sign of inexperience.
Trying too hard to be ‘different’ and artistic can often result in lyrics that simply sound pretentious and self-indulgent. If your lyrics don’t come across as genuine, listeners may find it hard to connect with your song.
And some lyricists may not realize that they are in danger of boring listeners by simply pouring out fact after fact as they tell the song’s story. You have to paint a picture in the listener’s imagination so that you can reach him or her on an emotional level and stimulate a response.
To make it easier for listeners to remember your lyrics, it’s important to keep them simple and conversational. Hal David was a master at conveying what he wanted to say in the most concise way possible, despite the complexity of some of Burt Bacharach’s melodies.
In the 1960s and early 1970s, Bacharach and David wrote some of the most enduring pop songs of all time. Their classic hits included ‘Raindrops Keep Fallin’ on My Head’, ‘This Guy’s in Love with You’, ‘I’ll Never Fall in Love Again’, ‘Do You Know the Way to San Jose’, ‘Walk On By’, ‘What the World Needs Now Is Love’, ‘I Say a Little Prayer’, ‘The Look of Love’, and ‘Anyone Who Had a Heart’, amongst many others.
“In writing, I search for believability, simplicity and emotional impact,” Hal David once explained. “Simplicity is often the hardest thing to achieve.”
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“How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a paperback, or as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.
Read a FREE sample of the book HERE (USA), HERE (UK) or HERE (Australia).
For a song to become a great song, it must be able to reach out and touch listeners and stimulate an emotional response within them. It should take them on a memorable and emotional journey. It should make them feel something.
That’s why Amy Grant, the Nashville-based Christian singer-songwriter, believes the greatest compliment a songwriter can receive is to have someone tell you that your song captures exactly what they’re feeling inside.
“The challenge of a songwriter is to articulate – in an accessible way – things we go through, if what you are trying to do is to make people feel connected to their own life, ” says Amy. “I’m inspired by specific situations and try to capture in a song what people feel.”
On May 14, the six-times Grammy award winner will release her first full album of all-new songs in 10 years.
Titled How Mercy Looks From Here, the new album was produced by Marshall Altman and includes guest vocalists James Taylor, Carole King, Sheryl Crow, Will Hoge, and Eric Pasley (who wrote the only song on the album not written by Grant). Amy’s husband, Vince Gill, also makes an appearance.
Watch the official video for Amy Grant’s 1991 hit ‘Good For Me’ HERE…
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“How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a US paperback, UK paperback and as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.
Read a FREE sample of the book HERE (USA), HERE (UK), HERE (Australia) and HERE (Canada).
SONGWRITING: THE HIT FORMULA 