Page 17 - JulyWAM

Jane Shields

25 Pro
25 Proven Steps To Lyric Writing Heavenven Steps To Lyric Writing Heaven

14.
14. Don’t feel that using imagery will make your lyrics too arty or flowery. Used well, it can evoke Don’t feel that using imagery will make your lyrics too arty or flowery. Used well, it can evoke
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emotions or moods that can’t be created by using blunt description alone.otions or moods that can’t be created by using blunt description alone.

15.
15. Be careful when using the emotional abstract, for example, saying things like “I want to feel free”. Be careful when using the emotional abstract, for example, saying things like “I want to feel free”.
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Complex emotions are often difficult to describe; it’s sometimes more effective to use imagery (see omplex emotions are often difficult to describe; it’s sometimes more effective to use imagery (see
tip 14) or context (see tip 8) to convey an emotion rather than simply stating it.ip 14) or context (see tip 8) to convey an emotion rather than simply stating it.
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16.
16. Experiment with tense. It can be interesting to write about the past, present and future, sometimes Experiment with tense. It can be interesting to write about the past, present and future, sometimes
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all within the same song.ll within the same song.

17. Be clear. Remember that the listeners might miss a word, or a line, or three. Don’t rely on just one Be clear. Remember that the listeners might miss a word, or a line, or three. Don’t rely on just one
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small line to put the whole song in context.all line to put the whole song in context.
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18. Experiment with attitude. Songs can be humble, arrogant, hopeful, sombre, aggressive and more. Experiment with attitude. Songs can be humble, arrogant, hopeful, sombre, aggressive and more.
18.
Creative droughts can often be tackled by radically changing the outlook of your lyrics. This isn’t to eative droughts can often be tackled by radically changing the outlook of your lyrics. This isn’t to
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say that you shouldn’t be yourself, but a bit of experimentation won’t hurt.ay that you shouldn’t be yourself, but a bit of experimentation won’t hurt.

19.
19. Experiment with pronouns. Songs don’t always have to be written using ‘you’ or ‘I’. Lyrics with Experiment with pronouns. Songs don’t always have to be written using ‘you’ or ‘I’. Lyrics with
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plural pronouns such as ‘we’ and ‘they’, for example, can give a very different feel to a song. Avoid lural pronouns such as ‘we’ and ‘they’, for example, can give a very different feel to a song. Avoid
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using too many different pronouns in the same song though as this may be confusing.sing too many different pronouns in the same song though as this may be confusing.
20. Don’t use too many words. Cramming a line full of words where they clearly won’t fit may cause Don’t use too many words. Cramming a line full of words where they clearly won’t fit may cause
20.
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each word to lose its impact; it’s normally wiser to re-write the line completely rather than trying to ach word to lose its impact; it’s normally wiser to re-write the line completely rather than trying to
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play literary Tetris.lay literary Tetris.

21.
21. Be aware of the ‘sounds’ of words. Words have an inherent sound to them which becomes even Be aware of the ‘sounds’ of words. Words have an inherent sound to them which becomes even
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more pronounced when sung rather than spoken. Some words sound spikey, some stodgy, some ore pronounced when sung rather than spoken. Some words sound spikey, some stodgy, some
open, some blunt, some roll off the tongue. Take the sound as well the meaning of the word into pen, some blunt, some roll off the tongue. Take the sound as well the meaning of the word into
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account when writing.unt when writing.
22.
22. Be cautious when using ‘clever’ or overly elaborate language. These words often look fine on paper, Be cautious when using ‘clever’ or overly elaborate language. These words often look fine on paper,
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but normally don’t translate well into song. You also run the risk of alienating listeners that don’t ut normally don’t translate well into song. You also run the risk of alienating listeners that don’t
know what a word means.now what a word means.
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23. Consider the rhyming scheme, if there is one. It’s important to remember that how ‘catchy’ your Consider the rhyming scheme, if there is one. It’s important to remember that how ‘catchy’ your
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song is in not just a product of the music and melody; it also comes from the lyrics, especially the ong is in not just a product of the music and melody; it also comes from the lyrics, especially the
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rhythm and rhyming scheme.hythm and rhyming scheme.
24. If possible, avoid writing filler lines in order to make rhymes work. It’s fine to use filler when If possible, avoid writing filler lines in order to make rhymes work. It’s fine to use filler when
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mapping out the structure of the song, but you should use any subsequent re-writes to try and make apping out the structure of the song, but you should use any subsequent re-writes to try and make
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each line count in is own right.ach line count in is own right.

25.
25. Keep it real - write about things you know about, or do plenty of research before starting to write. Keep it real - write about things you know about, or do plenty of research before starting to write.
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Not only does this make it easier for you to write your lyric, but it makes your lyric more believable ot only does this make it easier for you to write your lyric, but it makes your lyric more believable
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too, as you can insert emotion or feelings into the correct places where you know they belong.oo, as you can insert emotion or feelings into the correct places where you know they belong.

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