My Songwriting Process + Tips

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I don't believe there is necessarily a "right or wrong" way to write a song or composition; rather, what feels natural to the ones who create them. Most artists have a vision in how they want to convey their musical saga, which comes with its own personal journey to be experienced, as creators often face the dynamics of being both celebrated and criticized.

Independent artists have the privilege to develop their own creative toolbox that works best for them, so feel free to take or ignore any of this advice as you wish. With that in mind, here are a few tips and tricks that have helped me develop my personal writing style.

Listen to Music

Obvious, right? Just as important as the work you create is your origin of inspiration. In a way, how you talk and listen to people often determines how others perceive your personality. In a similar way, how you listen to music can often influence how you write. That is not to say you should not listen to any music you would not want to emulate, rather that we often reflect what speaks to us the most.

Do you picture an environment in your mind as you listen? Do you focus on each element (i.e. Drums, Vocals, etc.) and how each one plays a role in the piece? Sometimes, it can be helpful to visualize the piece and what stands out to you. For example, you can create a drawing for what you imagine the atmosphere of the song looks like or perhaps make a chart that shows each element and what changes occur throughout the song. Even dancing (or listening in the stillness) to the music can give you a good physical sense of the soul/feeling of a song and how it might relate to you.

Song Choice: Get to Know Your Voice & Develop Your Style

In addition to writing your own songs, I believe there's great benefit in finding songs to cover that compliment your voice. Regardless of the amount of practice you put into a cover song, everyone naturally has a different vocal tone and range that makes it comfortable to sing some songs and discomfort with others. It's very similar to how everyone could wear whatever they want, but some people learn how to style themselves in outfits that compliment them. As you continue to sing, over time, your voice may grow and develop with how you maintain your vocal cords. Similar to how we get older and find new styles of clothing to wear or grow into something we didn't think we could before our new experiences.

In both listening to and playing music, there are characteristics that may speak to you more than others. Whether it's an internal judgement or remarks from those who hear you perform, there are influences that often draw us to consider primary focus areas.

Sometimes, it can be beneficial to outline these musical preferences and why you gravitate toward them. I would recommend singing along to your favorite songs, whether directly or with karaoke, to find your sound - as it can be a beneficial way to determine both songs that sit naturally in your [current] range and the artistic tendencies you exhibit. For example, here's a self-evaluated outline of my musical/writing style:​

• Clarity: The importance and awareness of diction came to me as advice, encouraged by both my high school Choir & Theatre teachers. Not only can good execution of this detail help listeners hear lyrical content better, but it can often inform the tone of a song. In this regard, I've looked up to the style of many elegant crooners: One of the most influential examples brought up in my Theatre class was Frank Sinatra, but I often look up to Sam Cooke in this regard as well.

  
  

  That being said, it's important to note: Extreme emphasis of pronunciation has the potential to distract listeners as well, simultaneously limiting artists from expressing the melodic soul that tends to resonate with people more. I would argue the execution of the melody is the more important aspect of the two. Even so, a good sense of articulation in your words can marginally reduce the need to project your voice.

• Short N' Sweet: In an effort to reduce complaints of repetition, I tend to write shorter songs. This insecurity of mine is rooted in a specific memory:

  
  

  In Middle School, on the night of graduation, our class was waiting in the Music Room before it would begin. Limited in my knowledge of songs I could play, I was repeating The Hanging Tree on the piano in the room. Eventually, one of our teachers had enough and shouted out to the class - "WHO'S PLAYING THAT SONG?!" The crowded chatter shot silent, as everyone began to stare at me alone; the light in my eyes had burned out.

  
  

  Later in my life, in high school, my father encouraged the notion in a healthier manner. He gave me advice: It's better to leave your audience wanting more than wanting less. I became fascinated with this idea, as I was introduced to some of The Beatles' greatest hits: Eleanor Rigby caught my attention for this very reason. After his passing, I was introduced to the artist Bill Withers and one of his famous songs: Ain't No Sunshine, which reinforced this same admiration of brevity.

  
  

  These examples and more taught me something important in songwriting: It's not always about how long a piece should be, but what you're able to do in each section to make the experience of listening to each one worth remembering.

• Emotions/Soul: Music gives both the artists and the audience a "valid" opportunity to be emotionally vulnerable in a culture that otherwise discourages the expression of passionate emotions. In each record and performance, similar to an actor, my goal is to make it easier for my audience to believe in the lyrics and emotions I'm trying to convey in my voice. Sometimes, it means making a face or closing my eyes to get lost into what I am singing. In addition to this, I try to pull from my experiences or another's, to find ways to relate to the song, in order to make my delivery believable. Most of the emotion you convey is felt in the confidence you have toward your capabilities. That may take time to develop and that is okay!

Remember, all of these can be general parameters. You are always allowed to experiment in individual pieces or a change in style all together. As artists and human beings, no particular thing or person has to define who you are. We all have a right to grow, develop over time, and take as much space as we need to find ourselves.

Take Your Time & Experiment

There's a world of possibilities to be discovered in the realm of songwriting. Even in the cliche topics, like falling in love and heartbreak, there's still room for new inspiration: the third wheel's perspective, familial love, the loss of a friendship, etc. Just as important is the foundation. It's not only acknowledging if there's a Verse, Chorus, etc.

What makes each section unique? Repetition can be a great way to help people remember your song, but don't underestimate what a small amount of variety can do. Say, for example, you have the same drum pattern throughout the entire song. It's okay if you believe this best represents your expression for the piece: go for it! But, if you see there's more potential for a change in each section, that's okay as well! From my personal experience, I have found that slight variations of what's played can significantly improve the quality of your composition and keeps interest throughout playback.

Most important of all, take your time and try new things. If you don't like the new idea, you are not bound to it. This gives your composition and writing capabilities a chance to grow. Be curious; some of my "mistakes" have made the final cut in some of my songs.

Here's a secret to try: Throw an augmented/diminished chord or two at the end of your chord progression. As individual chords, they may sound harsh and dissonant. However, when you place it in with the other harmonious chords, it catches the ear and interest that your audience wouldn't be expecting (unless you do the same trick in every song, of course).

In the simplification of chord structures, it can be easy to forget that you can combine chords together. In one of my songs, In Love Again, I combine the 2nd Inversion F Major chord in the left hand with the 2nd Inversion A minor chord in my right hand. With this technique, I was able to take two different chords and unify them into something harmonious. Slash chords can provide a sense of variety to your chord progressions as well.

It's okay to let some of your songs grow up with you, especially if you feel like they aren't ready yet. Even if we may only have so much time in our lives, if a release not ready yet, it may be a sign to go experience more of what life has to offer before you pick it back up. In contrast, there is no shame in letting a song be a reflective journal archive of experiences and memories you look back on whenever you sing it years later.

Find Your People & Give Yourself an Outlet to Share Your Progress

Important to songwriting is finding a joy or a sense of achievement in your efforts. People will tell you it's hard work and exhausting, which to some extent it is certainly true. Some days, you may not make much progress on a song and that is normal. Other days, you may have a random idea come to mind that you immediately go to record. That's normal as well. It can be easy to get stuck on trying to reach the final version of a release that we forget to enjoy the process behind what we are making. To keep things fun, when I'm writing a song in a session, I think about refining each detail, as if I were working on an Iron Man suit. From my experiences, I believe much of my perspective has been informed by the communities I chose to participate in.

Whether it's an open mic night, a songwriting club, sending your friend a video of the piece you've been working on, etc., it can be a great benefit to perform where others will hear your talent/skill. Sometimes, it's the encouragement or constructive criticism that help us build momentum, while we're making music. There may be other times when someone says or does something that discourages you, which brings me to my next point.

Take What People Say with a Grain of Salt

It is important to be able to take criticism for your work, as there can always be another goal to work towards. That's how most of us learn and develop our craft. That being said, if someone says you need to change elements in your music, understand it as a mere suggestion. I'll give you an example: I had a [now former] friend who was really into rhythm, which makes sense, since he was a drummer. But any time I displayed my naturally imperfect pulse expression on the piano, he would try to diagnose how I needed to be more in time like he was. When I tried to play it in his time, he was satisfied, but it felt very inauthentic to me. Remember, anyone can make their own music. It's not fair to yourself to let another person take away your sense of creative liberty; you get the final say in the matter. Rules are merely "gridlines" for the times we want something predictably reliable, but that does not mean they have to be the gospel of music we worship as a means to gatekeep those who find something different that works better for them.

Be Authentic

I recognize how cliche this advice is, but it's honestly true. It doesn't mean you can't emulate what you like from the voices of other artists you admire or to take inspiration from them. Rather, unless you are intending to be an impersonator of another artist, most people admire the authenticity you bring more than how technically perfect you can replicate their voice. If people want to listen to another artist sound exactly like another, as if it's exactly off the record, they can just listen to the record. Depending on the genre, you do have a certain objective to stay in tune, so you don't sound flat or sharp throughout, sure. That being said, you can't fake the raw and authentic nature of a performance, which often fuels your confidence, which can naturally help you stay in tune.

We all different reasons why we make music, dance, etc. Your reasons aren't invalid because another person does it for the reasons they do. We all deserve our own space to enjoy any of the arts in the ways we do. Simultaneously, within our communities, we do not have to compete against one another. We can enjoy each other's company and their contributions, if not for the admiration of the genre they identify with, at least in respect of the efforts they've made and the skills they have executed. As we cheer each other on and find inspiration in the work others share, we remind ourselves that art doesn't have to be something you earn. It can be a world we wish to imagine for ourselves, as an escape from the obligations of our shared reality. A means of expression when you believe you aren't heard otherwise. Any reason that keeps you and your dream alive, know that your voice is valid and so are you.