Anyone Can

Write Songs

BY
JOHN FORD

$19..95
 INTRODUCTION
Songwriting is a skill that can be learned by anyone who can read and
write. So, if you made it through third grade you can learn to write songs.
In my 25 years of teaching, ALL of my students who wanted to write songs,
did learn to write songs, when they studied the information in this book, and
did the recommended exercises.
If you have no idea how to write songs right now, don't worry. I
started off just like you. I had a desire to write songs but had never written
one. My first few songs were pretty raw, and I would be embarrassed to
have you hear them now. But over the years, I developed my writing to the
point of getting my songs and jingles on TV and radio. I was not gifted
with extraordinary talents. I just studied and kept writing. The more I
wrote, the better my songs became. If I can do that, so can you.

If you're just starting out as a songwriter, your first few songs will be
rough. That's normal! It doesn't mean you're a bad songwriter. It just
means you're a beginning songwriter. If you stick with it, you'll get better.
So start writing and keep writing.
 1
SONGWRITING BASICS

The first step in learning to write songs is to understand how songs

are put together. Once you understand this, writing will be easier and
you'll write better songs.

Most hit songs use the same formula

Over the past 50 years, most hit songs have been structured in about
the same way. In other words, they all follow some sort of "industry
standard." They're about 3-4 minutes long. They all have Verses,
Choruses, and sometimes Bridges. As I explain the way songs are put
together, keep in mind that there are rare songs that don't precisely follow
the patterns I describe. My goal is to give you an understanding of
successful songs, so you can blaze your own trails, and still stay within
industry standards if that's your desire.
The advantage of following the industry standards, is that if you want
to get your songs on the radio, or you want to sell your songs, you need to
follow the industry format. Also, I've found that writing songs in this way
makes it easier for audiences to listen when you perform live.

What makes up a song?

In order to write a song, you need to understand the ingredients that
make up a song. If you want to bake an apple pie, you need ingredients:
apples, flour, sugar, shortening, etc. To write a song you need "song
ingredients."

SONG INGREDIENTS
Songs are made up of three basic ingredients: lyrics, melody and
background music.

1. Lyrics:
The lyrics are simply the words of the song. They tell a story, paint
a picture, and express emotion. They are arranged in sentences that contain
meter (a beat) and rhyme.

2. Melody:
The melody is what you sing or hum. It is a series of notes strung
together. If you hum "Mary Had a Little Lamb," you are humming the
melody. When you sing the words of the song, you are singing the lyrics,
with the melody.

3. Background Music:
The background music is what the musicians in the band are playing.
The background music supports and blends with the melody and lyrics.

Lyrics and melody come first

Of these three ingredients, the lyrics and melody are the most
important. Most hits become hits because of the power of the lyrics and
melody. The background music isn't as important or difficult to create.
The background music can be created by hired musicians. No amount of
money however can force a songwriter to create great lyrics and melody.
That has to come through work and inspiration.

Where do you start?

 I recommend that as a beginning songwriter you start by writing
lyrics or lyrics with melody. I will explain later how you can create the
background music. You don't need to be able to write music in order to be
a successful songwriter. You do need to write lyrics or lyrics and melody.

Does writing just lyrics really make me a songwriter?

Yes! I know one of the top songwriters in California and all he does
is write lyrics. He is good. You'd probably recognize some of the songs
he's written. I estimate he earns well over $100,000 per year just writing
lyrics. A good lyricist is extremely valuable in today's music industry.

So, your job, should you choose to accept it is to learn to write

lyrics, or lyrics with melody. If you're interested in writing music I'll
explain how to get started, later on.
 2
SONG PARTS AND ARRANGEMENTS

When you take your lyrics, melody and background music, and put
them together, you have a song. This song can be broken up into song
parts. For example, the song part that usually appears first in a song is the
introduction. It is music with no vocals. It sets the mood and introduces
you to the song. The next song part is generally the verse. This is where
the singer starts singing. After the verse you'll usually find a chorus. Get
it? Go listen to a couple of songs now.
Since song parts are the building blocks of songs, it's important to
understand what the different song parts are. There are only seven possible
song parts that can be used to build a song. They are:

SONG PARTS

1. Introduction (I)

2. Verse (V)

3. Pre-Chorus (PC)

4. Chorus (C)

5. Bridge (B)
 6. Solo (S)

Here is an example of a real song, and how the different parts come
together:

My Valentine
copyright 2007 John Ford

Verse one
I saw you standing by the band.
Blonde hair rolling on your shoulder.
I walked to you and took your hand.
Beauty always makes me bolder.

Pre-chorus
We danced like we were flying.
Ran like we were free.

Chorus
Dance with me, now, beneath the moon.
Melt your body to mine.
All I want, now, is all of you.
My sweet Valentine.

Verse two
I saw you riding on a wave.
A picture of supreme perfection.
I fell in love with you that day.
Made a mystical connection.

Pre-chorus
We danced like we were flying.
Ran like we were free.

Chorus
Dance with me, now, beneath the moon.
Melt your body to mine.
All I want, now, is all of you.
My sweet Valentine

Bridge
Today, you gave me a smile.
You light me up so easily
With your fire.
With your fire....

Chorus
Dance with me, now, beneath the moon.
Melt your body to mine.
All I want, now, is all of you,
My sweet Valentine.

Identifying song parts

Let's help you understand song parts, so you can tell a verse from a
chorus. It's pretty easy. You probably already know more than you think.

1. Introduction: The introduction (often called the intro) is the

music, usually without vocals, at the very beginning of the song. It sets the
mood and helps you recognize the song. Start any song at the beginning,
and you'll hear the intro.

2. Verse: The verse is usually where the singer begins singing. On

rare occasions a song will start with a chorus, but 95% of the hits over the
last 50 years start with singing on the first verse.
A song has anywhere from two to four verses. The verses tell the
story and paintS a picture. The melody and background music are the same
from verse to verse, but the lyrics are different in each verse.

+3. Pre-Chorus: Pre-Choruses are optional. Some songs go

straight from the verse into the chorus, and others use a pre-chorus to get
into the chorus. You could have a song that went: Verse--Chorus--Verse--
Chorus--Bridge--Chorus, or it could go: Verse--Pre-Chorus--Chorus--
Verse--Pre-Chorus--Chorus--Bridge--Pre-Chorus--Chorus. Either option is
fine.
For example, if your verse is comprised of mostly low notes, and
your chorus is mostly high notes, the pre-chorus can use medium notes to
help you make a smooth melodic transition from the verse to the chorus.
The pre-chorus can also help you make a smooth lyrical transition from
your verse to your chorus.

4. Chorus: The chorus is usually the most exciting part of the song,
both lyrically and musically. It contains the title or the hook of the song,
which is often repeated two or more times within the chorus. The hook or
title is the most memorable phrase of the song.
A chorus occurs at least three times in a song, and the lyrics, melody
and the background music are the same in each chorus except in an outro
chorus where the entire chorus is modified to make it more interesting.

+5. Bridge: There are two types of bridges. The most common
type of bridge is used in Verse/Chorus songs. The other type of bridge is
used in Verse/Bridge songs. Each type of bridge has a different purpose
and design.

Note: The two types of songs that exist today are Verse/Chorus songs
which contain the title or hook in each chorus, and Verse/Bridge songs
which contain the title or hook in each verse. About 95% of today's songs
are Verse/Chorus songs.

Type "A" Bridges, (used in Verse/Chorus songs): The purpose of

Bridges in Verse/Chorus songs is to give the listener something new in the
second half of the song. By the time you get to the second half of a Verse/
Chorus song, hearing another verse could be very boring. That's why
bridges are written. The hardest place to keep your listener interested is in
the second half. They have already heard verses and choruses and probably
don't want to hear them again.
A bridge is a brand new part, and is not at all like a verse or a
chorus. It contains new lyrics, music and melody, and provides a smooth
transition between the verse and chorus (or solo). It's an exciting new part,
designed to keep your listener interested.

+ Maybe Example now (used in Verse/Bridge songs): Verse/

Bridge songs have no choruses. The purpose of a bridge in a Verse/Bridge
song is to break up the Verses. Verse/Bridge songs have the title in each
verse. Bridges are put in between verses so the song doesn't go verse,
verse, verse without a break.
The bridge acts like a chorus in that all bridges are the same lyrically
and melodically, but the bridge doesn't contain the title, the Verses do. I
know this seems confusing. It is confusing, so hang in there! You might
need to read this section a few times. It will become clearer to you when
you see the examples of the two types of songs later on in this book.

6. Solo: This is where the singer stops singing, and the guitar
player, sax player, or any other musician takes a solo. Again, it's a way to
break up the song.

7. Outro: An outro is usually a chorus where the singer and the

band improvise. The listener doesn't want to hear the same old chorus, so
the band and singer change the last chorus. It's still a chorus, it just gets
changed around to make it more interesting. Outros are a lot of fun.

Note: Not all songs use all of these song parts. Some songs don't have
pre-choruses, bridges or solos.

+
Here's an example of the way song parts come together:

Intro -Verse -Chorus -Verse -Chorus -Bridge -Chorus -Outro

The song starts at the intro, and ends after the outro.
 SONG ARRANGEMENTS
Song parts can be put together or arranged in different ways. The
most common song arrangements are:

Verse/Chorus Songs:

Arrangement #1: I-V-C-V-C-B-C-O

Intro

Verse

Chorus

Verse

Chorus

Bridge

Chorus

Outro
Arrangement #2: I-V-V-C-V-C-B-C-O

Intro

Verse

Verse

Chorus

Verse

Chorus

Bridge

Chorus

Outro
Arrangement #3: I-V-PC-C-V-PC-C-B-C-O

Intro

Verse

Pre-Chorus

Chorus

Verse

Pre-Chorus

Chorus

Bridge

Chorus

Outro
Arrangement #4: I-V-PC-C-V-PC-C-S-C-O

Intro

Verse

Pre-Chorus

Chorus

Verse

Pre-Chorus

Chorus

Solo

Chorus

Outro
Arrangement #5: I-V-C-V-C-S-C-O

Intro

Verse

Chorus

Verse

Chorus

Solo

Chorus

Outro
Arrangement #6: I-V-V-C-V-C-B-V-C-O

Intro

Verse

Verse

Chorus

Verse

Chorus

Bridge

Verse

Chorus

Outro
These different arrangements are just options you have when finishing your
song. Don't worry about understanding them all now, just try to get a
general picture. As you become a more experienced songwriter, the
arrangements will more or less work themselves out.

Verse/Bridge Songs (much less common):

Remember, there are two types of songs, Verse/Chorus songs, and
Verse/Bridge songs. Here are some examples of how Verse/Bridge songs
are put together.

Arrangement #7: I-V-V-B-V-O

Intro

Verse

Verse

Bridge

Verse

Outro
Arrangement #8: I-V-B-V-B-V-O

Intro

Verse

Bridge

Verse

Bridge

Verse

Outro
 These arrangements might seem confusing at first, but once you
understand the different song parts, you won't be so baffled by the various
arrangements. Experiment with different arrangements. Make some up!
Your goal is to keep your audience interested, so whatever arrangement
does that job is the right arrangement.
Turn on the radio, or go to i-Tunes right now and listen to three
songs. See if you can figure out where each of the song parts are and how
they follow each other. Write down their arrangements.
Also, print out the lyrics of some of your favorite songs. As you
listen to the songs, follow the lyrics. It will help you make sense of what
we've been talking about.
Here are some examples of actual songs with different arrangements.
I'm using songs that I have written, because for copyright reasons, it is very
difficult to use other people's songs.

Example 1: Here is an example of a verse/bridge song that follows

arrangement number 7:

Hurricane Jane
copyright 2007 John Ford

Verse one
She walked into town with a rose in her hand.
She had a smile that whispered, “I'm as free as the wind.”
Every now and then on this earth
God puts beauty first, Hurricane Jane.

Verse two
By the side of the road sat a man his head hung low.
He lost his job. He had nowhere to go.
She talked with him for a while.
A little later on, I saw him smile, Hurricane Jane.

Bridge
She's a wild one, a burning fire.
A moonlight lover,
She's a dancer in the rain
Hurricane Jane

Verse three
On her way back home, a man pulled out a gun.
He said, “Hey there baby, we're going to have us some fun!”
But faster than the blink of an eye.
She had his gun, and his hands held high, Hurricane Jane.

Notice that the title of the song, “Hurricane Jane,” appears at the end
of every verse. This is how verse/bridge songs are constructed. You don't
see the outro in this song because it is mostly musical. If you heard the
song, you would hear the outro.
Example 2: Here's an example of arrangement #3:

My Valentine
copyright 2007 John Ford

Verse one
I saw you standing by the band.
Blonde hair rolling on your shoulder.
I walked to you and took your hand.
Beauty always makes me bolder.

Pre-chorus
We danced like we were flying.
Ran like we were free.

Chorus
Dance with me, now, beneath the moon.
Melt your body to mine.
All I want, now, is all of you.
My sweet Valentine.

Verse two
I saw you riding on a wave.
A picture of supreme perfection.
I fell in love with you that day.
Made a mystical connection.

Pre-chorus
We danced like we were flying.
Ran like we were free.

Chorus
Dance with me, now, beneath the moon.
Melt your body to mine.
All I want, now, is all of you.
My sweet Valentine

Bridge
Today, you gave me a smile.
You light me up so easily
With your fire.
With your fire....

Chorus
Dance with me, now, beneath the moon.
Melt your body to mine.
All I want, now, is all of you,
My sweet Valentine.

Here's an example of a song that follows arrangement number 2:

Miracle Baby.
Copyright 2002 John Ford.

Verse one
She gives me something I can believe in,
Shoots a fire through the center of my house,
Shakes away any glimpse of reason
Wakes the madness in this Gringo town.

Verse two
Don't know if she's an angel or a devil,
But I know I want to like that fuse.
She's a cross between innocence and trouble,
And I'm as willing as a ship of fools.

Chorus
She's a miracle baby.
Like a river, she finds her own way.
When she smiles, she takes
A piece of my heart.

Verse three
Give her anything and she's in heaven.
She can dream in colors I can't see.
And when I trap myself in my own prison,
She reaches out and rearranges me.

Chorus
She's a miracle baby.
Like a river, she finds her own way.
When she smiles, she takes
A piece of my heart.

Bridge.
She's a thunder and lightning show,
A locomotion machine.
It's hard to believe something as pure as this
Could ever come from me.

Chorus
She's a miracle baby.
Like a river, she finds her own way.
When she smiles, she takes
A piece of my heart.

Assignment:
Listen to ten hit songs. Print out the lyrics and identify each song
part. You can google the lyrics, and then figure out which arrangement the
song follows. You'll be surprised at how much you'll be able to figure out.
If you get lost a few times, that's normal. Remember, you're still learning.

Understanding song parts is the first step in being able to write songs.
Spend some time listening and studying. When you're listening to your car
radio, try to figure out what each part is. With practice, you'll get real
good at identifying song parts.
 3
THE 6 LYRICAL PRINCIPLES

Lyrics are used in five of the seven song parts: verses, pre-choruses,
choruses, bridges and usually the outro. A simple song will only need
lyrics for verses and choruses, since pre-choruses, bridges and lyrical outros
are optional.
There are 6 Lyrical Principles that you will need to learn and apply
to your lyric writing. Following these principles will make your songs
better and help keep your songs within "industry standards." This is
important, because you may eventually be trying to market your songs to
the industry, and if you don't know the standard, you'll have a hard time
breaking in. If you're not interested in selling your songs, The 6 Lyrical
Principles will help you write songs that will give you and your audience
greater satisfaction.
As you analyze hit songs you will see a wide variance in approaches,
but you will see certain things that most songs have in common. These
commonalties are explained by the 6 Lyrical Principles.
 LYRICAL PRINCIPLE 1

Lyrical Principle 1: “Literal” rhymes are fine, “false “rhymes are great,
“no” rhymes can work, but “cliched” rhymes are trouble.

Most lyrics today are based on some sort of rhyme. Here are some
examples of different ways to rhyme:

1. Literal rhyme: day and pay

2. False rhyme: love and up (they both have the "UH" sound)

3. No rhyme: day and wish

4. Cliched rhyme: love and dove (it's too obvious and corny)

Rhyming works best when it feels and sounds natural. If it feels

forced or too obvious it may be cliched. You will have to be the judge
about what's literal and what's cliched. If it feels corny when you read it to
your friends, usually it's cliched, and needs to be rewritten.
 LYRICAL PRINCIPLE 2

Lyrical Principle 2: The rhyming scheme in the first verse should be

followed in all verses.

In general it's best to keep the rhyming schemes consistent. In the

song below we see that the last word in lines 1 and 2 of each verse rhyme:
here and fear in verse 1, today and say in verse 2. We see that the last word
in lines 3 and 4 of each verse rhyme: smile and awhile in verse 1, am and
sin in verse 2. (The rhyming of am and sin is a good example of a false
rhyme.)

EXAMPLE:

VERSE:
I'm feeling lonely sitting here
Playing chess with my fear
A steady job might make me smile
But I don't know, it's been awhile

VERSE:
If I go out with you today,
I might not have a thing to say.
If I can show you who I am,
You'll feel love and you'll touch sin.

VERSE:
I used to be afraid to cry,
But, now, my tears I cannot hide.
I shake and tremble 'til I fall,
And when I break, I break my wall.
VERSE:
I take my life too serious
With made up rules that I can't trust.
When I hear God, he says, “Let go,
And you'll find life ain't that cold/”

In the above song I rhymed lines 1 and 2 with each other and lines 3
and 4 with each other. That's just one way to do it. In your songs you
could rhyme lines 1 and 3 and have no other rhyme. It's up to you how
you rhyme. But once you set up up a rhyming scheme in your first verse,
stick with it in the following verses.
It's okay to be a little bit loose with this principle, if you can get
away with it. If you or your audience cringe when you come to the loose
part, you didn't get away with it.
 LYRICAL PRINCIPLE 3

Lyrical Principle 3: Keep the number of syllables per line fairly

consistent from verse to verse.

If line 1 in verse 1 has 4 syllables (as is the case in the song below),
then line 1 in verse 2 should have around 4 syllables. Line 1 in verse 2
could have 5 syllables and still work, but if it got up to 7 syllables, you'd
have a hard time staying within the original melody.
The melody in line 1 of verse 1 is the same as the melody in line 1 of
verse 2. There's no room to add or subtract a lot of syllables without
changing the melody, and changing the melody from verse to verse is not
really an option. Keeping the melody the same from verse to verse gives
the song consistency. Consistency keeps the song memorable and gives the
listener something he can grasp on to.
The same thing goes for lines, 2, 3, and 4 of each verse. Notice how
line 2 of verse 1 has 9 syllables and line 2 of verse 2 has 10 syllables.

VERSE 1:
I'll give you love. (4 syllables)
When you're feeling down, I'll pull you up. (9 syllables)
I'll give you hope. (4 syllables)
I'll shoot a ray of light right through your soul. (10 syllables)

VERSE 2:
I'll give you strength. (4 syllables)
I'll stand beside you each and every day. (10 syllables)
And if you call, (4 syllables)
I'll talk with you and wipe your tears away. (10 syllables)
Assignment:
Write out the lyrics of 3 radio songs and count and write down the
syllables of each line in each verse. Then compare the verses with each
other and you'll see they are fairly consistent.
 LYRICAL PRINCIPLE 4

Lyrical Principle 4: Write honest and bold lyrics.

Good lyrics tell a story and communicate a message. You only have
so many words to tell the story, so you can't afford to waste words. Be sure
all the parts of your song are focused towards your big message. If your
verses are about being in love and your choruses are about hunting polar
bears in the Yukon, you're in trouble, (unless you're in love with a polar
bear.)
The key here, is to let the creative process flow. Let all your ideas
come out, write them down, and don't try to judge what is good or bad in
the moment. You can sort that out later.
Here is an example of a love song, that arose from the creative
process:

My Fortune
Copyright 2007 John Ford

Verse one
I find her in the candlelight amber like the sun.
It gives me chills to touch her and watch her body run.
She heats me in her golden fire and coats my every bone.
Wraps me in electric light, before she takes me home.

Chorus
Every time I hold her.
My body feels like sunshine in a storm.
I have found my fortune in this love

Verse two
She can see, all I am and all I shouldn't be.
She keeps my eyes clear and bright and sets my body free.
She flies like a raven over the summer lava flow.
And dances like an angel on Serengeti snow.

Chorus
Every time I hold her.
My body feels like sunshine in a storm.
I have found my fortune in this love.

Bridge
She can like the darkest sky.
She can make my melodies fly.

Chorus
Every time I hold her.
My body feels like sunshine in a storm.
I have found my fortune in this love

Do you see what I mean? Get into your life and let us know you.
General, generic, cliched lyrics won't make it. You want your lyrics to be
as interesting as a short story, so they hold your audience's attention as a
great story would.
Be bold and be honest. Great lyrics express real life. Tell your story
as it really is. Tell the truth. The truth is powerful!
Don't try to write what you think the audience wants to hear. You
can't figure out what they want, and you'll write junk with that approach.
Take chances and paint bright pictures. Tell exciting and captivating
stories.
Many find it helpful to brainstorm and get all their ideas on paper,
without any lyrical structure or rhyme. Once you have the story you can
work it into a good song structure.
When you are writing or brainstorming, do not edit! Let me say it
again: do not edit! Editing is important later on, but at this stage. You are
generating ideas, and you do not want your critical mind to become
involved.
 LYRICAL PRINCIPLE 5

Lyrical Principle 5: Be sure your lyrics are easy to speak.

Try reading your lyrics out loud to yourself, and to a friend. If some
of your lines are hard to read and feel awkward when you're reading them,
they may need to be rewritten. If they speak well, they'll usually sing well!
Throughout the songwriting process, it's a good idea to be aware of
the “cringe factor.” If you cringe when you are reading your lyrics to
yourself or someone else, you need to rewrite that part. Don't expect the
cringe to disappear later on. It won't.
 LYRICAL PRINCIPLE 6

Lyrical Principle 6: Write a strong title or hook.

A good title or hook is a strong statement made in five words or less,

although occasionally they have more than five words.
The title or hook of the song is the lyrical phrase that the audience
remembers. Usually the title and hook are the same. For example in the
previous songs the titles are the same as the hooks: My Valentine,
Hurricane Jane, and Miracle Baby.
An example of a song where the title and the hook are different is 4-
Non-Blondes What's Up where the title is What's Up and the hook which is
repeated throughout the song is What's Going On. Go listen on iTunes. By
the way, the lead singer and guitar player from that band were both students
of mine.
More and more songwriters today are writing like this where the
lyrical phrase that the audience remembers (the hook) is different than the
title. What's important is to have some sort of lyrical phrase that the
audience can sing along with and remember.
Keep a separate page in your songwriting notebook dedicated to titles
and hooks. Spend part of your writing time coming up with titles and
hooks. Then, when you go to write a song, pick a one that inspires you.
A common predicament for songwriters, is to have a pretty good
song with out an obvious title or hook. When you find yourself in this
situation, you will need to come up with some kind of title or hook, that
will be memorable for your audience. This can be frustrating, but with
practice you will become successful at writing good hooks.
Learning to apply The 6 Lyrical Principles
It will take time and practice to learn The 6 Lyrical Principles. Don't
expect to get them all at once. Just keep writing and in time you'll find
yourself applying the principles automatically.

Assignment:
Go online and print out some lyrics from your favorite songs. Check
out the lyrical principles and see how they apply to these songs. You'll get
a better understanding by seeing how the rules apply to real life songs, as
well as how great writers break the rules and create even better art. Do the
same with the lyrics in this book (and with your lyrics if you've written any
yet).

Here's a recap of the 6 LYRICAL PRINCIPLES:

Lyrical Principle 1: Literal rhymes are fine, false rhymes are great, no
rhymes can work, but cliched rhymes are trouble.

Lyrical Principle 2: The rhyming scheme in the first verse should be

followed in all verses.

Lyrical Principle 3: Keep the number of syllables per line fairly

consistent from verse to verse.

Lyrical Principle 4: Write honest and bold lyrics.

Lyrical Principle 5: Be sure your lyrics are easy to speak.

Lyrical Principle 6: Write a strong title or hook.
 4
WRITING YOUR OWN LYRICS

Now it's time for you to start writing your own lyrics, keeping in
mind what you've learned. I suggest you set aside an hour or two a day and
just write. Write junk, write great stuff, just be sure to write whether you
feel like it or not.
If you write only when you're inspired, you may spend most of your
time waiting to be inspired. Writing from inspiration will be a part of your
process but not the only part. I divide my writing into two categories:

1. Writing from inspiration. This is where it is easy, fun, and I

feel like a genius. Stuff just flows out of me.

2. Rewriting. This part of the process is work! I take my

unfinished ideas and apply the Lyrical Principles to them. My goal is to
finish the song and make it the best that it can be.
I might spend two hours coming up with just one line. I try to make
it fun by looking for ideas that are fresh and exciting. This is a good time
to get bold and take chances. If you have a weak line, look at it as an
opportunity to develop a great line.
When you're trying to finish a song, try to look at all the rewriting
you were doing as a way to make your song exciting and great, rather than
just trying to get by with finishing the song. Many times, the weakest links
in my songs were turned into great parts, because I took the opportunity to
be bold and work for greatness, rather than just trying to finish the song any
old way.

Have fun
When I sit down to write I generally gravitate toward what I feel like
writing. I never want to lose the joy and fun of writing even when it's
work. If writing becomes painful, I write about the pain. Go towards the
songs you feel like working on.

Scheduling time for writing

The professional songwriters I know write for about four to six hours
a day, five days a week. They show up to write, whether they feel like it or
not. Sometimes they are productive and sometimes they aren't.
If you want to succeed as a songwriter, you need to spend a lot of
time writing. If "waiting till you feel like it" isn't getting the job done,
schedule time in your calendar, and then show up. Put in the time, do the
work, and you'll see results.

Songwriting tips

1. Digital micro recorder

I absolutely love these little devices. They are so easy to use, and
editing with them is a breeze. There are about $50, and every songwriter
needs one. I keep one by my bed because I get ideas when I wake up in the
morning. You never know when ideas will come and if you don't get them
recorded you may lose them forever.

2. Pen and paper:

Keep a pad and pen with you at all times. Write whenever you get
an idea.

3. Songwriting team
 One of the best ways to improve your writing is to receive regular
feedback from supportive peers. Put together a team of 2-6 songwriters,
and get together with them once or twice a month. You'll make progress
you couldn't make alone, because you'll receive feedback and you'll have
deadlines. The feedback will make your songs better. The deadlines will
help you finish your songs.

4. Collaborating with other songwriters

If you look on CDs or sheet music you will find that most songs are
written by more than one person. This is because some people are good at
lyrics but have trouble with music. Some writers do write both music and
lyrics.
Writing with other people has its advantages and disadvantages.
What I like about collaboration is that I have another person to bounce my
ideas off of, and when I get stuck, they can generally come up with
something I really like.
What I don't like about writing with other people is that they say
things differently than I would say them. Sometimes what they write is
better than what I had in mind, but sometimes it leaves me feeling
frustrated because I wanted to say something different.
Overall, I really like collaboration because I write more songs, and
the process is usually easier and more fun. Try writing with a few people
and see how you like it.

Write, write, write!

The most important thing you can do to improve your songwriting is
to start writing, and keep writing. Make the time and pick up that pen.
Turn on that digital micro recorder. It is the practice of writing that will
turn you into a great songwriter.
 5
CREATING MELODIES
FOR YOUR LYRICS

The next step is to create melodies for your lyrics. When you have
lyrics with melody, your song is practically finished. All you need to do is
hire somebody to create the background music. I'll explain more about that
later.

What is a melody?
Now don't freak out! Many people find that writing melodies is
easier than writing lyrics. If you can sing "Mary Had a Little Lamb" you
can write melodies.
I'll start by explaining the concepts of melody writing. Technically,
a melody is two or more notes sung or played by a musical instrument. I
want you to write a melody, right now. Sound scary? Well it's easier than
you think.
All I want you to do is to sing "la-----la-----la-----la-----la-----la."
Sing it anyway you like. Change the notes or keep them the same. There
is no right or wrong way. You just wrote and sang a melody! Now you
can no longer say "I just can't write a melody." You can and you did!
With time you'll learn to write more complex melodies. As a
beginner your melodies will probably be pretty simple, but many of the
greatest songs ever written have very simple melodies.
Writing melodies for your lyrics
Let's write a melody for some of your lyrics. We're going to start
slow and make it real easy. Choose the lyrics from one of your verses or
choruses. Start with the first line and sing it. Remember, there is no right
or wrong here. Just experiment with different ways of singing, always
paying attention to what feels good. When you find a melody that feels
good, turn on your tape recorder and save it. Now sing the first line and
start experimenting with different melodies for the second line. When you
find something you like, record it. Keep going in this manner, moving
from line to line, until you've finished the verse or chorus. Be sure to
record your finished product.
When you listen to your newly written melody, it's easy to get
discouraged, because without music behind it, your song may not sound too
glamorous. Don't lose heart. Most of the greatest songs in the world would
sound pretty raw without music behind them. When you record your song
with music, you'll be pleasantly surprised. Your song will come alive.
 6
THE 3 MELODIC PRINCIPLES

Now that you've played around with writing melodies, lets refine
them a little bit with the 3 Melodic Principles. These principles will help
you to understand and write better melodies. Here are the 3 Melodic
Principles.
 MELODIC PRINCIPLE 1

MELODIC PRINCIPLE 1: Provide melodic contrast.

Melodic contrast keeps your songs interesting by interspersing low,

medium and high notes throughout your songs. If your verse has lots of
low notes and feels suspenseful, your chorus should have some high notes
to give a feeling of release and excitement.
If you were to have a verse with mostly low notes and then were to
follow with a chorus that had mostly low notes, the song would just drag on
and on with mostly low notes. There would be no contrast or drama. The
singer would never get a chance to stretch out and belt. The song would be
boring.
Listen to some songs on the radio and notice how they provide
melodic contrast.

Assignment:
Pick three songs on the radio and draw melodic graphs. They don't
have to be perfectly accurate. The idea is for you to start to get a better
understanding of how professional writers work with melodies. When the
song has a low melody, you will be drawing a line at lower in the graph.
When the melody gets higher your line will go higher. Your graph doesn't
have to be particularly detailed. The idea of the melodic graph is to give
you an idea about how melodies change throughout songs.
 MELODIC PRINCIPLE 2

Melodic Principle 2: Put powerful, easy to sing words at the peak of a

melody.

Melodies generally build to a high note or peak. When you get to

that high note, you don't want to land on a word like "the" or "but." You
do want powerful, easy to sing words like "free" or "fight." These
powerful words, when blended with the peak of the melody, will add drama
and excitement to your song. Listened to some songs and you will see what
I mean. Remember, you always want to make the song fun for the singer
to sing.
 MELODIC PRINCIPLE 3

Melodic Principle 3. Keep melodies in verses, choruses and bridges

different from each other.

It's very easy, (but incorrect) to write songs in which the verse
melody and chorus melody sound similar. Let's say your verse melody was
the melody to "Mary Had a Little Lamb." Your chorus needs to have a
completely different melody.
Many times a beginning songwriter will use a version of the "Mary
Had a Little Lamb" melody for their chorus as well as their verse. This
doesn't work. If your melody in the verse is very similar to the melody in
the chorus, it will be difficult to tell where the verse ends and the chorus
begins. It would also make for a boring song. You want your verses,
choruses and bridges to each have distinctive melodic feels and
personalities. Listen to some songs, and notice how the verses, choruses
and bridges have very different melodies.
Using the Melodic Principles for writing your melodies
Now that you understand the principles for writing good melodies, I
want you to apply these principles to one of your songs. Get out your tape
recorder and start singing. When you play back your ideas, listen for the
parts that you like and change the parts you don't like. Apply the 3 Melodic
Principles. Don't be hard on yourself. Give yourself a pat on the back for
being able to come up with any melody. Look at the progress you've made
since you started.
Remember to look for progress, not perfection! I can't tell you how
important this is. If you look for perfection you won't find it. It's
impossible. We are humans, and humans go slow and make mistakes. If
you expect perfection and don't find it, you will quit. If you quit, you
won't make progress. So remember, as long as you keep writing, you'll get
better.
Also, listen to some of your favorite songs, and listen to how the
melodic principles come into play. The more you listen the more you will
understand.

HERE'S A RECAP OF THE 3 MELODIC PRINCIPLES:

MELODIC PRINCIPLE 1: Provide melodic contrast.

Melodic Principle 2: Put powerful, easy to sing words at the peak of a

melody.

Melodic Principle 3: Keep melodies in verses, choruses and bridges

different from each other.
 7
WRITING HITS

Most songwriters want to write hits. Hits make songwriters popular

and rich. When you've written a hit you can phone record company
executives and they will talk to you. If you want to write hits, read on!

What makes a hit?

What is a hit? A hit is a song that a large number of people get
excited about as soon as they hear it. A hit is not something people respond
to intellectually. They respond emotionally. In order for your audience to
respond emotionally, you need to be writing emotionally!

Writing from emotions

The most powerful tool we have as songwriters is our emotions.
When we can put emotion into our lyrics, the audience is affected when
they hear those lyrics. Great poets depend on emotion because they have no
music to spice things up. If you're writing from your head, your lyrics may
be dry, lifeless and boring. If you write from your heart, the possibilities
are endless.

Taking chances
Take chances when you're writing. Say things in a bold new way.
Risk sharing your deep feelings. You will be able to give the audience
something powerful and real if you adopt this attitude.
 When you're taking risks, you will fail at times. You'll come up with
ideas that don't work. But you'll be doing that even if you're playing it safe
so you might as well risk!.
When you're writing lyrics, be descriptive. Paint powerful pictures
with your words. Don't worry about getting it perfect, just get it out. You
can clean it up later.

Blending art with craft

Great songwriting is a combination of creative art and disciplined
craft. Emotion and creativity generates the art. The craft involves learning
the technical principles of songwriting. You'll be experiencing both art and
craft on your journey to becoming a songwriter

Be sure you like what you write

When you are listening to or reading what you wrote do not try
to figure out whether other people will like it or not. You cannot
figure that out. But what you can do is decide if you like it or not. If
you like it, keep it. If not, change it. You will learn through these
decisions, and as a result, become a better songwriter.

Be patient
The main difference between you and those who are earning a living
as songwriters is time. They have been working at it for longer than you
have. That's it! If you keep on writing, you will keep getting better. With
time, you'll come to write great songs.
 8
CREATING MUSIC
FOR YOUR SONG

Recording your rough songwriter demo

When you finish your first set of lyrics and have written a melody for
them, it's time to create the music. If you write music yourself, you can
skip this chapter. But if you're like many writers who don't write music,
here's how to do it!
You need to find a musician who is accomplished on her instrument
and has a fundamental understanding of music theory. The best instruments
are keyboards or guitar, with keyboards being the most desirable in my
experience.
All you need to do is sing your song for her or play the tape of your
song for her, and she can write the music. It's no big deal for a good
musician to do this.
It's important for you to tell the musician what you want in terms of
style. Is it a rock song or a country song? Is it slow or fast? If you hear
something you don't like, tell her, and try to explain what you would like to
hear. If you just sit back and provide no input, you may end up with
something you don't really like.
Once you and your musician agree on the music, it's time to record
your rough songwriter demo. This can be as simple as turning on the tape
recorder while she plays and you sing. If you want to be more elaborate,
you can go into a professional recording studio. We'll go into that later.
For now it's important to get your song on tape.

Making your song better through rewriting

When you've recorded your song on tape you'll hear it in a whole
new way. You'll be able to hear what you like and what you want to
change. This is where rewriting comes in. Most songs are not finished the
first time around. Many songs get rewritten up to a dozen times before
completion.
The rule for rewriting is simple: Keep what you like and rewrite the
rest! This is where "the cringe factor" comes in. If some part of your
song makes you cringe, you'll probably cringe every time you hear it.
Change it to something you like.
If your song gets boring you need to rewrite it. Beginners often
create songs that are too long. Part of writing is throwing away some of
what you have written. It's hard to do but if it makes a song better, it's a
good thing to do.
After you've improved your song, record it again. Do your changes
make the song better? Do you need to do some more rewriting? If so, do
it! Keep following this process until you hear your song in a way that
totally pleases you.
Now you can start to see that much work goes into creating a hit
song, and why a hit song can earn a writer hundreds of thousands of
dollars.

Recording your professional songwriter demo

Your rough songwriter demo is fine for writing purposes, but you
eventually need to record a high quality demo so people can hear your song
at its best.
Since you're probably not experienced at producing and recording, I
recommend you hire someone who is. Here's what you do:
Most cities have recording studios listed in the yellow pages. You
can also go online and get the names of some studios in your area. Just get
on the phone and tell them that you're a songwriter who needs to have your
song recorded. You should be able to find a studio that can record your
song for between $100 and $300, total. The factors to consider are:
1. Do I want a full band or just a keyboardist and singer? The band
will be more expensive.
2. Do I want to sing the song myself?
3. How many final copies will I need?
The studio will help you answer these and other questions. Don't be
intimidated by the people at the studios. They want and need your
business. They are working for you!
Visit some studios and listen to songs those studios have produced. If
you like what you hear, and like the people who operate the studio, give
them a try. If not, visit some other studios.
The process of recording your professional songwriting demo is
similar to recording your rough songwriter demo, except now you'll be in a
real recording studio with professional musicians. You'll be creating
professional quality music for your song!

Mail order demos

If you live in an area where you can not find a good studio to
record your songwriter demo, there is another option. Go to Google
and type in “songwriter demos.” You'll find a wealth of information.
These studios will take your rough songwriter demo, or just you
singing the song a cappella, and create a professional quality demo.
The advantage is that you can generally get a demo recorded fairly
inexpensively. The disadvantage is that you were not there to oversee
the project, and it may not be done the way you would have liked.
You also won't get the advantage of being there and learning. But, if
you have no other options, it is much better to record your song in this
way, then not to record it at all.

Who owns the song?

This is actually pretty simple. If you paid anyone (such as the person
who wrote the music or the recording studio), they don't own any part of it.
If the musician who wrote the music didn't get paid, she was working more
as a collaborator than as a hired gun and she owns part of the song (usually
50%). It's good to work this out in advance.
I collaborate with many writers, and we split most songs 50/50.
McCartney and Lennon did that with everything they wrote. It puts too
much stress on the creative side of the relationship to try to figure out who
did what and how much it's worth. I highly recommend 50/50 splits. It all
evens out over time. Whatever your agreement is, get it in writing.
Sometimes studios record songs for writers "on spec." This means
the studio would let you record the song for free, but they would end up
owning part of the song. When and if the song starts to earn money, they
get the percentage of the money that you agreed upon. Most studios don't
do this, but it does happen. If someone offers you a deal like this you'll
have to weigh it out. Most of the time it's better to pay the studio and keep
full ownership of the songs.
When you finish your first songwriter demo you'll be so happy! I
remember hearing my first songs produced in a recording studio. It was
incredible. Now you'll be hooked as a songwriter!
 9
WRITING MUSIC YOURSELF

So far we've talked about having someone else create the background
music for your songs. That's a very common way to write songs, and
millions of dollars are earned each year by songwriters who write just the
melody and lyrics. But maybe you want to create the whole package.
Great! Here's how you do it.

What's the best songwriting instrument?

If you're going to write music, you need to play an instrument. The
two main instruments people write with today are guitar and keyboards.
People use electric guitars, acoustic guitars as well as piano, organ and
synthesizer.
I write with keyboards and guitar and find advantages to both. What
I like about writing with acoustic guitar is that it is portable. I can take it
wherever I go and write whenever I'm inspired. I also love the sound of
acoustic guitar.
The advantage of synthesizers is that I have access to thousands of
sounds. Great sounds! This keeps me from getting bored and inspires
different ideas.
I like acoustic piano because it feels and sounds great. It shakes my
bones and makes me feel very expressive.
The other advantage of keyboards is that you can basically play ten
notes at a time, which makes for a very rich and diverse sound. Whereas
with guitar, you can only play six notes at a time. With keyboards I can
play alot more difficult and weird chords than I can with guitar, and this
helps me write song I couldn't write on guitar.
If at this point you play neither keyboards or guitar and are trying to
choose between the two, go for whatever instrument you like the sound of.
I think keyboards might be a slightly better writing tool than guitar, but if
you like guitar better, go for guitar. Once you've chosen your instrument,
start taking lessons.

Step 1: Find a teacher and learn your instrument

Before you can begin writing songs, you need to learn to play your
instrument. Find a good teacher, and practice 5 days per week for at least
an hour a day. In choosing a teacher, look for someone whose playing you
totally love. If they're really good but their music doesn't really inspire
you, you'll eventually get bored with what they are teaching you. Also, the
lessons and the things you are given to practice should be fun. If they're
not you'll quit playing. If you get a teacher who makes you feel like
lessons and practice are drudgery, find another teacher.
It will take about a year before you begin to get command of your
instrument so be patient. Start by playing other peoples songs. Be sure to
start with simple songs that you can master easily. This will give you
confidence

Step 2: Learn some music theory

In order to write the music for songs, you'll need to understand some
basic music theory. You won't need to understand how to conduct an
orchestra, but you will need to know the basics. Your current teacher
should be able to help you with this, but if not look for another teacher.
Once your understand your instrument, the theory part is very simple
and can be learned in a few weeks. If your teacher gets off on complex and
wild theories, tell them you just want the basics. The basics will be all you
need to write great songs.

Step 3: Jam with yourself

 Jamming is great fun! Just play your instrument, sing and when you
hear something you like, record it. Keep all your good ideas. Later on
when you want to do some serious writing you'll have a tape full of ideas
from which to harvest. The advantage of a digital micro recorder is that
editing is very easy.

Step 4: Harvest and rewrite

Listen to your "idea tapes" and take your favorite ideas and see
what's missing. Often I'll come up with a verse and a chorus and I need to
write another verse and a bridge. Or sometimes I'll just come up with a
couple of verses and will have to write a chorus. It's always different.
Here's where rewriting comes in. Sometimes satisfying and fun and
sometimes it's frustrating hard work.

Playing an instrument will add a whole new dimension to your

songwriting. If you think you'll be writing for the rest of your life, take a
couple of years and learn an instrument.
The other advantage of learning an instrument is that you'll be able to
accompany yourself and perform for friends, at parties and in nightclubs.
You'll be able to jam with other musicians and bands. You'll have so more
fun than you could ever imagine!
 10
SELLING YOUR SONGS

Getting your song heard

Now it's time for the acid test. You have written and recorded a song
you think might be a hit. You need to have people in the industry hear it!
Getting your songs heard is easier than you think. There are industry
professionals who have the job of looking for and listening to songs written
by unknown writers like yourself. That's what they do! Here's how to get
your tape to these people:
First you need to buy a copy of "Songwriter's Market" published by
Writer's Digest Books. Any major bookstore will have it or be able to get
it. When you get the book, look for record companies and publishers who
have worked with bands, artists and songwriters you have heard of and like.
There's no point in sending demos to people who haven't got the power to
get your song published.
Go through the book and make a list of people you feel are credible.
Once you have this list, send them each a copy of your demo along with a
lyric sheet (your lyrics typed out) and a cover letter. The cover letter
doesn't need to say more than:
Dear Shannon,

I have enclosed a song you may be interested in. I appreciate your time and
consideration.

Sincerely,

your name

You'll be surprised at how many of your demos will be listened to.

Remember, they need new songs, so it's to their advantage to listen to
whatever comes in. My very first mailing was done in this way and was
very encouraging. No one wanted my songs, but they did listen to them
and some replied with personal letters encouraging me to continue
submitting songs to them.

Visiting music centers personally

There are three cities in the United States where most of the music
business is conducted. They are Los Angeles, New York, and Nashville. If
you want to talk to the decision makers active in today's industry, you'll be
talking to people in these three cities.
The best approach to marketing your demo is to go to one or more of
these centers and present your tape in person. This won't be easy but if you
are persistent you will make contacts. If your songs are marketable, you
will find success.

Songwriting organizations
If there is a songwriting group, club or organization in your area,
join! I live in San Francisco and we have West Coast Songwriters. (There
are other songwriter Association's throughout the world. Just go to
Google.)
Once a month West Coast Songwriters has Demo Derbies where
representatives from the music industry, (publishers and record company
people), come and listen to members' songs. On a given night they will
listen to over 50 songs all written like aspiring songwriters like yourself.
The industry reps, and all the other song writers sit in a room and listen to
everyone's songs. They reps are looking for hits which will make money
for them. If they like your song they will announce that to you and every
other songwriter in the room. If they don't like it they will announce that
also. It's an intense experience to hear your song played and have it
commented on.
You'll learn alot by hearing your song and comparing it to other
peoples songs. If you look at the Demo Derbies as learning experiences,
you'll learn to write better songs and eventually have one of the industry
reps "pick-up" one of your songs.

My experience with Demo Derbies

Every time I had one of my songs played at a Demo Derby I felt like
I would die. It was so intense. I liken it to the first time I heard my band
played on the radio. It was unreal, almost dreamlike.
The first song I ever played at a Demo Derby was rejected by the
publisher. I was devastated. I'd thought I'd written one of the greatest
songs in history and he rejected it. That hurt!
But I was committed to learning to write great songs, so I took what
he said and went home and tried to use his comments as a way to improve
my writing.
Finally one night at a Demo Derby, the publisher listened to my
whole song. Usually they just listened to a verse and a chorus and then
stopped the tape to tell why they didn't like the song. After the song
finished the audience broke out in wild applause. This was a first. At that
moment I suspected I had a good song on my hands. The publisher told us
why he liked the song and why he was taking it back to Los Angeles with
him. I was so high! I went home and couldn't sleep for hours.

Other ways to get your songs heard

There are now organizations that will help you get your songs heard
for a fee. The two that I am familiar with, our taxi.com and
garageband.com. In my opinion, they are legitimate and can be helpful.
There are others. Go to Google and type in “getting demos heard”, or
“getting songwriter demos heard.”

Making your songs better

What do you do if nobody wants your song? You need to objectively
look at your song and see where it could be improved. You need to see
what the songs on the radio have that your's don't. The songs on the radio
are succeeding. Use them as models to study and compare your songs to.
Ask your friends for their feedback. If they listen to the radio, they
are experts with valuable information. You have to be open to feedback in
order to succeed as a songwriter.
I find that I can be much more objective about one of my songs if I
let it sit for a couple of days and then come back to it. When I hear it
fresh, the areas that need work stick right out.
If you live in an area where songwriting classes are held, sign up!
The first songwriting class I took helped me tremendously. When I first
joined, I thought I was a songwriting genius. My instructor didn't hold this
view, however. In each class I would bring in songs that he would tear
apart. But I learned, and because of his help, my songs were picked up by
publishers and record companies.
I hate to tell you this but many of your songs will be turned down by
the industry. The rejection will hurt, but don't let it stop you. If you keep
going, you will eventually succeed.
 11
COPYRIGHTING YOUR SONGS

How to copyright
The copyright for a song is a like a patent for an invention. The
copyright insignia establishes that you are the owner and creator of the
song.
All CDs and lyric sheets should include the copyright insignia (©)
with the year and the author's name as proof of the copyright. For
example: © 2008, John Ford.
The best way to protect your song is to register a copyright with the
Library of Congress. To obtain copyright forms, simply Google:
"copyright form PA", or "copyright form SR". These two forms are the
most commonly used by songwriters. Read the instructions to determine
which would be best for your situation.
It costs $40 to register each song. What I do sometimes is register
several songs at the same time on the same form. I might put five songs on
one form and call it something like “John Ford's 2008 songs.” It's just a
way of saving money.
The people at the copyright office are very helpful, so I recommend
giving them a call. They will help you figure out what to do your first
time. You can get their phone number through Google.
"Poor man's copyright"
Another way to protect your song is to do what is called a "poor
man's copyright." Simply take your tape and lyric sheet to the post office
and send it to yourself via registered mail. You will receive a sealed, dated
and stamped package, which you should then store in a safe place.
If you need to go to court because someone tried to steal your song,
this registered mail package will be your proof that you wrote the song on a
certain date. If you register your songs as soon as you finish them, it will
be difficult for any thief to claim ownership because you will have proof
and they won't.
The only disadvantage of this method is that you are responsible for
not losing the package. When you file through the Library of Congress,
they are responsible. I prefer to have the government storing my proof of
copyright, so I register with the Library of Congress.

When should you copyright your song?

I copyright my songs when I have finished my professional
songwriter demo. At this point the song is finished and since I am about to
begin playing it for industry people, I need to have it protected.
It's okay to play songs for your friends before they are copyrighted,
but you don't want to be sending out CDs of unprotected songs. Song theft
is actually rare, but copywriting is a relatively easy process, and well worth
the money.
 12
KEEP ON WRITING

In my 25 years of teaching I have observed that all students who had

the desire to write were able to learn to write songs. Songwriting is a skill
that anyone can learn.
It does take time. Most students need at least a couple of years to
develop their writing to a semi-professional or professional level. Writing
with other songwriters and taking classes will speed up this process.
The only way you will improve your writing is to keep on writing.
You will get stuck and become frustrated. If you continue writing even
when it gets tough, you will become a good songwriter. I guarantee it!
 13
ACHIEVING YOUR GOALS

People who want milk should not seat themselves in the middle of a field in
hopes that a cow will back up to them.
Elbert Hubbart
Writer, early 1900s

The most important thing you can do is to act. Do something! Get

started! Thinking about becoming a songwriter will not make you a
songwriter. Waiting to be discovered will not get you discovered.
The following three exercises will help you to reach your goals.
These exercises are as important as anything you will learn in this book.

1. Write down your goal.

When I take on a new student, I have them write out their goals and
bring them to their first lesson. My students often remark how difficult this
was to actually do. Some students aren't able to write down their goals at
all. It stirs up all kinds of emotions. Their old self is being challenged by
a new, creative and brave person.
Get a 3X5 card and write down your goal as an "I am" or "I have"
statement. For example: "I have just signed my first publishing contract.
This is happening on or by December 1 1998." Put down what you really
want to be doing, be realistic, and include the date by which you expect to
be accomplishing this goal. Most things we want to do we can do, if we are
willing to put in the work.
If the date arrives and you haven't achieved your goal, get another
3X5 card and write out your goal again with a new date. Keep doing this
until you reach your goal. My experience with this exercise is that I usually
reach my goals, but not on the first projected date.

2. Spend 15 minutes per day visualizing yourself having achieved your

goal.
Find a quiet place and get comfortable. Imagine yourself where you
want to be, doing what you want to be doing. This is a fun exercise
because while visualizing, you are living your dream. See yourself in your
car listening to one of your songs on the radio. Feel the wonderful
emotions you will be feeling.

3. Replace all negative statements and thoughts with positive ones.

In our culture it is totally acceptable to whine and talk about how
inferior we are, how we keep getting bad breaks, etc.. Our friends usually
just nod their heads and try to give us comfort. The problem is that all of
this negative talking and thinking is very destructive. If we expect negative
results and events in our lives, we will probably have them.
I understand this because I have been the king of whiners for most of
my life. However, once I began replacing my negative thoughts and
statements with positive ones, my life improved dramatically. I instantly
had more friends, and these new friends were also positive people who I
really enjoy. My daily life became much more satisfying and enjoyable.
The exercise works like this: Let's say a thought pops into your head
like "I could never be good enough to write professionally." You need to
counteract that poison with a statement like "I am a powerful, successful
songwriter whom audiences love." Say it out loud. Make any statement
you like as long as you start with "I am" or "I have," and as long as it is a
positive statement.
You may feel a bit uncomfortable the first few times you do this, but
after awhile you'll begin to enjoy it. It feels much better to verbalize your
dream than to talk about how bad things are or will be.
 Remember, you'll generally get what you expect, so expect the best!

If you can dream it, you can do it!

Last week as I was windsurfing under the Golden Gate Bridge, waves
crashing on the rocks behind me, I realized: Hey, I'm actually doing it!
Eight years earlier, I had a belief that I could never windsurf.
Someone told me that if I didn't start in my early twenties, I could never
learn, and I believed them. But here I was, in my mid fourths, racing
along, jumping waves, and shouting with joy.
The first few times I tried windsurfing, I wasn't very good, but it was
so much fun that I kept doing it, and eventually I got good, through
experience and lessons.
That taught me something: I can learn most anything, if I find
someone to teach me, and then keep doing it. That sounds so simple it's
boring. But there is one more element here. I kept windsurfing because it
was fun! If I hadn't loved it so much I would have quit.
When I wrote my first book, I had the same experience. I wrote
because I had a strong desire to write, not because I thought I had to
practice writing, or should produce a book. I did it because I enjoyed
writing the book.
I believe that if we figure out what we really want, by listening to
those quiet voices in our minds and hearts, and then try it, the rest will take
care of itself. The hardest part for most of us is listening to the ideas, and
not killing them with negative thoughts like: "I could never do that," "I'm
too old," "I could never get the money," "people won't like me," etc.
When an idea comes up, nurture it like a tiny flower. If you stomp on all
your seedlings, you'll have no garden.
You won't be able to figure out all the angles and outcomes before
you start. So just start, and you will discover solutions at each turn of the
road. The universe has an amazing way of solving problems for those who
jump in with both feet.
When I quit my safe corporate job to pursue my real dreams, I had
no idea how I would be earning a living after my savings ran out. But
things always worked out. One opportunity led to another, and I was
forced to develop skills I would have never developed under the safe
umbrella of "The Corporation."

The more mistakes the better

Once there was a young man who desired success but had no idea
how to achieve it. He had a neighbor who lived up the hill who was very
successful. He owned houses, boats, planes and corporations. This young
man wanted to be rich like him, so he decided he'd pay him a visit and find
out how he became so successful.
When he arrived at the man's mansion, he was invited into the study.
The young man began his questions. "How did you achieve your high level
of success?"
Being a man of few words, the older man replied, "Good decisions."
"How did you learn to make good decisions?" the younger man
asked.
"Experience," the older gentleman answered calmly.
Feeling somewhat frustrated, he asked, "Well how did you get
experience?"
He looked the younger man straight in the eye, paused for what
seemed like an eternity and spoke these two simple and powerful words.
"Bad decisions."
This left the younger man totally confused. "How could you achieve
so much by making bad decisions?"
The older man replied with great enthusiasm, "Bad decisions are my
greatest teachers. They hurt, emotionally and financially. Mistakes cause
me to do things differently the next time. We aren't born with all the
answers. We can rely on other peoples wisdom some of the time, but if we
are entering uncharted territory, we have to risk, fall and learn. There's no
other way! All great discoveries come from venturing into unexplored
territory. You cannot achieve greatness by following someones' safe path."
The younger man left the mansion somewhat dazed, but relieved. He
realized that all the effort he had been using to try to be perfect was in vain.
Mistakes were great teachers, and he vowed to live life in a way where
mistakes were frequent and were honored. The younger man grew to be
very happy and successful.

From now on, 20 mistakes per day

I've lived much of my life with the deadly disease called
perfectionism. In everything I did, I had to do it perfectly, or I would feel
like a failure. What ended up happening is I would always make mistakes
and then beat myself up for not being perfect. It was a hellish life and I
avoided doing new things in which I was sure to make mistakes.
One day I was on the phone with one of my most supportive friends,
an 89 year old woman of great wisdom. I was complaining about my latest
mistakes and how bad I felt about making them. What she told me changed
my life. She said "John, I'm giving you the assignment of making at least
20 mistakes per day. This is to be your goal and when you achieve that
goal you have succeeded."
I felt relieved after our conversation. The pressure was off. I didn't
have to be perfect anymore. I looked at mistakes as being good.
Now when I make my first mistake of the day, I say to myself,
"Good job, only 19 more to go." I feel light and successful instead of
heavy, depressed and self-berating. I am willing to do new and scary
things. I no longer feel the intense fear I used to feel. Life is much better!
So now, I am giving you the assignment of making at least 20
mistakes per day. When you've done that, you've had a good day, full of
risking and living.

Do you want to be comfortable or do you want to be happy?

While you are working towards your goal, you will at many times be
very uncomfortable. It isn't easy breaking out of the safe lifestyle you have
established. You will be continually challenging all parts of your being.
But you'll be happy!
Most people choose comfort over happiness. It's human nature.
However, comfort becomes very uncomfortable when a dream is being
crushed. Go for your dream and you'll find happiness and satisfaction!
 14
SUCCESS COMES TO THOSE WHO
PERSEVERE

Once there was a small boy who loved playing soccer more than
anything in the world. Everyday after school, he would get together with
his friends and practice. As he grew older, he dreamed of becoming a
professional soccer player. On his 18th birthday, his dream came true: he
was offered a position on a professional team. He was ecstatic. He played
well and his career progressed.
One night on the way home, his car had a blowout and he became
involved in a very serious accident. When he regained consciousness in the
hospital room, he discovered he was paralyzed from the neck down. He
was devastated, realizing his soccer career was over.
For three years he showed little sign of improvement, until one day
he began to move his fingers on his right hand. With time he regained the
use of both hands and arms. He began to have hope.
One of the nurses who had befriended him asked him if there was
anything he wanted, to help pass the time. He asked for a guitar. When
she brought it to him, he couldn't play. But he had 12 hours a day to
practice, and within 6 months he was playing and singing to other patients
and the staff. He found he really enjoyed this.
Miraculously, his paralysis disappeared. He regained use of his entire
body. Now it was time to leave the hospital and rebuild his life. He had to
ask himself what he wanted to do for the rest of his life. The only two
things he really enjoyed were soccer, and now singing. He wasn't able to
compete professionally in the soccer leagues so he decided to devote his
time to singing.
Now, what chances do you think he had of succeeding? He started
relatively late in life. He had kind of a strange voice. He had never been
properly trained.
15 years later, he has sold over 100 million albums. He is the most
successful male singer in the world. His name is Julio Inglesias.

The Apollo Theater in Harlem is a place where singers go to get

started. Once a week they have a talent contest, and up-and-coming singers
go there to test their skills. It's a huge place and performing there must be
intimidating. But what's really hard is that if the audience doesn't like you
they will start to boo, very loudly, until you're forced to leave the stage. I
don't know if I could handle that.
A young male singer decided to give it a try. He got on stage and
started to sing his song, and about 20 seconds in, the audience started to
boo. He was unable to finish the song because they were so loud. He left
the stage, humiliated.
He was down but not out. He could always go back and try again.
He did. Two weeks later he went back. This time he got halfway through
the song and the same thing happened.
Now I would have been very discouraged at this point. This young
man was certainly discouraged, but not ready to quit. He went back two
more times, only to have the same thing happen again. It wasn't until his
fifth attempt that he was able to get through the entire song without being
booed off the stage. Now that's perseverance.
If he had given up, we would not be able to enjoy his music today.
His name is Lionel Richie.
 CONCLUSION

In my 25 years of teaching, I have seen a common denominator

among my successful students. It wasn’t talent, great looks, or parents that
gave them music lessons at age six. What they all had in common was a
strong desire to write songs and the ability to keep on pushing, no matter
what the obstacles were.
I have seen songwriters with great talent who never succeeded
because they didn’t have the perseverance necessary for success. Remember
the story about the race between the turtle and the hare. The hare had the
talent (speed) but the turtle had tenacity. The turtle won.
If you really want to be a songwriter, you will be! Good luck.

Contact: bajarest@gmail.com