Writing Lyrics and Music: Start with Authentic Emotion

I usually write about aspects of literature, but today, I will veer a bit. Several out there seem to be songwriters or budding songwriters and have asked for some songwriting tips, knowing I’ve had a little musical background, including writing, producing, and arranging a few songs for pop/country radio, live shows, and film productions. It also seems, from the emails you have written me, that quite a few of you not only want to or are writing songs, but you also play musical instruments and sing to accompany them. So, today, I want to jump in, at your suggestion, on one of my favorite topics: writing music and lyrics for songs, a subject I don’t usually get the opportunity to talk about. I thought I’d start this discussion with the subject of writing with authentic emotion since I believe this is probably one of the most essential elements of music. Again, this essay is directed toward writers who want to write music and lyrics alone or with a writing partner.

It would be best to lay the emotional foundation from the first chords or melodies played in the opening bars. As the writer, you need to know the core emotion you are trying to convey. The advantage to being both the lyricist and the composer is that sometimes you don’t even have to have an idea of what you’re going to write until you start, kind of like a literary pantser. Some of you probably do this. You sit down at the keyboard, as I do, and start playing and see what comes, including mood and subject matter. Somewhere along the way, either because you have the idea in advance or it comes to you as you doodle at the keys, you’ll decide and, more importantly, feel the mood you want your song to evoke. This can be anything: love, loss, betrayal, anger, joy, silliness, memories. Once you start, make a note to ensure consistency in what core emotion you are directing. Songs are short (usually three minutes or less), and it’s like a poem; you only have room for developing one solid thought or hook. Noting what you’re writing as soon as you zero in on it will become the compass you use to write the rest of the song.

I think the best songs come from where you are, writing with a personal connection to what is going on in your life right now and how you feel about it. This produces an authenticity, again like poetry, of your personal experiences or those of someone close to you now, set in situations you can touch, taste, and feel, situations that are genuinely going to move you. Even if it is not biographical, which it certainly does not need to be, real emotion is as essential in a fictional song as it is in a song about you or maybe a friend. (I’ve written many songs based on what was happening with a friend, not necessarily myself.) The important thing is to make it genuine through some personal connection,

Making it emotional also means playing with themes. Look for universal situations such as a single mom trying to make ends meet, someone not accepted, or a longing for love that is unreturned, and indeed betrayal; playlists are loaded with betrayal songs. These universal types of songs are always popular because they resonate with the listeners' lives (and you). Tie these universal elements in with the personal connection and core emotions, and you’ll see the lyrics start meaning something way beyond what they started with when they were just an embryo in your mind.

In writing the lyrics, stick with a straightforward narrative or central idea. Decide from the start (you’ll feel it and know it as though the song is telling itself to you) if your song is going to be narrative-driven (a story song) or emotionally-driven (exploring a theme or concept). When writing the lyrics, use imagery and specific (specific is always better than generic) details. If you find yourself telling, as we say in fiction writing, figure out a way to show it. Don’t tell us you have a feeling; show us the feeling through the action you sing about in your song. Like in any writing, use metaphors and similes that connect your feelings and thoughts with the emotions and thoughts listeners might have about certain things. Make it conversational. The best lyrics often feel like spoken thoughts or conversations. If you think you need to write something complex or poetic, from a commercial standpoint, you might be best saving this idea for poetry. It doesn’t transfer well in song. Simplicity is the key. When writing lyrics, hooks are essential. This is another way songwriting differs from poetry. Hooks usually appear in the chorus and are phrases that hook your listener. I could cite examples, but if you’re far enough along that you’re attempting to write songs, you already have a list of songs with great hooks in your mind. Those songs are earworms. Your hooks will make the song memorable, and that is what you want. Keep the hook simple and unforgettable. That sometimes makes all the difference in the success of the song. When I’m writing, I sometimes also like to play around with structure. You don’t have to follow the traditional AACACBC structure that is common in most songs. I remember the first time I heard Queen’s Bohemian Rhapsody. I was blown away.

In terms of the musical plate that holds the lyrics, as you compose (I tend to write lyrics and music simultaneously), you’ll find the song's mood when you diddle around at the keys or with a guitar, whatever your writing instrument of choice. Regardless, like with the lyrics (or as the lyrics follow the music), you’ll find the music takes on a particular mood. Once you start, keep it consistent unless you deliberately want to make some emotional transition. No problem if you do; make sure it is intentional if you veer from the original feel. Regardless, the music and lyrics need to go hand in hand and align solidly, with both having the same emotional core. The keys are going to make a difference in the feel, for sure. Major keys are going to make the listener feel uplifted, happy, vibrant, and triumphant. Minor keys are going to push the listener into a moodier, melancholy, reflective, or sad frame of mind (though if they’re choosing to listen to your song, they’re probably already there and are looking to you for mood music). A Dorian mode will make you hopeful yet wistful; you’ll find this in a good deal of pop music. A Mixolydian mode will make your song uplifting and energetic, with a hint of complexity. There are other modes and key tricks, but this gives you an idea. If you don’t know what I’m talking about up to this point, you might want to find a straightforward book on music theory and listen to a wide range of music, so you understand the feel of different types of music. The mood is imperative. Chord progressions also factor into the mood. Major chord progressions, e.g., I-V-vi-IV, make the song emotional and uplifting. Minor keys, e.g., vi-IV-I-V, produce a melancholy, yet arcing experience, while other minor key chord progressions, e.g., i-iv-V-I, produce something dark and haunting. As you sit at your keyboard, play around. You’ll find all kinds of interesting possibilities. Be original. Don’t feel like you must stay consistent within a key. Follow the lyrics and let the lyrics follow the music. Vary the volume and intensity to match emotional valleys and peaks within the lyrics. Play around with the beats and the speed of the song. Heartfelt songs usually run around 60-80 beats per minute; moderate tempos run around 90-110 beats per minute and are generally used for balanced emotions; while fast tempos of around 120+ beats per minute are used for excitement, urgency, anger, or just making you want to get up and dance. And, again, you don’t have to be consistent. Vary them up. Be creative. Be innovative. But as you’re experimenting and when you want to break the rules, always know what you’re doing. That’s probably the number one nugget of this article: find the mood and manipulate it through the lyrics and the music for your optimum effect.

I hope this starts a dialogue and answers some of the questions you have sent me. Keep sending your thoughts and suggestions. I read and listen. Happy writing. I'd love to hear some of your compositions for those of you experimenting with songwriting in addition to your poetry, prose, and all the other wonderful things you’re doing. Let me know if this article helps.