Stolpe - Popular Lyric Writing: 10 Steps to Effective Storytelling

Breakaway

From The Princess Diaries 2: Royal Engagement

Words and Music by Bridget Benenate, Avril Lavigne, and Matthew Gerrard.

Copyright 2004 Music of Windswept, Friends of Seagulls Music Publishing, Blotter Music, Almo Music Corp., Avril Lavigne Publishing Ltd., WB Music Corp., and G Matt Music.

All Rights for Friends of Seagulls Music Publishing and Blotter Music Administered by Music of Windswept.

All Rights for Avril Lavigne Publishing Ltd. Controlled and Administered by Almo Music Corp.

All Rights Reserved. Used by Permission.

Time After Time

Words and Music by Cyndi Lauper and Rob Hyman.

Copyright 1983 Rellla Music Co., WB Music Corp., and Dub Notes.

All Rights for Rellla Music Co. Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203.

All Rights for Dub Notes Administered by WB Music Corp.

International Copyright Secured. All Rights Reserved.

Why Georgia

Words and Music by John Mayer.

Copyright 2001 Specific Harm Music (ASCAP).

International Copyright Secured. All Rights Reserved.

Love Can Build a Bridge

Words and Music by John Jarvis, Paul Overstreet, and Naomi Judd.

Copyright 1999 by Inspector Barlow Music, Sony Cross Keys Publishing, Scarlet Moon Music, and Mike Curb Music.

All rights on behalf of Inspector Barlow Music administered by Songs of Peer, Ltd.

All rights on behalf of Mike Curb Music administered by Alfred Music Publishing. Used by Permission.

International Copyright Secured. All Right Reserved.

Thats Amore

Words and Music by Jack Brooks and Harry Warren.

Copyright 1953 (Renewed 1981) by Four Jays Music, and Paramount Music Corporation.

International Copyright Secured. All Rights Reserved.

When She Thinks About Leavin
Words and Music by Andrea Stolpe.
Copyright 2005 Almo Music Corp.
All Rights Reserved. Used by Permission.

Wont Take Chances
Words and Music by Andrea Stolpe.
Copyright 2004 Almo Music Corp.
All Rights Reserved. Used by Permission.

Writing Better Lyrics
by Pat Pattison.
Copyright 1995 by Pat Pattison.
Used by Permission of the Publisher.

Berklee Press
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9781617744334

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Copyright 2007 Andrea Stolpe

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No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher.

Table of Contents

PREFACE

When we write lyrics, we hold the pen of an artist. Whether we are writing for ourselves or for someone else, the objective is always the sameto cause a significant experience in the mind and heart of our listener. As writers, we have the power to determine the intensity of the experience we cause. Memorable songs connect artists to their audiences. Plots vary, but their ability to evoke laughter, elation, freedom, sorrow, regret, hope, or love remains the same. There is nothing more satisfying, in my opinion, than to reach listeners at their coreto gain access to the vaults of emotion by breathing life into a single chord, phrase, or melody. After all, emotions are the color of experience. They burn our lives into the depths of our memory. Without them, eventslike songslack purpose.

There are many ways to write songs, from the deliberate use of time-tested techniques to simply letting inspiration guide the way. But even the best tools dont guarantee a great song, and inspiration is sometimes patchy. Some songs reach audiences regardless of their poor rhyme schemes, unparticular rhythms, and scant lyrical genius. So in the pages ahead, I am not attempting to write the conclusive book on songwriting. I am instead attempting to outline tools for writing with intention . Intention allows us to transfer our unique ideas eloquently to paper. It helps us to identify when a rhythm, a rhyme scheme, a chord, or a melody feels off, and then put it right again. It helps us to learn what it is about our own artistic identity that makes our writing unique and marketable. Some songwriters can sing any lyric and make it sound convincing. If thats you, then you might have the rare talent of drawing an audience in simply through your voice, your musical style, your image, and even your aura. But if youre like me, youve got to work a little harder to gain an audiences attention. Ive actually come to appreciate my inability to pass a clich for an original thought, and I believe that very handicap has forced me to become a better writer.

I hear many writers and performing artists alike explain that theyre not interested in writing for the mainstream market. But there is a reason why some song melodies are remembered longer, and why some lyrics seem to connect with our emotions stronger than other songs we hear. It is my belief that before we can write memorable songs outside the mainstream market, or out of the box, so to speak, weve got to know what it means to write inside the box. We also need to find out why the box has proved over and over again to be so effective. From punk, rock, reggae, and jazz to fusion, adult contemporary, pop, folk, and bebop, the tools that fuse the box together are all the same. The more we become aware of the tools available to us, the more flexible and effective we become as writers and artists.

ACKNOWLEDGMENTS

There are a few people I wish to thank who have played an irreplaceable role in the writing of this book. I thank Pat Pattison for his mentorship and his extreme insight into the craft of lyric writing. Without him, I would not be writing lyrics today. I thank Jimmy Kachulis for sharing his talent for making hit songwriting accessible to writers at all levels. I thank my parents, Mark and Jan Debe, for their unwavering encouragement and financial backing when times were rough. Lets not do that again, shall we? And I thank Jan Stolpe for his tough love, his vision, and his belief. Without them, Id still be stuck in chapter 1.

CHAPTER 1 Causing an Experience