Something I’ve encountered frequently with songwriters I’ve worked with, one of the most common songwriting mistakes, is treating the Title of a song as an afterthought.

In other words, an otherwise good song is written. It has a strong Chorus or (depending on the song’s structure) placement for the Title. But whenever that crucial spot in the song comes around… there’s no definitive Title to be found. No single phrase of words and music that we take away from the song (as we do with most great songs).

This applies in what I call ‘Title-based’ songs. These are songs where either the song’s genre, or the song itself, leads a listener to expect the payoff of a strong Title. If you write a song in a traditional genre, especially anything based stylistically in the 20th century, the listener is going to anticipate that payoff.

If you’ve got a cool or clever way to subvert those expectations, have at it. But most of the time, these problem songs conform to the genres in every way but one – they don’t deliver a satisfying Title, repeated in a satisfying place.

In songs like this that don’t work, you might hear two different Title options, used alternately, either one of which could be the actual Title. But, since they’re carrying equal weight, the listener doesn’t know which one the song is emphasizing (because the song[writer] hasn’t made that choice/commitment). And the listener doesn’t have a lyric sheet for the writer to cheat with! They only have their ears.

(By Title I don’t mean what’s at the top of the lyric sheet; that can be anything. In good songs of the type we’re discussing here, you know the Title by listening to the song; you don’t have to be told.)

You also might have a Title, even a good one, that either doesn’t get repeated enough or is buried in, say, the third line of a 5 line Chorus. How are we to know that’s the main idea? (In journalism they call that ‘burying the lede’.)

There’s no formula for a good Title. Whatever the Title is, first the songwriter has to get excited about it, then convey that thrill to the listener.

Lyric-wise, they can range from ‘I Want To Hold Your Hand’ to ‘Strawberry Fields Forever’ and beyond. Musically, the Title’s words sit on appropriate notes and rhythms placed in the most critical point in the song, giving a feeling of inevitability, and sing like they belong there.

Sorry to be so vague, but there really are no rules. But in a Title-based song finding that combination of the Title’s words, melody notes, rhythm, and structural placement will often be the most important creative choice the songwriter makes.

As I’ve written about in my book, ‘Unpredictable Songwriting’, in more modern songs the Title may be less important, for various reasons. But if it is important in your song (and it usually is, even in the most contemporary songs), don’t ignore it.

Some songwriters won’t start without a Title they like. Even if you don’t write that way (I don’t) it pays to be patient and not settle. Find that critical summing up – your TItle. Take the time and nail it.

And then don’t be afraid to repeat it. A lot!

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