When it's raining you can't find enough things to catch it in. When it's not you can stand out in the middle of the street in a dress and a funny hat and nothing's gonna make it rain. I go through periods - or spells - when I'm more receptive.
Things musicals taught me: All your problems will go away if you sing about it.
Years ago when I was in a cover band and we were playing dances, that was quite a different thing. You were there as part of an event. When you're a songwriter, you are the event. So it's a little bit of a different focus.
Unlike some of my peers, I haven't really hit a writer's block. When I hit a block I just paint, which is an old crop rotation trick.
We are really in a rut with the three-minute song. You know where it's going to go. If you're trying to get your message across sometimes it's wise to say, Why don't we stop here and have a moment of silence, then go in a completely different direction?
The words to country songs are very earthy like the blues. They're not as dressed up and the people are very honest and say, 'Look, I miss you darlin', so I went out and got drunk in this bar.' That's the way you say it. Where in Tin Pan Alley they would say, 'Oh I missed you darling, so I went to this restaurant and I sat down and had a dinner for one.' That's cleaned up now, you see? But country and blues tells it like it is.
I'd advise all you songwriters out there, if you're getting into it for the business, go home and get a job digging ditches or something. Get a life. You'll learn a lot more, and you won't write a lot of rotten poetry.
Songwriters might write cynical, world-wise lyrics and constantly talk about money, but most of us are downright naive when it comes to business.
We singer-songwriter people, we're used to getting up and doing our own thing in front of people, and we're it. We're the band, artist, writer, producer, front man. We're the whole thing. You develop, it's not smugness, but this self-reliance, that can limit your creativity. When you're willing and able to invite others into it, you wind up getting a piece of work that's bigger and better than anything you ever imagined it could be.
I say to my students that I can't teach them how to write a good song, but I can teach you how to write a better song. Talking about this idea of it being a process. By going back and not settling for something and find a way to step back from your songs-which is a very hard thing to do-but when you're stuck or you can't move forward, start doing some polishing.
Great readers, great listeners, and all have great work ethics. ... They work hard at what they do and they're devout to their reading and listening.
Kids who are least impressive in my class are the ones who only listen to one kind of music. They only listen to country or only to rap or to gospel or anything. It's a sad thing. I try really hard to get them to go out and listen to things. It's amazing what you learn. ... I'm still trying to learn. It's not like I'm going to be a calypso singer. That's not going to happen, but I'm sure there's something in that, that I can learn from and apply to my own work.
Like all mystics (and many novelists, not least the present one) he is baffled, a child, before the real now; far happier out of it, in a narrative past or a prophetic future, locked inside that weird tence grammar does not allow, the imaginary present.
I take in a lot of stuff from real life, movies, television, news and it all gets mixed in my head and somehow turns into a story idea.
The Jungian therapist taught me the difference between the ego and the shadow. I realized I'd been so busy being a good girl that I'd completely detached from my shadow. It's something we all have, and it's where all the creative juices are.
Now [Sue Grafton] loves writer's block, seeing it as a message from the psyche that the narrative is headed in the wrong direction.
I have the right ideas, but my words are too... complicated. I need to simplify them, so that people won't get lost in the dark when they see and hear them. I want them to shine like beacons of light in a world of overly complicated darkness. One day I will find the right words, and they will be simple.
Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
Twenty-seven people sang 'Wind Beneath My Wings' before I got around to it. A lot of people saw the movie that I sang it in, Beaches, and what they came away with was that song. They turned to their loved ones and said, 'You know, you are the wind beneath my wings!' The song expressed how they felt in a way a simple 'I love you' would not have.
It's as simple as finding something on the street and then writing a jingle. If I'm driving and I have my turn signal on and it's rhythmic, maybe I just write a song to that.
I listen to the radio and I like all kinds of music, you know, but I like to hear from people who have been there. Hank Williams has been there.
Like I say, I'm always writing and if something sticks, it sticks. I get to write with great songwriters in town. Lori McKenna is one of my all-time favorite singer-songwriters who's ever walked the planet. I get to write with her. The Warren Brothers are friends of mine and I write with them all the time. Lance Miller is a great songwriter. Tom Douglas - you can't get any better than that. I write a lot of stuff but it's got to stick.
I'd trusted my fan base, I'd trusted the my gut, and I'd trusted the music. ...the real experts are out there in front of you every night. They're the ones buying the tickets and coming to the shows. They're the professionals in this business, and they're the only ones who can tell you which songs have the ability to move them.
Every time I write a song, it's different. I'm all about the rhythm of the words and the melody. Musically, you gotta have a throbbing pulse going. But as far as what it's all about, there's a million ways to go. You have to invent a new code for every song. Then you have to break it. It's like Scrabble or a crossword puzzle on steriods. I could talk about the process for days. But it's never dull and there's no one way in.
Even when there's not a joke or a hook, the first line has to be good and snapem to attention. Songs ain't novels. You don't have 30 pages to slowly wrap somebody in. They're more like short stories or poems. If the first line hasn't grabbed them, you won't get to the second line. Once you've developed an audience, you may have some luxury and trust, so you don't have to knock 'em over the head with line one.
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