Songwriters On Songwriting

Writing great songs is no guarantee for
success in the music business...

Numerous factors have to fall into place for you to have what makes any song “great,” only time will tell whether
a career with your music, but having great songs is where a song has the ability to move people, express a universal
it all starts. All the image making, marketing, and social sentiment, or tell a story that endures over the ages.
networking in the world won’t get you far if your songs
aren’t resonating with an audience, and like any worth- To learn from the greats, you need to study the greats,
while endeavor, it takes practice, dedication, and time and to that end we’ve interviewed five successful and
to develop into a great songwriter. active songwriters to get their insights on the craft of
writing great songs. From Music Row in Nashville to the
Study the stories of a hundred famous songwriters and back roads of independent success as a singer/songwriter,
you’ll find a hundred different paths to success. There is the following pages can help you glean information and
no single road, there is no one answer, and we all know inspiration to use on your path to becoming a better
music is subjective. There’s hardly a metric to define songwriter – whatever your genre or destination.
n d r e
By: A nna
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Our Panel
Byron Hill [ BH]
Byron Hill’s list of writing credits and #1 songs is enormous, and includes more
than 700 recordings, 77 Gold and Platinum awards, 10 ASCAP awards, and 31
US and Canadian top-ten chart hits.
Kent Blazy [ KB ]
Perhaps best known for his work writing with Garth Brooks, a partnership
responsible for multiple hits and five #1 songs, Kent lives in Nashville and
continues to write for himself and some of the biggest names in country music.
John Ondrasik [ JO]

Better known as Five For Fighting, John has scored major hits, has released
seven albums, and has been involved in numerous philanthropic endeavors
through his music and industry connections.
Rachael Sage [ RS ]
A veritable indie-music pioneer, Rachael has released 10 albums, started her
own record label (MPress Records), and tours constantly through the US, UK,
Europe, and Asia, playing 150+ shows a year.
Doak Turner [ DT ]
Another Nashville resident, Doak’s contributions go beyond songwriting.
As the founder of The Nashville Muse and co-founder of MusicStartsHere.org,
Doak was awarded the NSAI Community Ambassador Award in 2012.
Writing for an own songwriting relying on those impulses... at least
not consciously! I believe I’m composing songs in equal
intended audience parts as a means of creative self-expression and a way
of communicating things I am either afraid or unable to
convey through more conventional language. When I’m
[ KB ] For me, the target audience is really the universal, initially composing, summoning ideas for melodies and
trying to get to the heart of a song that will touch as lyrics, I’m rarely focusing on anything other than crystal-
many people as possible. Most of the people I write with lizing an idea and letting it evolve. When I’m refining the
have the same approach, and Garth [Brooks] is really like song, that’s where “craft” comes into play, in terms of
that. He’s always looking for a way to make people laugh, repetition, song-length, clarity of language, imagery, etc.
cry, be grateful... and it’s such a benefit to work with Some of that relates to the audience, but mainly I write
songwriters like that: striving to use music, like music has with the presumption that if I’m satisfied with the
always been, for its ability to change the world, change completed song, it will hopefully connect.
things for the better. That’s what I’m aiming for. ...
... [ JO] I frankly don’t have an intended audience, and
[ BH] Whenever I sit down and write, I try to come up trying to appease a certain group can lock you down. Of
with something meaningful, I’m trying to write something course you need to know who you are and what you do.
that will apply to a lot of people and maybe even make I doubt anyone would want to hear a Five For Fighting rap
a mark out there in some sort of historic way. You can’t record. You do treat potential singles a bit differently from
For me, the most important aspect is continuing to

power through. Songwriting is an exercise in failure.
For every good song you write there will be dozens
of ideas, pieces, attempts that never make the cut.
-John Ondrasik
always write art, but sometimes it might end up looking a production and structure standpoint, but beyond that,
a little like art. I guess I try not to get too focused on the best melodies and lyrics win.
a particular artist – sometimes I will aim at a genre a
little bit, but I never sit down and say, “I’m going to write Co-writing
something for Reba today” or “let’s write something for
George Strait.”
... [ BH] I do a lot of co-writing. I’ve got a little studio, just
a desk and some tools that we might need: keyboards,
[ RS ] Early in my career, I worked in the jingle business guitars, good coffee, an Internet connection, things like
as a composer and lyricist, so I do think I have the ability that. I love writing at my place, but I’ll write anywhere.
to target specific listeners in an intentional way, and I am We just basically meet at whatever time is set aside, and
grateful for that skill-set because it has helped me as a we quickly start getting into ideas. You can sit around and
hired composer for TV and film. But I don’t approach my talk about everything and the weather for two or three
s t r i v i n g to
I’m r i t s [ RS ] I have not done any co-writing at all with the
i c . . . f o
use mus change the exception of my work as a commercial composer, early
in my professional career in New York City. Right after
ability to nge things college, I fell in with a jingle-house, where I co-wrote
world, cha tter. That’s

many spots for TV and radio, both by myself and with a
writing partner. I haven’t ever co-written a song that I
for the be aiming for.

put on one of my albums, however. I am intrigued by the
idea, though, so I may pursue that process for my next
what I’m
record. I think it requires a lot of letting go, and a certain
reverence for the song as something disconnected from
B lazy an artist’s persona/ego. It scares me a little, so I imagine
-Kent that means I ought to do it!
Getting through writers block
[ KB ] The joke with us here in Nashville is, when we

get stuck songwriting, we do lunch. There’s a couple of
hours and next thing you know you’ve wasted time – or writers here who seem to write better after they’ve been
you can immediately jump in and start looking at ideas. fed, so I usually have some kind of lunch I can fix so we
I prefer jumping right in. The discipline of two or three don’t have to bust the vibe by getting up and going out.
people being across the table from each other means you If I get stuck on a song I’m writing by myself – like on
can always pull each other out of the death spiral of not the Play Guitar CD there’s a song I wrote about Stephen
being creative, because there’s someone else working Foster called “My Old Kentucky Home Revisited,” and
with you. These days it’s often artists. They’ve got to come that song took me like three years to write. I would just
up with songs, and I hope they view me as an experienced keep going back to it, and I just couldn’t get it to where
craftsman who can help them deliver. It’s a new game now I wanted it, and then some life circumstances happened
– it’s still about songs, but it’s also about the delivery and some other eye-opening things that kind of made the
requirements that the artist has, and so I’m here to help. whole thing fall into place. It was interesting that after
... that period of time it really came easy once things

had changed.
[ KB ] I would say 1/4 of what I do now is by myself, ...
and it’s more like if a song wants to be born and I’m the
only one there, I’ll let it be born. I always like writing with [ RS ] If I ever feel like I have what could be deemed
co-writers because they can bring an angle to things that writer’s block, I recognize that maybe that’s OK and I try
you haven’t thought of before. On the last CD I put out, not to beat myself up about it. I’ve recorded 10 albums of
and probably on every CD I’ve done, there are three material that I feel pretty positive about, and thrown away
or four songs I wrote by myself, and the rest is stuff I’ve hundreds of other completed or half-finished ideas. So
written with other people. It’s not like I go out of my way in a sense, I try to recognize that my job isn’t necessarily
to do it or not do it, it’s more of an organic thing of just to write countless songs at whim but rather to continue
sitting down with a songwriter at a certain time, which to develop and grow as a human being. Usually if I’m out
is what we do in Nashville, knowing that you’re going to of ideas it means I’m focusing too much on the business
be writing with somebody on a particular day. I love the aspects of my career or the record label I run. Seeing
interaction of working with other writers, you aim to pick movies, reading books, socializing with friends – living
people you get along with, who are fun to write with, so life and getting out of my own bubble – is usually enough
when you’re with them it’s a lot of fun. to get my creative juices flowing. And if not, well, maybe
something larger is wrong in my life, because I think my can’t write the third or the fourth line until they’ve got
natural state is one of creative expression. For instance, I the first and second written they way they want it. I’ve
have been in relationships where I felt creatively blocked just never been one of those writers. I might jump down
for extensive periods of time, but once I realized I was and write a chorus, or I might write a verse and I’m not
not happy and needed to move on or shift the nature of hung up on whether that will be the first or second verse.
the relationship, a flood of song ideas would come – and I might go back later and say, “you know those need to
not even always based upon my own experience – just be flipped.” If I don’t feel creative, I don’t want to force
a general sense of being open and letting either personal it. If I just get away from it for a week or two, ideas start
or imaginative ideas flow. to come. But the writers block thing has never been a
... problem for me. I’ve always thought it was part of the
process and I don’t get frustrated with it. If I don’t feel
[ BH] I’ve learned some tricks through the years from like writing one day, I will wait ‘till I feel inspired a few
mentor-type co-writers to just keep going, to never be days later.
afraid to throw out ideas. Don’t shut down, don’t go into
your own world, especially in the co-writing process. Try
...
to keep things going even if the ideas are a little silly or [ DT ] I keep a couple of “hook books,” one has a couple
are something to break the monotony. In co-writing it’s a thousand ideas from over the years, and I started a new
little easier because you’ve got someone else there and one a year ago with more ideas. I also record ideas on the
you can’t just go off into a corner. When you’re writing notepad of my iPhone. Sometimes I will have a song idea
solo it’s a little bit different, it’s a little easier to get up in a notebook, and I’ll keep the notebook open beside my
and turn on the TV or get frustrated and find some kind desk or on a counter. As I walk by, I’ll stop and look at it
of distraction. A lot of writers I know will get stuck on and perhaps a line will come to me that would work for
the first line or the second line, and they feel like they that song.
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[ JO] There are tools you can use, like changing your [ JO] There are some songs of mine (“The Riddle”)
environment, writing trips, looking for inspiration in books that I spent months on and still don’t think are quite
or films, and co-writing. Still, for me the most important finished. It is extremely hard to edit yourself and some-
aspect is continuing to power through. Songwriting is an times an album deadline will force your hand. If you have
exercise in failure. For every good song you write there a producer, or a group of people you trust, the outside
will be dozens of ideas, pieces, attempts that never make perspective can help. One key is to put the song down
the cut. You have to understand the process and try not for a few weeks and listen fresh. You’ll get a more macro
to get frustrated. And when you have a good song on the perspective of the song than when you aren’t immersed
line, understand that it may take hours, or months, to get in the minutia.
the lyric and form right. Just keep your head down and
keep swinging.
...
[ KB ] That’s probably one of the toughest things. I have
Knowing when your song friends who are still re-writing their songs as they’re going
up the charts – “Boy I wish I’d said this or done that.” It’s
is done – it’s time to stop kind of like kids you’ve nurtured, or something like that,
revising and put it down where you’re like “Well, I think this is complete,” and you
give it to other people to see what they think and you get
some feedback and if someone says, “I think you should
do this or change this,” you might go back to it, but most
[ BH] Songs will tell you when they’re not done for sure, of the time we’re going for the energy of what’s happening
because they will kind of bug you – there’s something in the moment, and if we feel like we’ve captured it, a lot
there that you know is not right. What really helps me is of times, we don’t go back to it. Some of the biggest hits
getting away from it. If I work for a couple of hours on I’ve had have happened very fast. There was a book I had,
a song, especially if I’m working by myself, I will get away about the most popular 100 songs or whatever, and most
from it and look at it maybe a day later and then it’s just of them were written in 30 minutes, and I know some of
obvious to me. I don’t really call it soup yet, I’ll let it sit the greatest writers here in town who I’ve written with
for a while. I’ve even let songs sit for a week or two and work really fast and they don’t look back. There’s some-
I go back and listen to it and I go, “Oh my gosh, what was thing to the magic of the energy that’s happening right at
I thinking?” that one time, it’s like it’s your subconscious coming out
... rather than the thinking part of your brain, and when you
start going back and looking at it and reworking a song,
[ RS ] I usually use the live performance setting as my then you’re thinking about it. A lot of times when you
test for whether a song is done. If I’m on tour and I have start thinking about it, that’s when it gets derailed.
the urge to play the song live, or introduce it at a local
show in NYC, it’s either ready or close. Playing it for an Being aware, in the midst of
writing/rehearsing/recording
audience and getting a sense of what sections or lines
aren’t flowing or are just confusing is a great way to
gauge whether any further revisions are needed. Once a song, that something
special is happening
in a while I take a brand new song into the studio if I’m
making a record and haven’t had the chance to “tour”
it, and sometimes I’ll adjust a word as late as when I’m
doing a final vocal. Once it’s on a record, that’s usually
that! I do improvise a great deal live, though, so piano [ RS ] I think being aware of when the “magic” is
arrangements and even song structures may vary show happening, at whatever creative stage, is a big part of
to show. That’s what I love about performing live – music what keeps us all engaged as artists. Whether those
is always shifting and that keeps it fresh for me as well moments are abundant or sporadic, they’re always
as the audience. undeniable and crucial, if not difficult to articulate.
The truest test of whether a song stands on its own, for somebody from Capitol Records, who had passed on him
me, is performing it acoustically in an intimate setting three different times, heard that song and said, “Maybe
such as a house concert or even a room full of strangers we missed something, why don’t you come back in?” He
at a party, something low-key like that, where there’s little got a record deal, it was his second single and the first
to no pressure and no bells/whistles. You can gauge very #1 for each of us, so it’s that kind of thing that makes you
easily whether you’re connecting with people. Sometimes wonder. There’s a song I’ve written with this young writer,
a song that elicits that sort of response might get lost Corey Batten, that’s probably eight years old called “Still
in the studio, though, whereas another that didn’t land On My Way Home.” It’s never been on hold, but every
as well with a live audience comes to life more in the time we go out and play that song anywhere around the
studio because of inspired arrangement and production. country, people just go nuts over it. I mean, you see the
It’s a process, and you don’t always have those ephemeral public response, but nobody in the music industry has the
moments of awareness. same response, and you go, “I don’t know, who’s missing
... this? Am I missing it, or are they missing it?” It’s a pretty
perplexing thing.
[ KB ] You know, that’s the kind of thing that is so ...
nebulous – you write these songs and you think you’ve
got something really special and then nothing happens [ BH] Oh yeah, sometimes you’re aware when you’re
to them. Like “If Tomorrow Never Comes,” which was writing it. One song I wrote with Tony Martin that really
the first song Garth Brooks and I wrote together. We sticks out called “Politics, Religion, and Her,” that when
thought we’d really written something special. We pitched we were done we just knew it would get cut. And the
it around Nashville for about a year and we didn’t get any publisher did go out and get it cut immediately and we
bites on it at all. We were actually talking about going had a Sammy Kershaw single. But nowadays, as writers
back and re-writing the song and taking another look at we often talk about it privately, that you can write a
it. Then he played it one night at the Bluebird Café and “Wind Beneath My Wings” and maybe not be able to
get it cut because there just aren’t as many artists looking melodies and stuff like that, so I’m always looking
for songs. It’s just very difficult these days to feel that way for an idea or a melody that’s a little different. I mean,
about a song when you’ve finished it. you’re working with only so many notes and so many
chords. The other thing I do is buy instruments I cannot
[ JO] When we were recording “Superman” we had the play, and start playing them to see if I hit on something
sense that anybody who heard the song could connect different than what I would do on the guitar. Sometimes
with it. There are always a couple of songs that rise out that will motivate me to write something I never would
of the recording process, and a few that let you down. have written before, because the instrument itself is giving
The best part of being a songwriter is playing a special me different tonalities than what I’m used to. Anything
song from beginning to end for the first time. It’s what that breaks me out of the norm of what I’m doing assists
keeps me coming back. me in coming up with something different.
Avoiding the same words, [ RS ] I’m very grateful to my parents for some of my
themes, rhymes, and ability to filter and edit myself as a writer. Originality
patterns when writing

and variety of language within my songwriting was always
heavily encouraged, and I recall receiving a very large
thesaurus early in my youth! I do believe that to a large
extent we “are what we read,” so I’m also very lucky that
[ JO] Part of the tight rope walk, if you’ve had success, as a drama major I was exposed to so many incredible
is to reinvent yourself enough to grow as a songwriter plays and written work by such a rich array of playwrights.
without going off the deep end. There is a tendency for They all had their own music, in a sense, and probably
All it really takes for me to summon the muse is some degree

of human vulnerability... We are all transmitters and receivers,
but artists have somehow learned how to amplify self-expression
to a different level.
-Rachael Sage
labels to push you to regurgitate the hits and sound that taught me subconsciously to strive to be as specific
made you popular. That can be dangerous. There’s also as possible with language, toward the goal of telling a
a tendency as human beings to chase whatever fad or story – even if that story is something as simple as
sound is happening at the time (see auto-tune). I realize love-at-first-sight.
I can’t write “100 Years (part 4)” every album and need
to stretch a bit, but I also understand my thing starts [ DT ] I keep my hook book with all my ideas and try
with a singer at a piano. It certainly makes each album a to look for different angles to write the songs. I use
bit more challenging, which in the long run is a positive. Wikirhymer.com for a rhyming dictionary – that site
has so many rhymes I would never have thought to
[ KB ] Boy, that’s an interesting question. For me, part of use in my songs!
it is I keep a lot of different books of ideas and tapes of
Writing songs you loved and the next thing I knew it was at #2. The song it itself
was only 2:08 long, had way too much rhyme in it, and
that others didn’t respond all these things I try not to do now. But it sort of defied
to – or songs you thought gravity and found its own way, and there have been a
few of those that turn out to be the square peg that fits
weren’t your best that perfectly into the square hole.
sparked big reactions ...

[ RS ] You hear a lot from big mainstream acts that their
“throwaway” song is the one that became their biggest
[ JO] The subjectivity of music is what makes it fun. hit. I think the reason that happens is because sometimes
Once I throw them out there, I understand that they the simplest songs we write are the most universal. It is
are not mine anymore. What’s more interesting is how very easy to navel-gaze and get overly consumed in our
people take my songs and apply them in ways that I never own personal experience to the point where others
imagined or intended. During the first Iraq war, I was might not find a key into your work. But sometimes those
getting letters from soldiers who used my music to pump simple, three-chord, poppy numbers can get a crowd
up for a mission, to calm down after a mission, to escape engaged and feel included, and yes, I have definitely had
for a few minutes, to connect with home – and it was the a handful of those sort of lighter-fare tunes garner a big
same song! That’s the beauty of music. reaction. I think different songs are meant to reach people
... in different ways, and I try not to be overly critical of
something I write with less effort, just because I did not
[ BH] Oh yeah there have been a few songs along the feel a big catharsis from creating it. I actually try to include
way that I thought were nothing special or anything earth a few of those tunes in every set, because it’s all about
shaking and they get cut. But there have been songs that dynamics for me; if I can get everyone singing along to
have surprised me for sure. “Picking Up Strangers” by a poppy tune, then maybe they’ll be more able to listen
Johnny Lee, I thought it was an OK song that fit a movie, intently to a very personal love song. It’s a balance.
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What it is that makes you [ BH] Well, there are always a bunch of scribbled titles
get out your instrument
on pieces of paper, which can sit there on the side table
or a desk for months before I look at them. I mean, I
and write a song don’t go a month without writing, but I’ve got a whole
bunch of titles laying around, so I’m just grabbing some-
thing whenever I do write with somebody or write by
[ RS ] I usually write after some kind of overwhelming myself. When I do co-writing, those are by appointment,
experience, whether personal or vicarious. It could range so I am committed to sitting down and writing for any-
from seeing a powerful film, to going to a museum exhibit where from two to five hours – and that’s great and it’s
by an inspiring painter, to feeling inspired in the afterglow really disciplined. But when I’m left to my own devices and
of someone else’s musical performance. I might also be I’m just walking around my house or dealing with business
sparked by hearing a couple have a heated discussion in stuff, a lot of time what draws me to a song idea or my
a coffeehouse about a political issue, or having a stranger guitar – and this kind of sounds wacky – but the stress of
confide something very unusual and personal to me on the business and stress of things that just come up in life
an airplane or a train. All it really takes for me to summon make me turn to my guitar or the piano as an escape. It’s
the muse is some degree of human vulnerability being a wonderful thing, and a lot of times I think we musicians
exposed in a surprising way. We are all transmitters and forget what brought us to the party, you know? It’s that
receivers, but artists have somehow learned how to amplify place that a piano or a guitar will take you. I sort of look
self-expression to a different level. I don’t ever recall there at song ideas like that. If I can chisel out time and sit in
being a time when I wouldn’t find some comfort in sitting the kitchen when nobody else is here, the next thing I
down to play piano, or painting. These days, the biggest know three hours have gone by and I’ve got the basics
obstacle is simply lack of time; I have to really protect my of a song, and it might have all started with having a bad
day and needing a place to go.
...
down days while off tour, or not working with my record
label, to allow creativity to flow.
... [ DT ] I keep the hook book visible and have a couple
[ JO] The miracle that every once in a while you can rooms in my house with guitars and other instruments
create something powerful out of thin air. that make me want to pick them up and play at various
times of the day. If I like what I am playing, I record the
groove on my iPhone and play it back in co-writes or
when I want to sit and write a song.
Scheduling time specifically

The stress of for songwriting or forcing
make me turn things in life
or the piano to my guitar yourself to write no matter
the next thingas an escape... how you are feeling
got the basics I know... I’ve
it might have of a song, and [ KB ] The key word you’re using is “force,” and I’ve
with having a all started attempted to force myself to do that before, and it
needing a pla bad day and

seems that it’s better when it’s just organic. There’s a
place where I walk my dog most every morning, and a
ce to go. lot of times when I’m out there, it’s kind of like driving
the car or mowing the lawn or something, you’re out in
-Byron
Hill a different place and ideas just start coming to you. Then
I’ll come back home and work on them, maybe before a
writing session with somebody else or a day where I [ JO] Yes, that’s the key, writing when you don’t want
don’t have something scheduled. The greatest thing that’s to – or even harder, when you don’t have to.
happened lately is the voice memo on the iPhone – you
Hearing a song and thinking,

can be anywhere and put your idea down so you don’t
lose it and come back to it and work on it later.
... “I need to write something
[ RS ] I go through phases with trying to structure like that”
my free time and build in certain hours for practicing
and writing vs. trusting that if I live and work with
passion in general, the songs will come. I am a bit ADD, [ JO] Of course, I write “Let It Be” at three in the morning
so distractions come easily and I do benefit from set every few months. Unfortunately I wake up the next day.
deadlines; if I’m gearing up to record a new album for ...
instance, a couple of the best songs will usually come
to me within a day or two of the tracking session. That [ KB ] There are a ton of songs on the radio down through
is not something I can count on, though! the years that I go, “Man, I wish I’d written that!” and there
... are others where you go, “I had that idea in my book and
I never wrote it!” Sometimes, maybe that is the most
[ DT ] I schedule co-writes. I will get in the mood to frustrating thing.
write, my brain is always going, so I might as well focus
on the song. Sometimes a fun challenge is to imagine
...
seeing a video of the song – what is the next scene in [ RS ] When I was first writing songs as a child, my mom
the video? Other times, when I am tired, I will come played a lot of Broadway soundtracks and classical music
up with ideas I would have never thought of and get while my dad shared his doo-wop and Beatles collections.
working on the song! My sister was listening to hip alternative rock, so all of it
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kind of blended for me into a sense of how melody can [ JO] It’s usually the up-tempo tunes that we force
impact the listener and how repetition and variations ourselves to write. The ballads are a dime a dozen.
of melody and lyrics can expand one image into a three
or four-minute story. So yes, I have heard innumerable
...
pieces of music, both classical and contemporary, that [ KB ] We kid about it, but at this time on country radio
have prompted me to take a crack at composing my there are not many ballads going on. You have to be aware
version of whatever had inspired me. However, usually of that, and when you get together with a co-writer, you
that was undetectable to other people. For example, might say, “OK, everything on the radio now is up-tempo,
if I heard “American Pie,” my version of that might be how can we approach this idea like that?” Or, “Maybe we
to write a long story-song with imagery about the need to come up with another idea that’s an up-tempo
experience of being bullied at school. I was connecting thing, because if we write a ballad, the chances of it getting
dots in my own way. cut are slim to none at this time.” We’re at a time where I
don’t know if the song “If Tomorrow Never Comes” would
Setting out to write a get cut. It even feels like “He Stopped Loving Her Today,”
particular type of song

which was solid a year, two years in a row wouldn’t have
a chance of getting recorded now in the climate country
vs. letting your music radio is in. You have to be aware of what’s getting played,
dictate the song

but you don’t want to write to that, especially because
you’re probably six months or a year from a song getting
aired. But you have to look at the trends that are going
on with radio and the audience and all that, and we’re in
[ RS ] I usually let the natural rhythm and singability of an up-tempo world.
a lyric dictate the tempo of a song. I’ve written ballads
that ultimately became faster rock tracks once I explored
Reacting to a song after
the arrangements with a band, and vice versa. One of
my more popular songs through the years, “Sistersong,” it’s been produced and
recorded by another artist
began as a piano ballad and ended up on an album as an
upbeat pop tune. I think it’s a good thing to be open to
alternate arrangement and production ideas once you
are in the studio with a band, especially if you’ve already
tracked a “definitive” version and there’s extra time to [ BH] It’s happened both ways, where I demo something
do another one just for fun. Sometimes that’s the one and I get locked into that and I feel like the demo has
that will be more adventurous, because you’re playing the magic. Then I hear it recorded by someone and I’m
off of the energy in the room and not an abstract ex- like, “Whoa, they missed that whole thing I was trying
pectation of what the song ought to sound like. I have a to get across.” Other times it goes the other way. “Born
handful of excellent drummers to thank for helping me Country” is a great example of a song I wrote with John
reimagine some of my ballads and reconceive them as Schweers and we went into the studio and it came out
groove tunes. as an average sort of demo, it had all the right chord
... changes and did everything it was supposed to, it had all
the dynamics it needed. But then when it was recorded
[ DT ] I stay open to what melody would work for the by Alabama it was like, “Holy cow, man. Wow!” They took
song. Try the song with a certain melody, then perhaps it into the stratosphere and came up with a lot of sub
play around with the guitar parts that may work with the hooks and things that really took the song to a new level.
lyrics. I remember the song “I Can’t Make You Love Me” On the other hand, “Picking Up Strangers” is an example
was originally written with a bluegrass melody, and that’s of something that went the other way. I wrote this song
hard to imagine. I just ask what would work with my for the movie back in 1980 and it was nothing but me and
lyrics and stay open to ideas! a guitar. And when they produced it came back, the back-
ground singers were kinda out of tune, it was not really
what I was envisioning. And sure enough, it was a big hit.
Wherever you are on your had songs rejected, wondered
songwriting journey, remember why they wrote songs, got
the successful songwriters were confused, were told their
right there too! They wrote songs were not that good...
- Doak Turner
songs in their home towns,
So I try not to get into over thinking it too much. I’m just like a master class. I also entered a slew of contests
thrilled when somebody cuts something and I don’t try to early on – The Billboard Song Contest, Disc Makers’
put too many of my production thoughts into it, because I Independent Music World Series, The John Lennon
can be wrong. Songwriting Contest. In a way, I think having to self-edit
and select my own “best” submissions was a good
Formally studying the art exercise for me, and helped me set goals and become
of songwriting
organized as a young amateur musician that eased
me into becoming a professional.
. ..
[ KB ] I can’t say I studied it formally, but when you grew [ DT ] I have studied songwriting it seems for most of
up on AM and FM radio that had so much diversity and my life! I remember loving lyrics, and even as a ten-year
so many great songs, you’re inundated with the kind of old kid, putting a quarter in a jukebox and listening to
things that get to your heart, the things that make you “These Eyes,” trying to figure out the words in the chorus
happy, that make you sad, that make you cry. You’re always as the song played over and over. It probably drove the
studying the music or the lyrics from people like James people in the soda shop crazy. In the early ‘90s, someone
Taylor, Jackson Browne, The Beatles, Marvin Gaye, Frank gave me a copy of a book called The Craft and Business
Sinatra, and anyone you can think of. I went back and of Songwriting by John Braheny, and that helped me get
studied the writers that were big in the ‘30s and ‘40s, on board to really study songwriting. In 1996, I visited
Hoagy Carmichael, stuff like that, just getting a handle on Nashville, stumbled across NSAI, and found I had a great
what made things so popular. So I did my own studying, resource to study songwriting. I’ve also read dozens of
just working on what was done in the past and figuring books on songwriting and about people in the music
out how to do it differently and still get the feeling they business, and attended many workshops over the years. I
got across in their songs. read something every day related to music and ask friends
... about their songs, how and where they got their ideas.
[ RS ] I never formally studied songwriting, but I did attend

...
a handful of very interesting and inspiring talks through the [ JO] I took one songwriting extension class at UCLA,
years, such as events with songwriters discussing their craft though I believe the best way to become a good song-
at 92nd Street Y or The New School. These were often very writer is to write song after song after song. There are
informative for me, as I was a young writer hearing stories no rules or secrets. Listening to great songwriters and
about other artists’ processes – artists who I greatly knowing a few basic structure rules help, but it’s a craft,
admired. I suppose in a way, that is a type of education, and unless you are a prodigy, it’s sweat and repetition
that leads to improvement.
Favorite songwriters [ RS ] Some of my favorite songwriters include The
and what you admire
Beatles (of course!), Elvis Costello, Prince, Suzanne Vega,
Sinead O’ Connor, Billy Joel, Marc Cohn, Carole King,
most about each of them John Prine, Sarah McLachlan, Bruce Springsteen, and Rufus
Wainwright. In their own way, each of these songwriters
has impacted millions of people by combining their own
[ BH] I guess I’d start the list out with Dolly Parton, she’s natural talents and unique aesthetics with an enormous
so down home and simple, she’s an amazing songwriter sense of discipline and a seemingly endless desire to
connect and communicate.
...
and really kinda underrated because her image and star
thing overshadows what she does as a songwriter. But
[ DT ] The greats, such as Carole King, who wrote the

she’s just terrific and extremely crafty. I’d put Carole King
high on my list, everything she writes sounds like a hit,
songs I loved over the course of my life! Bill Anderson
she’s great at the hooks. One writer I have to give a lot
and his song “Still,” was one of the first songs I remember
of credit to for inspiring me to get into the business is
hearing as a child. Bob Gaudio and Frankie Valli – I love
Kris Kristofferson. My dad sat me down when I was about
the Four Seasons and still listen to them. Jimmy Webb,
16 and told me to listen carefully to “Sunday Morning
who wrote those great songs in the ‘60s and ‘70s.
Coming Down” and it was from that moment on that I
wanted to be a songwriter. I was already a musician, I had ...
[ JO] For me it starts with The Beatles. To be so prolific
been playing guitar since I was 10 and I was excited about
music and what was going on, but when I heard that song,
and skilled melodically is truly unbelievable. How many
I knew I really wanted to work on being a songwriter.
of us would give a left arm to write just one of those
And there have been a lot of people along the way. Jimmy
classics? As a piano guy I have to mention Elton John and
Webb has got these soaring melodies and big ideas, and
Billy Joel, of course. I doubt there would be a Five For
he seems like quite an intelligent guy, and his songs are
Fighting if I didn’t see Joel’s Glass Houses tour when I was
just huge. He does something that not everyone can do
16. The Who’s Tommy is still in high rotation, and great
– it’s kinda like when I go see a movie, I don’t know what’s
lyricists, like Leonard Cohen, remind us songwriters how
going on really, I’m just usually enthralled with the movie,
mortal we are.
and that’s kinda the way I am with Jimmy Webb: it’s so
The best bit of songwriting

far over my head that I’m just amazed by it. Of course,
you can’t beat Merle Haggard for the simplicity of the
common man stuff. I’ve always liked Gordon Lightfoot, advice you have received
incredible depth and thought and real life story stuff. And
you know, I’ve always liked Johnny Cash, but I didn’t really
understand the full depth of his writing until I bought that
book about his lyrics that Don Cusic wrote. I started [ KB ] It was simple. If you’re going to be a songwriter,
looking through that book and I was like, “Wow, this you’ve got to be in Nashville, LA, or New York – but
is some deep stuff!” really, Nashville. So when I was bringing my songs down
... to Nashville, that was the advice I got, you know if you
want to go hunt tigers, you’ve got to go where the tigers
[ KB ] I grew up in that period of singer/songwriters who are. There’s an energy here in Nashville with everybody
could play and sing at the same time. It wasn’t somebody creating everyday that’s in the air that you just kinda
in a building writing a song and giving it to somebody else pick up, and it makes it a little more fun and easy to be
– they were conveying their own feelings. Bob Dylan was creative in this kind of environment.
huge for the impact that he made in every aspect of the
industry. I also loved a lot of country songwriters: Hank [ RS ] At Lilith Fair on a panel, Suzanne Vega told me to
Williams, Curly Putman, Bobby Braddock. I was always “Ignore your lawyer and manager and anyone else who
studying what they were doing as well as what was going has an opinion when it comes to your songs. Go with
on with rock and country rock. your gut, write for yourself, and block out all that noise.”
[ BH] A publisher who was one of my earliest mentors, [ RS ] Once you are ready to really pursue songwriting
a guy named Jonathan Stone, once told me, “Nobody ever professionally and commit to it as a lifelong pursuit,
said it would be easy.” And it just stuck in my head to not have a regular way to present your work, whether in a
feel like anyone owes me anything, I just need to keep performance setting or a local writers’ salon/group. I
plowing forward with that as a creed. think some people fall into the trap of keeping everything
... very private/close to their chest until it’s absolutely
perfect. I think that can become an excuse or cultivate
[ DT ] Be involved in your music community. an unhealthy fear of feedback, which we all need to grow
... and evolve. In short: don’t create in a vacuum. Become
part of a “scene,” and find a supportive network of peers,
[ JO] The example my father gave me to work hard friends, or a genuine recurring gig where you can experi-
and be humble fits most any endeavor. ment and present ideas without feeling like it will make
or break your career. Be generous with your gift and
The worst bit of advice share it however and whenever you can! If I had not
played so many school assemblies and brought in demos
to play for my friends, I might never have received the
[ KB ] The worst advice I got was from somebody over positive reinforcement – and sometimes, critical input
at SESAC, when I first moved to town and she told me to – to recognize that this was what I truly wanted to do
move back home. She basically told me I was terrible, and for the rest of my life.
it pretty much crushed me. Then, maybe six months later, ...
I had six songs cut in three weeks. You can’t believe what
everybody tells you. You have to go with what your heart’s [ JO] Write tons of songs, record them, and play them
telling you, and my heart was telling me I had to be in live for an audience. To truly get perspective and grow you
Nashville. That had to be the worst advice I ever got, need to listen back to your music, even if it’s just a piano/
and I’m glad I didn’t take it. vocal or guitar/vocal. You can work on a song in the studio
for months, but nothing will give you better insight than
[ RS ] A UK producer offered this gem, repeatedly: playing it live for people you don’t know.
“You should write more like Taylor Swift – like it’s from
your diary. Go study her, she’s really onto something!”
...
[ BH] Don’t ignore the great craftsmen in Nashville.
Advice you would give New artist/writers should have a few of those people
on their team.
regarding songwriting ...
[ DT ] If you really want to write songs and have big
[ KB ] It’s a different world than it was five years ago dreams, you must be present to win! Build relationships
or ten years ago in the music business, with Pandora in the music industry, learn every day, study the great
and Spotify, YouTube, and even BMI and ASCAP cutting songwriters, join a songwriting organization, and love the
back the money. At the same time, it’s more possible for journey of songwriting. Surround yourself with positive
artists to do their own thing with companies like Disc people in life and in the music business.
Makers. CD Baby and iTunes have opened up some things,
you’re reaching people you couldn’t get to before, say in
Japan or China or Germany. So my advice is if you love it
and you want to do it, do it in whatever way you can. If
you’re looking for fame and fortune, I can’t say that that’s
going to be the case, but if you’re looking to let out your
inner soul, there are so many options to do it these days
compared to how it was. Just go ahead, do it, and have
fun with it.
Final thoughts... [ DT ] Wherever you are on your songwriting journey,
remember the successful songwriters were right there
too! They wrote songs in their home towns, had songs
[ RS ] Songwriting isn’t about you in the privacy of your rejected, wondered why they wrote songs, got confused,
bedroom or home studio. Present your songs every way were told their songs were not that good – and those
you can, and it will grant you a rich, adventurous life! songs sometimes are timeless songs! Study the story
Many people wish they could play an instrument or write of your favorite songs and how they were written, what
music, but they simply don’t know how. Somehow, you’ve inspired them, the process of writing them, and who
figured it out, and are being given an opportunity to wrote the songs. Study the songwriters’ journey and
perceive the world in an unusual way that can bring all make friends wherever you are. And always remember
why you love music and writing songs.
different kinds of people together. Relish it, respect it,
and always remember there is more you can learn from ...
[ JO] Try as best you can to enjoy writing songs.
others whose music has inspired you. Never stop being a
fan, and if people are moved by your songs, take the time
Understand the dance: there is no right or wrong, no
to be gracious and thank them, if possible. It’s no small
rules of the game. At the end of the day, songwriting
thing, when you can impact someone else’s life with your
should be a cathartic process, and a beautiful road.
songs. It can keep you going when times get tough, to
recognize and appreciate those who encourage and
support you – and then you can be that source of
positivity to someone else down the line.
Byron Hill
Originally from North Carolina, Byron Hill has been a Through the years, Byron’s songs have been recorded
professional songwriter in Nashville since 1978, with his by artists that include Juice Newton, Ed Bruce, Conway
songs generating more than 700 recordings, 77 RIAA Twitty, Mel McDaniel, Ricky Skaggs, Margo Smith, Reba
certified Gold and Platinum awards, 10 ASCAP awards, McEntire, Kenny Rogers, Tom Wopat, Randy Travis, Keith
and 31 US and Canadian top-ten chart hits. Whitley, Rhonda Vincent, Don Williams, Dionne Warwick,
Doc & Merle Watson, Trace Adkins, Asleep At The Wheel,
Hits Byron has written for major artists include “Pickin’ John Michael Montgomery, Toby Keith, Gene Watson,
Up Strangers” (Johnny Lee), “Fool Hearted Memory” Porter Wagoner, Brooks & Dunn, Hank Thompson, Bill
(George Strait), “The Pages Of My Mind” (Ray Charles), Medley, Blackhawk, Highway 101, Jeff Bates, Rhett Akins,
“Born Country” (Alabama), “Alright Already” (Larry The Oak Ridge Boys, Ricky Van Shelton, The Whites, The
Stewart), “High-Tech Redneck” (George Jones), “Life- Seekers, and many others.
styles Of The Not So Rich And Famous” (Tracy Byrd),
“Over You” (Anne Murray), “If I Was A Drinkin’ Man” Byron performs regularly throughout the southeast,
(Neal McCoy), “Politics, Religion And Her” (Sammy usually on-stage with other award-winning songwriters
Kershaw), “Nothing On But The Radio” (Gary Allan), performing the hits they’ve written for major artists.
and “Size Matters” (Joe Nichols). Learn more at ByronHillMusic.com, check out Byron’s
music on SoundCloud, and buy his music on CD Baby.
Kent Blazy
Growing up in Lexington, Kentucky, Kent Blazy became In 1987, Kent was introduced to a new demo singer by
musically inspired when he heard Roger McGuinn playing Bob Doyle, soon to be the manager for an emerging
his Rickenbacker on “Mr. Tambourine Man.” Kent traded talent named Garth Brooks. The first song Garth and
in his baseball glove for a guitar and began his musical Kent penned together was “If Tomorrow Never Comes,”
journey playing with a series of bands all over the which became the first #1 song for both. The friendship
eastern half of the country. and writing partnership continued as Garth included eight
more of their songs on his albums, including “Somewhere
By the mid-70s, Kent was band leader, playing guitar and Other Than the Night,” “Ain’t Goin’ Down (‘Til the Sun
touring with Canadian legend Ian Tyson. A first place win Comes Up),” “It’s Midnight Cinderella,” and “She’s Gonna
in a national songwriting contest persuaded him to move Make It” – all of which reached #1.
to Nashville in 1980, where Kent went to focus his efforts
on the craft of songwriting. In 1982, Gary Morris took Other artists to record Kent’s songs include Diamond Rio,
“Headed for a Heartache” to #5 on the charts. In the Kenny Chesney, Terri Clark, Clay Walker, Patty Loveless,
years that followed, artists such as The Forrester Sisters, Julie Roberts, Andy Griggs, Blaine Larsen, Reba McEntire,
T. Graham Brown, Donna Fargo, and Moe Bandy recorded and Chris Young. Learn more at KentBlazy.com and buy
Kent’s tunes. his music on CD Baby.
John Ondrasik
Born and raised in the San Fernando Valley of Los Angeles, “Superman” continued to embed itself in the nation’s
CA, Five For Fighting’s John Ondrasik began his musical consciousness with the events of 9/11, as Ondrasik joined
journey at the age of three. His mom was a piano teacher, superstar musicians for “The Concert for New York”
and after teaching him the basics, she allowed him to walk fundraiser in 2001 dedicated to first responders affected
away from formal lessons at the age of thirteen. by the events of September 11th. Since then, Ondrasik
scored another #1 hit with “100 Years” and has compiled
Some 20 years later, Ondrasik exploded onto the music five albums to give away to US troops, with over a million
scene with the release of “Superman (It’s Not Easy)” distributed containing hit songs and bits from superstar
in 2000 on America Town. Having written those thousands musicians and comedians, including Five for Fighting music.
of songs just for fun in his youth and his time at UCLA,
the public adoration of “Superman” stunned his mother Ondrasik is an avid hockey fan – his “band” title references
– a way to actually make money writing and playing music! five penalty minutes given to a player guilty of fighting.
Ondrasik’s father, a rocket scientist, was less surprised. Learn more at FiveForFighting.com and buy John’s music
As a businessman himself, he appreciated the long hours at his online store.
of dedication he had put into honing his craft – 45,000
hours, according to math major Ondrasik’s calculations!
Rachael Sage
A soulful vocalist and innovative keyboardist, songwriter, MPress Records released her 10th album, Haunted By
singer, and producer, Rachael Sage has become one of the You, in May 2012. Featuring The Sequins as well as guest
busiest touring artists in independent music, performing appearances by Dar Williams, Mike Visceglia (Suzanne
150+ dates a year with her band The Sequins throughout Vega), David Immergluck (Counting Crows), Doug Yowell
the US, UK, Europe, and Asia. She has earned a loyal (Duncan Sheik) and more, it was self-produced by Sage
following for her music, lyrics, and often colorful and and mixed by Kevin Killen (U2, Elvis Costello). Follow
outrageous stage banter. Rachael on Facebook and Twitter, learn more at
RachaelSage.com, and buy her music at her online store.
Sage has shared stages with Sarah McLachlan, Colin Hay,
Marshall Crenshaw, Marc Cohn, The Animals, and Ani
DiFranco. She has performed at the Edinburgh Fringe
Festival and received numerous songwriting awards,
including The John Lennon Songwriting Contest (Grand
Prize) and several Independent Music Awards and
OUTMusic Awards.
Doak Turner
Arriving in Nashville in 2002, Doak Turner has had a The years of support Turner has given songwriters
unique impact on one of the world’s most famous music are now translating into success for his own tunes.
cities. Doak was awarded the NSAI (Nashville Songwriters Frankie Ballard (Warner Brothers) cut “That Look,” and
Association International) Community Ambassador Award he has 10 indie cuts since moving to Nashville, including
in 2012, founded a weekly newsletter called The Nashville Brad Puckett singing “At Least I’m Feelin’ Again” and
Muse , and launched MusicStartsHere.org, a website that Jimmy Fortune (Statler Brothers) cutting the same tune.
hosts over 300 video interviews with music industry pros, Kate Logan recorded “Rocks In The River” and Mallory
producers, and songwriters. He also founded and hosted Miller recorded “Rocks In The River” and “I Talk To God”
networking events such as the “3rd Sunday at 3” song- for her album to be released in 2014. Learn more at
writers roundtable and the annual “Guitar-B-Q.” DoakTurner.com , hear Doak’s music at DoakMusic.com ,
and read Doak’s blog of resources and tips for the
Doak began in radio sales in his native West Virginia in music industry.
1982, moved to Charlotte, NC in 1987, and was work-
ing in radio for NASCAR by the mid-90s. He syndicated
NASCAR Country, building a network of more than 300
stations for the company. He had also been trying his
hand at lyric writing and was the coordinator of
Charlotte chapter of the NSAI.

Songwriters On Songwriting

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Writing great songs is no guarantee for

success in the music business...

John Ondrasik [ JO]

For me, the most important aspect is continuing to

ability to nge things college, I fell in with a jingle-house, where I co-wrote

world, cha tter. That’s

for the be aiming for.

Getting through writers block

[ KB ] The joke with us here in Nashville is, when we

... that period of time it really came easy once things

patterns when writing

All it really takes for me to summon the muse is some degree

sparked big reactions ...

WIN MENTORING FROM

$10,000 CASH & PRIZES

Scheduling time specifically

needing a pla bad day and

Hearing a song and thinking,

Capture Inspiration Wherever You Are

particular type of song

dictate the song

[ RS ] I never formally studied songwriting, but I did attend

[ DT ] The greats, such as Carole King, who wrote the

The best bit of songwriting

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