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Worship Songwriter Action List for 2022 and Beyond

 WORSHIP SONGWRITER ACTION LIST
Here’s how to prepare and register now for royalty payments.

Do this today.

Place all your songs in a spreadsheet with information such as:

○ Song name
○ Co-writer names
○ Songwriter split percentages (ownership)
○ Songwriter PRO affiliation
○ All IPI numbers (Interested Party Information
given to songwriters, composers, and publishers
issued by PROs)
○ ISWC (International Standard Musical Code)
and ISRC (International Standard Recording
Code) numbers
○ CCLI song number

This spreadsheet is the beginning of your song catalog.

Your next set of actions:

• Sign up with a PRO to capture any public performances of your works and to be prepared for others to record and perform your work.

You should choose ASCAP, BMI, or SESAC if you are a congregational songwriter in the US. CCS collects money for your songs used outside of church services and pays them directly to those three PROs, who in turn pays their songwriting and publishing affiliates.

• Sign up with SoundExchange and list any sound recordings you own. If you have a record contract, the company owns these sound recordings (that is, unless you have another deal) and will register the works.

• List your digital works with streaming services. This is done automatically with CDBaby, Spotify, and whatever company you choose when you send your works for duplication or digital distribution.

• Obtain ISRC numbers independently or from those who distribute your digital recording, and ISWC numbers independently or from your PRO as you register the work. You’ll need these numbers for the next step. Here’s a great site explaining these codes. https://blog.songtradr.com/what-are-iswc-isrc-codes-and-how-do-i-get-them/

• Become a member of a Digital Rights Reproduction Collection Agency (DRCA) such as Audiam, TuneCore, CDBabyPro, or Songtrust. These are also known as Mechanical Rights Organizations (MROs). MROs are in business to offer song publishing administration agreements, but they also collect and register the meta data of your works for a central database.

The important reason to sign up with a DRCA/MRO is that you’ll register your ISRC numbers with them so they can collect and distribute royalties for the underlying composition, for your authorship. Remember, you don’t receive money from these entities for sales, you receive royalties from these companies because of the number of replications.

If you’re in the US, you can sign up with the MLC, also an MRO, instead of a DRCA. It’s either the MLC or one of the DRCAs, not both. Here are the major differences:

• The MLC only covers collecting and distributing streaming royalties in the US

• The MLC is absolutely free of charge

• Other DRCAs collect streaming royalties internationally, including the US

• Other DRCAs have fees and take a percentage of any royalty money received for their services

• Both services collect the meta data of your work for The Public Work Search database managed by the MLC

Notes: Just to be clear, as an artist, you choose some company like DistroKid or CDBaby to distribute your digital product. The royalties you collect from them are from the sales of your product only. CDBaby and TuneCore also have DRCA sign-ups for the collection of mechanical streaming and download fees from Spotify, Apple Music, Rhapsody, and others. You’ll recognize this from the terms CDBabyPro and TuneCore Publishing. They’re selling you extra publishing administration services. These services pay royalties to rights holders for the underlying composition (authorship) related to the number of replications.

As a scenario, choose CDBaby for creating and hosting the song only. Then choose Songtrust as a publishing administration firm and a DRCA for that song (or choose the MLC for the song instead of the DRCA, Songtrust).

More Notes: As your song list grows, the above is a good exercise in helping you organize and update your catalog. Though it’s confusing at first, it’s also excellent knowledge about the type of royalties payable to you. Don’t get caught up in the Fear of Missing Out (FOMO). Make the DRCA decision with a clear head according to your goals and desires. You’ll want to sign up with one of the DRCAs listed if you are an artist or songwriter with a worldwide reach. Evaluate the cost compared with the amount of royalties you expect to receive. But my advice is to stop. Breathe. Understand your priorities as a congregational songwriter.

CONGREGATIONAL SONGWRITER PRIORITIES

I would consider signing up for the free option (if you live in the US), the MLC, as a songwriter with the primary concern of making Jesus famous and getting your songs out to local churches. You can always decide to sign up for a larger international publishing administration strategy with a DRCA if your songs generate worldwide recognition.

It is important for the congregational songwriter to have their songs registered with CCLI, who collects fees from churches and distributes royalties for rights holders. They are the largest Christian song lyric and sheet music publisher in the world. They exist to distribute your songs to over 250,000 churches around the world. You may not be able to sign up with CCLI as an individual unless you have multiple songs and a planned reach for those songs. You can sign with your new, local, faith-based publisher who has a publisher membership with CCLI (see the concept of learning to be a congregational songwriter and flourishing in a songwriting community with like-minded songwriters in my book The 5 Steps to Get Your Songs Heard: A Congregational Songwriting Plan found at https://getyoursongsheard.com or https://books2read.com/stephenrobertcass).

Even if you already have an individual publisher membership with CCLI and you become a member of the new, local, faith-based and like-minded publisher, the right agreements will be in place to assure accountability and integrity.

Finally, I want to remind you to choose ASCAP, BMI, or SESAC as your PRO. These entities authorize CCS to license churches and ministries to perform and play the songs in their repertoires, and in turn pay their affiliated songwriters and publishers.

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The Proverbs 27.17 Song Critique Method

Download the pdf version of this graphic.

The art of the song critique

One of the best feedback tools is learning the art of the critique. It is equally important to learn how to give a critique as it is to receive one. Embracing this art is invaluable for rewriting your best work. Seeking feedback from a trusted source and using feedback are the best ways to improve as a writer, and both are instrumental in learning to spot writing inconsistencies. When your songs are critiqued, you don’t have to make all the changes suggested, you need to listen to the critique without taking offense—and only incorporate the changes that make sense to you … as you realize the suggestions improve the song.

No doubt about it. Our songs are our “babies”, and we think: “You’re gonna attack my baby?!” When I give a critique I say, “This is just my two cents. Take whatever suggestions ring true to your heart and leave the rest.” I want them to know my evaluation of the song is clinical. I will also be sure to include praise for what the song does best, in my opinion.

Learn to take suggestions and ask for clarifications. In the end, you’ll need a “thicker skin” to mold and craft songs that will stand out from the crowd. This is all part of maturing in the art.

Types of critiquing

Do you remember the old saying: You have to learn to crawl before you can learn to walk? Here, learning to crawl means to learn how song critique works so you know how to receive it and learn from it. You should learn how to combine the best from “give” and “take”, for they are inseparable. As babies, our legs and motor skills strengthened as we grew, learned to stand and then to walk—but we fell a lot in the effort to get on our feet.

In the songwriting arena, we get to our feet by getting feedback on our songs. Receiving feedback runs the entire gamut of emotion, from getting praise from family and friends to hearing suggestions from a critic you perceive as tearing you apart as a person. However, getting only pats on the back or being unprepared to discern constructive criticism won’t show you how to get on your feet and become a better writer.

One of the best articles I’ve seen on waking our minds up to this: Ten Things Your Mother Won’t Tell You About Your Songwriting at https://songs4god.net/ten-things-your-mother-wont-tell-you-about-your-songwriting/.

Some writers have figured out how to receive critique, but not give it. They only pass on encouragement when critiquing, but do not offer specific suggestions for improvements. Such encouragement from experienced writers is valuable, but not necessarily constructive. You need feedback designed to help you get on your feet, take your song to the finish line, and show you how to be a better writer.

If you want to become a dedicated congregational songwriter, “cut to the chase” and take on serious critique. (pull quote) Learn from the critique. Focus the learning and become a better writer so you can cross that finish line.

You need constant feedback dedicated to your growth. Top-level critique will speed up your learning curve in remarkable fashion to help you create a top-tier song.

But where do you find this information? Is there a single source of information designed to critique and build congregational worship songs?

Yes.

It’s right here in the following paragraphs. My intention is to help you learn the art of song critique and harness the power it will have on your writing. This upcoming exercise will speed up the learning curve.

Learn how to take data and turn that into information, information into knowledge, and knowledge into wisdom.

Neil deGrasse Tyson

         To do this, I’ll show you how to take extensive data from a song questionnaire and turn that into information. Each individual on a critique team rates and gives comment for each area (this makes the critique team really dig into the lyric and the music). The completed questionnaire is then given to the songwriter so they can take the information and improve the song. Or ignore it. Hey, it’s their song, they get to choose.

Purposeful critiquing using The Proverbs 27.17 Song Critique Method

This is a next-level tool. It’s a method to assess your songs and to learn crafting through purposeful critiquing. The design takes advantage of group learning. It is focused on writing for congregations to accelerate the learning curve and sharpen core writing skills.

The definition of congregational songwriting is found in this list. You’ll find questions there not in the above list in the full form, which is found in my book Fishing in Church. It seeks extensive information about the song by asking follow-up questions to those in this list.

For more information, please visit https://getyoursongsheard.com

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The Proverbs 27.17 Lyric Formula

Click here to download as a .pdf file.

How can you be sure the song you write is a strong one? How can you guarantee it will stick in the memory of your listener? How can you get the listener to concentrate on the idea you’re laying down?

The answer to all three questions: Realize the song is not about you, it’s about your listener.

There is nothing more frustrating than having a great idea but not knowing how to hone it and get it in a form that communicates your story. You know your audience, so craft your stories for that audience. The best way to get started is to latch on to a proven lyric writing system. This will help you go after that unique lyric that defines commercial songs. Don’t tell yourself that what you write isn’t worthy. Just write and write and write. Remember that King David probably wrote 10,000 psalms, but only landed 150 on his greatest hits.

Here’s a preview of my formula for writing a great lyric. I call it The Proverbs 27.17 Lyric Formula. Proverbs 27:17 says, “as iron sharpens iron, so one person sharpens another.” Even if you are the only lyric writer for the song, you purposely invite others to critique the song later and help you make it better. Great writing is a team sport.

I introduce this in my book The 5 Steps to Get Your Songs Heard, and go into great detail of it in each section in my book Iron Sharpens Iron.

Visit https://getyoursongsheard.com or https://amazon.com/author/stephenrobertcass to learn more about getting these books.

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How To Prepare for the Studio

Simply stated, what you need in order to record music in a studio is to ask yourself ‘why do I want do this’? Whether you’re a songwriter getting a demo cut or a solo artist or a band, you need to know why you want to do this. Secondly, have an understanding of the process.

There are plenty of good articles everywhere that tell you some ins and outs of ‘how’. Let’s stick with the ‘why’ and some of the background stuff so you know what you’re getting yourself, and possibly your mates, into. After these questions are answered you can get more into the ‘how’.

What are your goals?

Why do you want to record you or your band? Are you a songwriter that needs a demo? What are the goals for doing this? Answers to these questions will help you decide how to proceed. For example, if you are a solo guitarist and your goal is to just have some CDs of a couple of songs to pass out to friends, why not ask around at the local guitar shop or ask friends of someone who has a decent recording set-up that would be willing to make a few extra bucks?

Let’s look at the larger picture. If you want to record with intention of replication and distribution, then be totally aware of copyright law. It would be illegal for you record a song that someone else wrote with the intention of distribution. Go to the Harry Fox Agency and google on ‘how to secure recording rights’. The answer on how to secure recording rights, in a nutshell, is this: pay for the mechanical reproductions you are making by contacting the owner of the rights of those songs. The cost is usually very reasonable.

If your songs are original compositions, protect yourself by getting the songs copyrighted before you record. This is job #1 for the serious songwriter. It takes sometimes up to 6 months to receive a copyright registration, but proof of your submittal is good enough for government recognition of your work.

Ok, back to the topic at hand. Why do you want to record? Are you a solo artist that is recording a project for demo purposes? Then maybe you don’t need to spend huge bucks on a top-of-the-line studio, maybe you need to find a smaller studio or a recording geek to help you out. Are you part of a full band that wants to record for the purposes of getting a demo for distribution to bars? Then seek good quality, but don’t break the bank. Are you a songwriter in need of a great sounding demo? Sadly, a great sounding demo is what is expected. Make a list of the studios in your area. Call or surf and find out recording rates.

Have a plan before getting into the studio.

Do you want really great quality? Then be prepared to spend some money. But fear not, you will save a ton if you your sessions planned far in advance. Think of session planning as you would songwriting. A little incubation time is required.

Before even getting into the studio, contact and prepare the musicians. This means send them charts, mp3s, CDs tapes, whatever. Get them prepared for the parts they’ll be playing. Even if you want them to come up with some ideas, prepare them with whatever you have. Even if it’s only a description of the song.

Plan the sessions with the studio manager. After setting up the blocks of time, tell him or her what you’ll be doing that day. “Today we’re bringing in the drummer and he’s (she’s) gonna play these songs”. In tomorrow’s session, we’ll split the time between recording the bass part on x songs and the acoustic guitar part on x songs.” The session on that day will be all about certain players and certain parts of certain songs.

If you’re planning on recording your band all at once, no problem. Most places can do that. Just be prepared that there’s a goodly amount of set-up time.

Speaking of set-up time, this is all studio time as well. Be prepared because you will have plenty. Especially when it comes to drums.

Even if you’re a solo performer, make session plans. No matter whether your solo or in a band situation, you will need to be flexible and re-structure your plans. Things happen or things take longer than you expected. Learn when a part is good enough and move on. If you’ve got the time to wait for the ‘perfect’ take, then wait. Just remember that time is money.

Build the house. Start with the foundation and build upward. Begin by recording the drums, then get the bass track down. Then the rhythm parts, then any highlight or lead parts. Finally, get the vocals tracked (you may want to record a ‘scratch’ vocal track during the drum session for reference). There’s no hard and fast rules about producing this way, but this is what works well. If you don’t have tight tracks from the drums and a tight bass guitar track to them, nothing else will groove. These ARE the grooves! You might decide to record the band all at once, and this is ok. This also works well. Do what you think would be best for you.

If your band or session musicians are playing and recording a song all at once and you think it will take multiple takes to get it right, think about recording each instrument separately. You’ll have more control over the mix and less frustrations overall.  It just depends on musician availability, whether or not the band performs together better or other time constraints.eceive the publisher’s share of performance royalties.gain staging of each amplifier in the chain!

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8 Principles for Co-writing Songs for the Kingdom of God

The following is a reprint from The 5 Steps to Get Your Songs Heard – A Congregational Songwriting Plan.  Are you ready to take your songs to the next level?  Please visit https://getyoursongsheard.com

Co-writing songs is an exercise in the art of diplomacy.  Sure, the definitions are all over the map, and the actual practices can vary.  I mean, you might just agree with someone that you’ll write the verses and they’ll write the choruses.  No rules.

But writing songs for specific genres WILL have rules or guidelines.  Specifically, writing worship songs for congregations require all the writers to most definitely be on the same page.  The following principles talk about co-writing in this atmosphere.

There are no other hard-and-fast rules about co-writing.  Only preference and prudence remain.  Our reason for co-writing in the local theology model is to create the best congregational worship songs possible. 

But don’t shy away from another writer you may wish to write with in a different genre.  Just know that going forward, I’ll outline a great way for you and me to co-write with Kingdom songs in mind.

No matter who, relate with your writers in a manner that honors the King.

It’s smart to keep a few ground rules in mind to bolster a creative relationship:

8 Ground Rules for Kingdom Co-Writing

Prepare

    • Have a conversation or an email exchange in advance with your co-writers about any song-type or style expectations. For example: Is it a singable, congregational-style song or other? Specify the type. Is it a song for a special occasion such as a communion, Easter or Christmas, or call to worship?
    • Decide if you will bring ideas to the table, or if you will brainstorm ideas at your first meeting.
    • Have the discussion about what success looks like. Who is the target audience? What are the expectations for the song?
    • Unless it’s already inked in the co-writing contract, talk about publishing administration for the song. Is the goal of the song to—someday—record and release it? Have you designated any one of you to have power of attorney so their publisher can have authority to do so?

Know Your Strengths and Weaknesses

    • You might be great at melodies but challenged when it comes to writing lyrics. Know going into your collaboration what is needed to bolster the other for success. Get to know the other songwriters before to determine their strengths and weaknesses for a better match in the writing room.

Be on Time

    • Show your commitment to success by always being on time for appointments and with communication.
    • Be prompt and consistent with all things

Find a Way to Say Yes

    • “No” should not be used carelessly or callously. As a matter of fact, it’s good to say “no” when establishing boundaries. You will find that during writing sessions, saying “yes” is more constructive than saying “no”. Make your “no” known in your co-writing agreement or in your initial conversations. In the session, temper your reactions with things like, “I’d rather …” or “Can we concentrate on …”
    • Allow your time together co-writing to be fruitful toward the common goal of producing a memorable song. Find a way to agree—or at least be gracious—and let it be known you will consider any possibility from your co-writers.
    • You can let your individual assessments of your writing sessions determine the constructive conversations for your next session.

Be Patient

    • Let the better part of your valor be discretion. We’re all broken people trying to get our point across. Some of us do that with more grace than others.
    • Allow people to fail and to say the wrong things. Give them a chance to come around to great mutual conclusions.

Encourage

    • Some of you will have more writing experience than others. You’ll often find another writer can do a certain thing better than you, or they know more than you. Listen to the stories from each other. Encourage each other to succeed, no matter how long you’ve been writing.
    • Our most creative moments come when we know we have the freedom to fail. Encourage team creativity by fostering an environment of support and mutual respect.

Be Honorable

    • Show your co-writers that you intend to produce an awesome, co-written song, not a solo effort with their input. If you discover that your co-writer is a slower thinker than you, be gracious. Your team is set to succeed together.
    • When hard times and disagreements come, remember your commitment to each other to see this project through to the end. If you decide to put it on the shelf for a time, so be it, but experience any failures and successes together.

Be the Co-writer Everyone Wants to Be With

    • No one will show everyone they’re the perfect co-writer. Each of us will fall down at one of these points at some particular time. But the mark of experience and maturity is when a writer recognizes their mistakes in a co-writing relationship and makes amends.
    • The Golden Rule 2.0 applies here pretty well, I think. ‘If you want others to want to be with you, you should want to be with them.’ Then show up.

If you strive to pay attention to these points, writers will call on you again and again to help produce winning songs.

Place Co-writing on Your Schedule

On a regular basis, once per week or once per month, place a co-writing date in your calendar.  This is so you can be intentional with understanding the values and drawbacks, the plusses and minuses, of such a thing.

When you first agree to write with another writer, discuss if you’re going to bring ideas to the table, or whether you’re going to create from scratch.  Be gracious and seek to serve the other writer by offering to write from any ideas they wish to bring.

The idea of co-writing is to create something new from the collective of your minds, not necessarily bringing together two halves to make a whole.  In this way, you’ll see that how you create songs may not be the way that they do, and that this new process deserves new writing methods.

Co-writing Congregational Songs

Think about studying The Proverbs 27.17 Song Critique Method as one or more of your co-writers will approach critiquing in that manner. It’s good to all be on the same page!

One thing you might agree upon at the beginning is if you intend to use the Proverbs 27:17 Song Critique form to help you mold your song.  If you’re a part of a songwriting community that uses that form, they’re going to use that on your song as they assess it, whether you do or not!!

So it actually might be advantageous to use the same song critique form.  It will save you and your co-writer time if you do use it.

(the reason I say “it might be advantageous” is for one reason:  that song critique form is a complete and thorough song assessment and feedback form.  It’s customized for congregational songwriting.)

About Steve Cass

Steve Cass

Steve Cass is a veteran songwriter and worship leader. He founded the label Solid Walnut Music and distributed their albums to Christian radio stations in over 15 countries.  He is the Founder of the Arizona Worship Songwriters Association, and is married to Lisa with grown children David and Christy.

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The Art of the Song Critique

The Art of the Song Critique

One of the best feedback tools is learning the art of the critique:  how to examine a song and how to accept critique from other writers.  

This art is invaluable to rewriting our best.  It’s not that you have to listen to everyone and make all the changes suggested, it’s that you need to listen to the point of view of the critique without getting defensive – and only making any changes because it makes sense to you … as you realize the suggestions make your song better.

One of the best articles I’ve seen on the subject:  Ten Things Your Mother Won’t Tell You About Your Songwriting.

No doubt about it.  Our songs are our “babies”, and we think:  “You’re gonna attack my baby!?”  But rarely has there been a critic that does so to take personal jabs at another.

When I give a critique I say, “This is just my 2 cents.  Take whatever suggestions that ring true to your heart and leave the rest.”  I want them to know my evaluation of the song is clinical.  I’ll be sure to include praise for what the song does best, in my opinion.

Learn to take suggestions and ask for clarifications.  You’ll need a ‘thicker skin’ in this department.

I’ll specifically address the art of critiquing worship songs.

Types of Critiquing

The old saying is that you have to learn to crawl before you can learn to walk.

It’s good to get feedback about our songs so we can eventually learn to walk.  But, there’s the whole gamut of getting pats on the back from your mother/friends/family to receiving suggestions that tear you down.  Neither of these provide the information necessary for you to become a better writer …

You need feedback that’s designed to help take your song to the finish line AND show you how to be a better writer.

If you want to become a dedicated congregational songwriter, you have to ‘cut to the chase’ and take on serious critique and learn to be a better writer so you can cross that finish line. 

But where do you find this information?  You’ll find it right here in the paragraphs to follow.

It’s so amazing to me.  There are massive opinions out there, as you might expect.  With so many points of view, it’s tough to know which methods are effective.  There are so many writers who know their hearts and what seems to work for them.  And there are many writers who have good intentions and experience.

Some writers have figured out how to receive critique, but not give it.  They pass on encouragement, but not necessarily specifics.  Not every writer has the know-how to give good feedback.

The main problem with seeking feedback from so many different sources when wanting to learn how to write for congregations is the plethora of opinion on exactly what writing for congregations is.

You need constant professional songwriting feedback in order to grow.  It’s not that the professional viewpoint should be the only feedback, it’s that the professional viewpoint is the only type that allows you to grow as a writer. 

This type of top-level critique and feedback speeds up the learning curve drastically.

Is there a single source of information designed to critique and build congregational worship songs?  Yes.

I’ve spent a large amount of time and gathered tons of material and opinions toward the goal of creating a critique form tailored especially for the worship songwriter. 

I’ve distilled many facets of song creation criteria down to the specifics we need to know.  All, I humbly believe, we need to know.  And nothing more.

The definition of congregational songwriting is found in this form.  Many of the evaluation questions in the form come from this book.  But the ideas in the form are expanded, with questions not found in this book.

The Proverbs 27:17 Song Critique Method

My experience with critiquing comes from multiple online writer forums, songwriting contests, live and internet songwriting review panels, local and national worship leaders, and personal feedback from songwriting veterans and professional artist management.

I’ve created an approach, taken from my own insights and experience to create a direct way to build a good congregational song.  Rather than tear a person’s baby down and make them feel like crap, it’s a method where the songwriter can see the satisfying conclusion of making their song work.

It’s a way to assess your songs and to learn crafting from the process of purposeful critiquing.

It’s based on the model of Proverbs 27:17:

As iron sharpens iron, so one person sharpens another

This form is highly focused the type of lyric and music writing needed for congregations.  You’ll quickly sharpen your core skills:

  • Lyric writing,
  • melody creation and evaluation,
  • the prosody of music, and
  • the viability for songs in the church environment

All elements of great songs.  You’ll evaluate your own as well as the creations of other dedicated worship songwriters.

I base this song evaluation and critique form on 5 critical song areas:

  • Substance
  • Structure
  • Melody
  • Prosody
  • Viability

The following are only a few of the questions and evaluations inside the 5 critical areas:

  • Substance
    • intended use
    • the power of one idea
    • the story aspect
    • the central emotion
    • scriptural accuracy
    • Structure
    • strong start criteria
    • song form
    • rhyme
    • poetic devices
    • sound repetition
    • memorable title
    • building to a payoff
    • word economy
    • Melody
    • singability
    • the range
    • the repetition
    • the rhythm with the spoken cadence
    • the shape (visual structure)
    • the “cry”
    • Prosody
    • First, do the lyric and melody belong together?
    • Is it conversational?
    • Is the intended emotion conveyed?
    • Is it singable?
    • Viability
    • Can the chorus stand alone?
    • Which ideas or images need expansion?
    • Is the song easy to sing by the untrained masses?
    • Would you characterize the song as congregational? What are your comments?
    • Are the lyrics from the heart?
    • Does the song have commercial value?

You’ll find the full and updated form on this page. Thanks for reading and please enjoy.

 

 

About Steve Cass

Steve Cass

Steve Cass is a veteran songwriter and worship leader. He founded the label Solid Walnut Music and distributed their albums to Christian radio stations in over 15 countries.  He is the Founder of the Arizona Worship Songwriters Association, and is married to Lisa with grown children David and Christy.

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Ten Things Your Mother Won’t Tell You About Your Songwriting

The following is a repost of an article that first appeared on the now-defunct christiansongwritingtips.com website.

As the writer alludes to with the title, you’re gonna receive feedback from your mom and friends that aren’t going to make you a better songwriter.  Are you ready to take your songs to the next level?  Please visit https://songs4god.net/how-to-be-a-worship-songwriter.

Thanks,

Steve

by Shawn McGlaughlin

In the world of songwriting, there’s one person who you can always count on to love everything you do: Mom. She’s your biggest fan. She’ll play your CD for the delivery guy, and he’ll like it, too. How could he not?

Moms are good at that, and that’s one thing we can count on them for. Support. If we don’t press in and strive for criticism instead of just praise, though, we’ll never become anything more than hobbyists.

So while the world is getting ready to honor Mothers for everything they do (*hat tip* and happy Mother’s Day!), we’re going to help them out. Today, we’re going to talk about the things that they won’t tell you.

Here are ten hard truths that you won’t hear from your loving mother.

1. “You don’t have a hook.”
Writing a song without a hook is like going fishing without one. Sure, you can do the work, but you aren’t going to get results. It’s important to remember that’s exactly what we’re doing when we write a song. We’re fishing for people’s attention. The hook is what wraps a song up in a single line and makes it memorable. It tells your listeners what you’re trying to say. Without the hook, you’re not going to catch them. They won’t even bite.

2. “What is this even about?”
Dove award nominated singer-songwriter Russ Lee once told me that a well-crafted song isn’t just about having a strong hook, but the entire song needs to be written around that hook. A great song is written like a wagon wheel: Your hook is the hub in the middle, and every line needs to connect (relate) to that hook in some way. All too often in amateurland, the verses just go off on a tangent that has nothing to do with the central thought of the song.

3. “This is just too wordy.”
For crying out loud, it’s not a poem. This isn’t a novel. We’re not writing a thesaurus here. Keep it short, and don’t use twenty mediocre words when six strong ones will do.

4. “Who even talks like this?”
Some songwriters use their song as a chance to show off their vocabulary, twisting and turning their words to be cute. Others get lazy and invert their words to force a rhyme, settling on a lyric when there’s a better one to be found. If you’re not writing like you speak, your listeners aren’t going to listen for long.

5. “Your song’s too long.”
Because it is. Try to wrap it up in under four minutes. 4:30 at the very most, if it’s really driving something home well.

6. “It’s trite and cliche.”
This is definitely one that your momma won’t tell you, but it’s one that a lot of people need to hear. The fact is, nobody needs to rehash something that’s been done over and over again if they’re presenting it in the exact same way. When you write a song, it needs to bring something fresh to the table. There’s nothing new under the sun, and you can speak about the same topics, but you need to shine fresh light on the topic. Bring a new perspective.

7. “It’s amorphous.”
Or maybe “There’s absolutely no structure here.” There’s a reason that over 80% of the popular songs on the radio are in VCVCBC format: It’s because that’s what works. If you aren’t sticking close to commonly-accepted convention, people have to think about how you’re presenting your song. If they’re spending energy focusing on HOW you’re saying it, they’re not listening to WHAT you’re saying… and the content is the most important part.

8. “It’s confusing.”
She also won’t tell you, “It’s too deep.” Some songwriters try to cram five ideas into one song, and that’s too many. Two ideas is one too many. It’s easy: One idea can be multiple possible songs if you present it differently, but one song can only ever be one idea.

9. “It’s a filler song.”
In the 60’s, nobody complained about this. You had to have an album full of songs, and only a few of them had to be smash hits. Ultimately, they had to buy the entire album if they wanted one song. With digital downloads overtaking the music industry, EVERY song has to be good now. If they don’t like it, they won’t buy it. If they don’t listen to it, it’s wasted energy. It might as well hit the cutting room floor.

10. “My opinion doesn’t count.”
Everybody’s mother thinks their kids hung the moon. Every church body thinks their local songwriter is a star. What really matters is seeking criticism, not praise. It’s the tough words, the qualified people who tell you what doesn’t work and how to fix it, that will ultimately make you better at your craft. If you’re not getting better, you’re not becoming more effective, even in a Kingdom economy. And if we’re not being effective, then why are we doing this?

In the end, we’re usually not writing for our mother. We’re writing to make a difference in the world, so we need to hear the things that make a difference.

Besides, our mother’s guaranteed to love our work either way. 🙂

 

 

About Steve Cass

Steve Cass

Steve Cass is a veteran songwriter and worship leader. He founded the label Solid Walnut Music and distributed their albums to Christian radio stations in over 15 countries.  He is the Founder of the Arizona Worship Songwriters Association, and is married to Lisa with grown children David and Christy.