Last month, I mentioned amping up your creativity as part of dealing with imposter syndrome (I’m not good enough/everyone will find out I’m a fraud) or in songwriter speak, the ultimate throw your toys out of the cot tantrum, my songs suck!
Well, newsflash! Lots of them will! Not every song you write will be a number one hit, or even a number 53 climber. In the same way no one picks up a guitar and plays a solo worthy of Jimi Hendrix immediately, neither does a budding songwriter have a number one on first attempt. (please someone prove me wrong!) Get used to the long haul, the multiple shots at goal and making incremental improvements with each completed song. At the risk of sounding like a stuck record, I repeat, completion is the enemy.
Finish what you start. What that does is make you commit to a process and allows you to progress with each finished song. You may have started with a flurry of inspiration and got stymied by the sixth line of verse 1. You may have found an idea for the chorus but run down a rabbit hole with the melody. You may have set up a fantastic groove but not been able to come up with any powerful lyric. But by staying in the room, you will have had to face these problems and solve them, thereby developing your songwriting resilience, confidence and shock !horror!, even a sense of satisfaction. Your completed draft is now also available to show your collaborator, your band mates, your producer or whomever you make yourself accountable to, with the very clear possibility of further refinement and improvement. Note - it's a draft!
Just how you deal specifically with the ‘problems’ in your songwriting process is part of what makes you a unique songwriter. It’s what’s in the personal toolkit you bring to the table. Everyone will have a slightly different take on how to come up with a great hook or smash out an unforgettable chorus. Everyone has different strengths for the curious recipe of a good song, which is partly why collaboration works so well. A better sense of harmony, an infectious rhythmic sense, a bent for melodic contour – each of these facilities is at a different level in all of us, just as our varied backgrounds in musicianship, vocal ability or vocabulary contribute.
Finishing what you start also brings up the idea of constraint as a spur to creativity. Songs have form and expectations for listeners. Songs have multiple identifying features, which tells us they are songs, even when fabulous iconoclasts and innovators subvert them or fashion changes them. Songs don’t exist in anarchy. This contributes to the sensation that they have brick walls we sometimes bang against – arghhh! my lyrics don’t fit that eight bar phrase or I can’t sing that high – only Mariah Carey could sing that high or my song sounds like cheese…arghhhh! But constraint reduces scope to manageability and makes you focus on creativity with borders. I’m not talking about a crossword mechanistic type of formulaic approach but recognising here’s the raw material I can work with and here’s the rough sketch of what I need to build. Right, let’s do this. Time is one of those constraints you can easily apply – as a defined session - I’ve an hour to work on this – I’m going to finish that verse at lunchtime, or as a deadline – Song One draft by Thursday, ready to sing at Saturday’s open mic.
Talk more about er, constraints next time but right now, I'm finished!
ps these folk completed their Songwriting Clinic at Akaroa. Fun much!
(left to right) Robyn-Lynn, Cindy, me, Sol, Matt, Yve, Jake, Hanni, Lisa and we were joined by Neville on Songwriting Circle with his new tunes under production
Hi, I'm Charlotte Yates and I can help you get better at writing songs.