There’s writing and then there’s (cue ominous music)… Rewriting.
I look at writing as an enjoyable experience. It’s often fun, entertaining, and it provides a challenge that I find stimulating and exciting. To me it’s a more interesting way to spend my time that most other things I could be doing.
All that said… Sometimes it is hard to find a song idea worth pursuing. Once that’s found, fleshing it out can be a challenge – finding the right structure for the idea, a good story or point of view for the lyric; things like that. Then sometimes just finishing it up – writing that third verse, say, or the bridge – doesn’t come easy.
But once you’ve made it past all that; once the song’s more or less done… that’s when you get to the part that separates the men from the boys, the women from the girls, the cats from the kittens… that’s the part they call Rewriting.
It means being willing to go over it all again, even when you feel like you never even want to hear it again; or even when you feel that what you’ve written is already ‘perfect‘. It means trying to make it better when sometimes you feel like you don’t care – “it’s good enough”… But the thing is, you do. You do care. And because you care, you don’t ignore the voice inside that says it can be better.
So you pick it up again, one more time, turn it upside down and shake it by the heels to see if any improvements fall out. And you know what? Sometimes they do. Sometimes – often – you can make it better.
You try not to be too attached to what you’ve already written. You have to be willing to give the boot to anything that doesn’t fit anymore. And that can be hard – because sometimes that thing that’s got to go is by itself the coolest piece of writing in the song. But that’s the discipline.
Rewriting is when this thing we do can really feel like ‘work’. And who gets into songwriting because they like ‘work’? But I try to be willing to do it because sometimes that last little 2% of improvement can make all the difference. And also because something really fantastic, much more than 2%, can happen.
Mainly I think the impulse to rewrite comes from pride in one’s craft. The feeling that you don’t want to let it out the door until you feel you’ve done everything you can to make it as good as you can.
Of course sometimes deadlines truncate this process, and that can be good – it can mean you’re getting paid! And sometimes things emerge and just feel ‘right’ pretty quickly.
But mostly, writing, for me anyway, is a process of incremental improvements that if I’m lucky may add up to something special. It’s writing… and then it’s Rewriting.
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Writing and rewriting are such different processes and experiences despite their similar names. Writing is often instinctive and right-brain. Rewriting is 95% left brain and analytical.
You’re on it as usual, Rich (though I might make the percentages slightly different, at least in my case).
Thanks,
Tony
because I tend to get stuck in perfectionism when what would help me improve is just writing MORE, I have to be careful about re-writing.
its a tricky balance between letting the work be, so I can move on to the next song, and staying with a song so i can put in the time to improve it.
But, you did inspire me to not give up on songs that I tend to think: “not worth working on or re-working”. Maybe they can be improved or made into worthwhile tunes!
Sarah,
Thanks for bring up the proverbial ‘other side of the coin’.
It’s all subjective, all feel… knowing when ‘enough’s enough’… and, conversely, knowing when I need to push through apathy or burn-out.
Best wishes,
Tony
Rewriting benefits when growth occurs; looking back and seeing how a good idea can be improved on or expanded with additional knowledge of music, word and structure techniques, however, you must be careful to not change the original feel or it is really just a new song. That is, if you portrayed the true feeling as it was in the first place.
Joyce,
I agree. Staying in touch with the basic impulse, the original idea, is key.
Thanks,
Tony
Funny thing about the left brain working on a rewrite…I think the inner editor is so busy being self-satisfied with its tidying up and being in charge that it doesn’t notice that the right brain is adding juicy new stuff that’s riskier and way more interesting than the first draft, which is usually full of our default chords, melodies, topics, and rhymes. This is when the shot through the heart lines come and when you play the melody through a cappella so that flat melody you didn’t notice because of the groove can be turned into something more shapely and expressive. Meanwhile, the left brain is adding commas and checking the meter and thinks it’s doing the harder work. But magic is always afoot, if you’re open to it, if you agree to the working premise that the first draft may just be a foundation and maybe all that will survive is a line or two.
Ruth,
Both sides of my brain are churning away at your interesting comments!
Best wishes,
Tony