Page 80 - Song Maps - A New System to Write Your Best Lyrics - Simon Hawkins

name"). A double V2 summarizes her words from role 2's perspective, which is "what her target will think of her" as the relationship matures (from "cherry lips" to "screaming and crying"). The Bridge is the payoff, ("boys only want love if it's torture"). Excellent writing from Taylor.
Another example of Pop Roles is "We Will Rock You" by Queen, in which three Verses address three different generations (boy, young man, old man).
CCM
"I Need A Miracle" by Third Day does a great job spotlighting two different desperate people in V1 and V2, with the Chorus summing up the good news. Then in V3 the payoff comes ("And on that night, they found a miracle") which links up the two desperate situations with the solution. Very nice writing.
Also,"Freedom Song" by Mandisa spotlights four people in similarly difficult situations: a child from a broken home, a man with addictions, a sixteen-year-old with no self-esteem and a wife who's lost and trading dreams for a busy life. The Chorus each time declares the timeless scriptural truth that resolves each situation ("I have been set free").
Matthew West's "Life Inside You" is another example of a well-crafted Roles song with a lovely twist at the end. Check it out.
Southern Gospel
"The Body and Blood" by Janet Paschal is a spectacular example of how to execute the Roles Map in a Southern Gospel format. V1 tells the story of character 1: a lady who gave her only child away for a life ("Easy to regret".) The Chorus then moves to the sacrament and a very personal address from the Savior himself. V2 then goes to character 2: a troubled man ("He fought a war against his will") who slips into a polished pew of a church who is confronted with the same personal address in the Chorus. Just as relevant, just as powerful. The Bridge contains the payoff: we all share the cup. Wonderful crafting by my friend, co-writer, and lyricist Joel Lindsey.
Worship
"Here I am Lord" by Dan Schutte (recorded by James Kilbane and others) is a rare example of Roles applied to a worship setting. V1 starts in the voice of God ("I the Lord of sea and sky") before in the Pre- Chorus asking a question ("whom shall I send?"). The Chorus then (unusually) steps into the first person with the title and the response to that question ("Here I am, Lord") and a promise ("I will go, Lord"). V2 is back in the voice of God but extends the plot in V1 to reveal more of His character ("I have wept," "I will speak my word" etc.) before again asking the question from V1 ("Whom shall I send?").
Musical
"Naughty" from the musical Matilda moves seamlessly through three stories of children/young people stuck in situations they didn't like–from Jack and Jill in V1 to Romeo and Juliet in V2 and Cinderella in V3. The Chorus elegantly responds to each situation, saying you don't have to just grin and bear it, even if you're little. The Bridge contains the payoff before getting back to the title ("if you're stuck in your story... sometimes you have to be a little bit naughty"). Lovely.
"Summer Nights" from Grease uses a different format–cleverly weaving two different roles in every Verse with two very different voices and contrasting points of view of a summer romance.
Jazz