All of our in-school shows and workshops are on hold for obvious reasons, but in the meantime we present…
The Virtual Songwriting Residency!
-The virtual songwriting residency is offered without charge to teachers and students of all subjects and grades 3rd and above by GriffinEd, an educational nonprofit using music and other arts to raise academic achievement in STEM and other subjects.
-Students will collaborate in small groups (suggested group size will be five or six students) with award-winning songwriter/performer and retired elementary teacher Tim Griffin to craft a fun and instructive song about an academic topic of the teacher’s choice. Each group will write its own song.
-Lyrics will be set to a tune students already know, so no musical ability by the students or teacher is necessary.
-Students will define and master key concepts and vocabulary needed for developing the topic and theme of their song.
-We will use a writing process very similar to the one most teachers expect for process-based writing assignments.
-When each group’s song is finished, Tim will record a video (with subtitles, credits etc.) of himself performing their song and send it to the students and their teacher. If everyone agrees, Tim will publish the video on the GriffinEd YouTube channel so other kids can enjoy and learn from their song! Note that for legal and safety reasons students will not appear in this video, though they can always make their own video with their parents’ permission.
-Learning objectives include:
-mastery of the academic topic chosen by the teacher.
-a deeper understanding of key components of effective writing such as topic,
supporting ideas, and theme.
-greater confidence with process-based writing.
-possibly learn a few things about music and poetry.
-Test-based evidence shows higher scores on content and vocabulary when learned through a song; anecdotal reports from participating teachers (and a few thousand years of humans using the arts as a memory tool) suggest longer and better retention and recall of content and vocabulary when the arts are employed as an integrated part of core-subject instruction.
Virtual Songwriting Residency, Day One
By video conference, Tim will share with the students a brief overview on how our writing process will work. The writing process we use for drafting song lyrics closely mirrors the process most teachers want their kids to be using for all writing assignments: using a graphic organizer to determine the topic, theme, supporting ideas, key details, vocabulary etc. Please note that GriffinEd’s mission is to support the “regular” academic skills; music and other arts are the tools we use, but our primary goal is always to support student achievement in STEM, language arts, history, etc.
-With guidance from the teacher we will choose a topic from the student’s current academic studies; discuss the topic to identify three or four supporting ideas necessary for understanding the topic; select and define a dozen or so key vocabulary terms useful for discussing the topic; and consider ways to form a personal connection to the content (theme).
-We will discuss how and why “real” writers use an organized writing process. Using a graphic organizer (usually a circle map, but the topic may suggest a different method for organizing information) students will gather and organize the information necessary to the task while culling extraneous information.
-Because this is not a music class, we will not be composing an original tune but will set our lyrics to a tune the kids already know; this will make their song far easier to memorize and share, which is how it will help them when they are eventually tested on the academic content and vocabulary. For examples of these songs, see the Workshop section of the GriffinEd website at www.GriffinEd.org
-At GriffinEd we believe kids learn best by doing, so lecture is minimal (ideally no more than 60 seconds of verbal input at a time). As much as possible, the students will be the ones driving the process with support and guidance from the classroom teacher and the artist in residence.
Before Day Two of the residency, students will find some rhyming words for the key vocabulary of their topic. A great place to find rhyming words is www.rhymezone.com.
Also before Day Two, students will watch (Tim will send YouTube links):
Pokémon Theme by John Siegler and John Loeffler, performed by Jason Paige
Roar written and performed by Katy Perry
Tacos by Little Big
Students should also read Tim’s comments on the songs for some context on how good lyrics are written and what makes them work.
I want to be the very best
Like no one ever was
To catch them is my real test
To train them is my cause
I will travel across the land
Searching far and wide
Each Pokémon to understand
The power that’s inside…
Pokémon! Gotta catch ‘em all!
-written by John Siegler and John Loeffler, performed by Jason Paige
-This is a good example of expository writing: it explains a topic or answers a question.
-Like the show, the song features several important themes. A theme is what makes a song, story, etc. connect to us in a personal and meaningful way beyond the surface action. Collecting weird little creatures is cool, but why is the story important? To put it another way, why should I care if Ash catches Turtwig or just gives up and goes home? Exploration, persistence, teamwork, loyalty, and courage are themes that come up in the show, so it’s good that some of them come up in the song as well.
-Snap, clap, or step to the rhythm of the song while you hear it. Note there are four beats per line, or eight if you clap the half-beats. A song may use pretty much any pattern of beats (the pattern of beats is what we call the meter in music lingo), but a song will be easier to sing and remember if the meter is consistent.
-The rhyme scheme here is ABAB, which just means that line 1 rhymes with line 3, while line 2 rhymes with line 4 and so on; but many songs go AABB or ABCB or whatever. For that matter, was and cause do not rhyme quite perfectly, but that’s okay because the /uh/ sound is nearly the same as /aw/.
-Instead of writing all the way across the page (as in normal writing) song lyrics usually break up lines to call attention to the rhyme and meter. This is why the first line of the song ends on the word best, so we will see how it matches up later with test.
-While a catchy meter and rhyme are great, we do NOT expect to see them in the first draft of a song. Most of the songs you have heard were revised and polished a lot before publishing! No worries, I will be helping you do that later.
-For our first draft, don’t worry about rhyme or meter but focus on the need to clearly explain our topic to help people understand it better, just as the Pokémon song explains why a bunch of kids would leave their homes to wander in the forest for months at a time, which is not something we normally encourage children to do.
-This song was written by two people working together; teamwork can be a good thing.
-The writer of a song may not be the one who winds up performing it for money; but when that happens the writer still gets 10% of any money earned by the song. This is how songwriters earn a living! Gene Autry, for example, made enough money from writing Rudolf The Red Nosed Reindeer to buy the California Angels baseball team.
I used to bite my tongue and hold my breath
Scared to rock the boat and make a mess
So I sat quietly
I guess that I forgot I had a choice
Let you push me past the breaking point
I stood for nothing
And fell for everything
-written and performed by Katy Perry
-The rhyme scheme is AABB.
-Many of the rhymes are not perfect (breath/mess, choice/point) but that’s okay.
-Note that Perry writes two long lines and then two short ones, but the meter is still four beats for each line; she just sings the shorter lines more slowly.
-This is a good song to look at when we write about history, biography, chemical reactions, physics, or any other subject that involves things changing over time. In this case the narrator in the song was weak and frightened at first; then she recognized her own strength and took control of the situation. These themes of personal growth and transformation are what make the song so much more powerful than if it were only about a shy woman leaving her mean boyfriend.
-Like most songs, this one has several verses where Perry develops her supporting ideas. The most important message, You’re gonna hear me ROAR, goes in the chorus (also called a refrain) so she can say it again later.
Ay ay ay, I like to eat
Ay ay ay, I like to eat
Ay ay ay, I like to eat
Ay ay ay ay, aaaaaah!
Tacos, tacos, tacos, tacos
Tacos, tacos, burrito, burrito!
-written and performed by Little Big
-A song does not have to be serious to be good. Goofy can also be good.
-Bear in mind we want to explain something for school in our song, so we will not be doing anything quite this goofy.
-At least, not this time. Maybe later.
-Really, this is way too crazy. Please make it stop.
-There is tremendous power in repetition.
-There is tremendous power in repetition.
Virtual Songwriting Residency, Day Two
Today is all about drafting lyrics using our pre-write from day one. Tim will lead a brief examination of the structure of a song, referring to the three examples students viewed after our first day together. We will then review our pre-write from day one and ask students to answer the following questions:
-What is the MOST IMPORTANT THING you want to get stuck in people’s heads about your topic? This will be our hook.
-Do your three or four supporting ideas all help to explain or support that one thing?
-Is our vocabulary for the topic complete, and we comfortable with how to use those words in context?
-We may need to tweak our pre-writes a bit until everyone is satisfied; then it’s time to draft!
-For five minutes (more or less, depending on grade level), students will independently write some couplets (a couplet is just a fancy word for two lines that go together) about one of the supporting ideas from their pre-write. Rhyming is good but not required; meter is good but not required. What is required is that we use the vocabulary from our pre-write correctly and in context to discuss, explain, or tell a story about our topic.
-All students are expected to write continuously during this time (Tim will be watching!!!), but sharing their work aloud will be optional. Nothing raises the affective filter on creative writing faster than the fear of being judged.
-After checking in with each other and inviting (not requiring) students to read aloud what they have written, we will move on to the next supporting idea and write some couplets for that verse. Write, discuss, share, repeat.
-By the time we have covered all the verses, we usually have a sense of what the song is all about (theme) even if we did not have a clear answer before. Whatever that big idea is, it will probably form the backbone of our chorus.
-Discuss some tunes we would like to try using for the song.
-Students will type, scan, or just take a digital photo (however they do this for their regular teacher) of their draft lyrics and send them to Tim and to their teacher. Any students who did not complete an acceptable amount of writing during the drafting session (the teacher will help establish benchmarks for output) will need to finish meeting the target on their own before sending.
Now it’s Tim’s turn to do his music thing.
Using sentence lifting techniques and revising for clarity as needed, he will stitch together from the various drafts a set of coherent lyrics which can be sung to an existing tune, preferably one of the tunes the students requested. The teacher will give Tim feedback on the lyrics to ensure that vocabulary and content are correct and relevant to the academic standards bring taught; Tim will revise as needed. Then Tim will make a music video of the song with subtitles etc. for the kids to share!
Frequently Asked Questions
How much does all this cost?
GriffinEd’s services are offered to schools on a payment-optional basis. If you have a budget for visiting artists, we are happy to accept whatever works for you; but in most cases this is something schools cannot pay for, so for most schools it is free. GriffinEd is supported by some very generous foundations, private donors, and paying clients.
Is this a Common Core/Next Generation Science Standards thing?
GriffinEd’s mission is to support academic excellence for whatever standard your students need to master. We have worked a lot with Common Core and other multi-state standards, but we have also done successful in-class workshops in places that use their own standards, including topics unique to a particular state, district, or even a single school. Whatever you are teaching, we are here to help support it.
Is this like that STEAM stuff I keep hearing about?
Yes. The STEAM movement is about bringing the arts into the STEM curriculum, not as an additional subject to be taught but as a fun and effective tool for helping kids master the science, technology, engineering, and math standards. When we do it right, it makes learning faster, easier, and more fun. But we do songs for other subjects too!
What if my school is in Texas/Ireland/Hong Kong/Wherever?
GriffinEd is based in Los Angeles, but now that we’re doing our residencies online we are happy to serve you wherever you are, so long as you have a decent internet connection.
How about a high school songwriting workshop? Or college?
Yes, we’ve done that.
Yeah, that too. If you can gather (online or IRL) five or six kids who are working on the same academic standards, we’ll write something together.
I can’t sing; my voice is awful.
Okay, but please understand this only matters if you expect to get paid to sing, and sometimes not even then (see Bob Dylan). Consider some of the other things we do without getting paid: plenty of people play golf who are simply awful at it, but so long as they are having fun and nobody gets hurt it’s all good. Music is like that.
About Tim Griffin
Tim is a retired elementary teacher; an award-winning writer and performer of (mostly) educational songs for young people; and the founding director of GriffinEd, a Los-Angeles based nonprofit helping teachers to use music and other arts to enhance learning.
Some notes from Tim for teachers…
Above all, I want this to work for you and your kids, so any changes or feedback you can share are welcome.
We can have one group from your class do the residency each week, or if you are in a hurry we can handle up to five groups concurrently and get your whole class done in a week.
If we do one group per week (this is how most teachers do it), I suggest we set a regular time twice each week for that week’s group to meet with me on Zoom or whichever platform you are using. Non-consecutive days would be best for these meetings, as this gives your students more flexibility for doing any writing or research they may need to do between our meetings. Here is a suggested schedule, to be changed in any way that suits you and your students:
Monday: Students meet online with Tim; we do the pre-write together. Note that any time I meet with students, I will send you notes afterward so you’ll know where we are in the process and can offer input if you wish.
Tuesday: Students independently do any necessary research to be sure they can use the key vocabulary correctly. They can also use Rhymezone.com to find some rhyming words for vocabulary etc. and watch the recommended music videos if they have not yet done so.
Wednesday: Students meet with Tim; we draft lyrics and discuss tunes we want to try for setting our lyrics.
Thursday (if they did not finish on Wednesday): Students email their lyrics to Tim. Student lyrics can be typed, or photos of hand-written pages, or whatever works for your kids.
I will have a draft of a song in your email by the following Monday. You let me know if there are any significant errors or omissions with content & vocabulary; once it’s done I will record!
Most groups prefer to do their own topic for a song rather than having five groups write about the exact same thing; but if you like we can do them on a common thread. For example, if you wanted to do songs about vertebrates, each group could do a different class of them (bird, fish, amphibian, reptile, mammal); or for a math operation such as long division, each group could set a different story problem to music.
If you find the virtual songwriting residency to be a good use of your students’ time, please let your colleagues know(!) and convey to them my invitation to participate.
Some General Thoughts On Writing
A while back, I started offering a 60-minute songwriting workshop as an optional “bonus” activity whenever I was visiting a school for a show, but the workshop has slowly grown into a large component of the whole GriffinEd multimedia empire. If you’d like to have me come help your kids (or adults!) write their own original songs, here’s what you need to know; note that I am mostly talking to classroom teachers here but I am also happy to run a less formal workshop for other venues such as book fairs, scout troop meetings, music festivals, etc. As with all my services, this is free for schools, libraries, and other places of learning; donations are welcome but never required.
When I am doing a writing workshop at a school, my intent is to support the content your students are currently learning. It is not a break from the students’ “regular” studies, but an intensive review of the key concepts and vocabulary of their current topics of study. For this reason, the workshop is an especially good culminating activity for a themed unit. Recent workshops have written songs about vertebrate zoology, components of living cells, the Crusades, civil rights, the letter B, trigonometry, etc.
Although students will learn something about meter, rhyme, and other components of a song or lyric poem, the real purpose of the songwriting workshop is to support your prose writing process. I and the teachers I serve have found that the rigid structure required for writing a simple song (verse, chorus, etc.) translates into more organized, coherent multi-paragraph prose composition as well. This is less about teaching music than about learning to think and express ourselves clearly in any format.
How It Works
In 60 minutes I take one class (or any group of up to 35 people) through the same writing process I use in my home studio, helping students choose a topic they are currently studying in class, reviewing the key concepts and vocabulary, and developing their ideas into a song or poem. There is a more detailed description of my process below; teachers, please note that my songwriting process is very similar to the one we want them to use for any organized writing assignment.
In one hour, we can usually get a first verse and a chorus done and set it to the tune of a song we already know. I encourage the teacher and students to finish it on their own; if you e-mail me a set of finished lyrics I will be happy to offer some polite feedback and suggestions for polishing it further. Eventually I intend to add a section to this site for student work, so please let me know if it’s okay for me to post your song for others to see. Note that I will not use your name if you are a minor but I can write, “by Ms. (so-and-so’s) students at (so-and-so) school.”
For the earliest grades (K-2) my workshop focuses more on phonics, while the upper grades get to dig more into actual content. I do this workshop for one class at a time, but I am happy to come to your school for a whole day to work with multiple classes. I also offer a full-blown songwriting residency of eight visits, with the last visit featuring a student performance of their work.
Please feel free to contact me if you have questions.
Teachers, please note that this workshop also addresses the poetry requirements of the new Common Core Language Arts standards.
How to Get Me to Come to You
As with my live shows, this depends on where you are. If you are in Los Angeles county or any adjacent county, just contact me and we’ll set it up!
If you are within, say, a 30 minute drive of my home in La Canada, we can also discuss doing a full-blown writing residency for your students if you like. The residency includes me coming once a week for eight weeks, culminating in a student performance of their own songs. I have done this for several schools with remarkable results for the students’ general writing skills. It’s also a lot of fun and a big boost for the students’ confidence in their creativity.
If you are farther away, it gets more complex but we can still make it happen. Although my services are free for schools etc, I will ask you to cover my travel expenses. For help with funding I would suggest you contact your local PTA, chamber of commerce, or other civic groups that take an interest in the arts and/or education. I am happy to discuss what I do with the people there if you like. If you really can’t raise the money to bring me to you, let me know where you are and I’ll contact you when my travels bring me your way! I do get around a fair bit and I maintain a database of schools and other places that have expressed an interest in having me come visit.
Below is the most recent draft of the writeup for my workshop. If you don’t have time to bring me to your school, or if you’re just too far away for me to get to you, feel free to adapt it for your own use. Two things: please give proper credit when you use my work, and if you like it then tell other people about it! Your referrals are my best advertising.
Songwriting for Beginners
Here is an outline of how I write songs and lyric poetry, along with some suggestions for putting the process into practice. Bear in mind these are guidelines, not rules, so do whatever works for you. Having said that, give these ideas a try:
Step 1: Choosing a Topic
What will you write about? You want to choose a subject you understand well enough that you could write a few good paragraphs about it if you had to. If you know enough to write a whole book about your topic, you should probably narrow your focus. In fifth grade (for example), writing a song about “Science” is almost certainly too broad. “Biology” is better; “Cells” is probably about right.
Now ask yourself what the MOST IMPORTANT THING about your song is: if the listener remembers just one phrase or thought, what should it be? Everything else in the song ought to be directed toward that one idea. In a regular essay we call this the topic or thesis and you usually state it in your first paragraph; in musical lyrics it is often called the hook and it usually happens in the chorus (the part of the song that repeats several times, which technically ought to be called the refrain). When you get to the revision step of your process (NOT during drafting!), you’ll want to identify and then change or remove anything that’s off topic. By the way, this is true for any type of communication; if you want to be clear and convincing, stay on your topic!
Step 2: Supporting Ideas
Each verse (there are usually 3 or 4 of these) should develop one important aspect of the topic, just as each paragraph in the “body” of a multi-paragraph essay would. Write down all of the important things you want people to know about your topic. It’s fine to write down more than 3 or 4 for now, but then go back and identify the 3 or 4 you think are most important and eliminate the rest.
If you can’t think of enough really important things to say about your topic, consider making your topic broader. If you have too many important things to say about your topic, consider narrowing your topic down.
If you are writing a song that tells a story (history, fiction, or whatever), your main ideas will probably need to include the beginning, middle, and end of the story. If a story has too many “key” events to cram into one song (this is true for most big novels, for example), you may want to narrow your focus down to one character, location, or event. Writing a song about The Lord Of The Rings would be a mammoth task, but you could probably write a good song about Boromir or The Prancing Pony.
Step 3: Key Words and Rhymes
For each of your 3 or 4 big ideas, write down several key “detail” words you would use to discuss that idea. Write down a few rhyming words for each of them, preferably words that relate to your topic somehow; for example, “Galileo” rhymes with “mayo” but I’m not sure how they relate. Rhymezone is a great resource for finding rhyming words. Even if you already have some good rhymes, you may find better ones there.
Don’t worry if you can’t find rhymes for all of your words, you just won’t use those words on the end of a line.
Step 4: Draft
Now the scary part: just start writing. For each key word you identified to go with a big idea, try to make a rhymed couplet. Here’s an example from a song by a fourth-grade class studying inventors:
Robert Baker took a chicken
Made a nugget finger lickin’!
James Gamble was no dope
He invented floating soap
Marconi, you should know,
Gave us all the radio
Volta lived in Italy
That’s where he built a battery
Note that the rhyme pattern here is AABBCC etc. because the rhymes are arranged in simple pairs. If you want to do something more elaborate (and maybe more interesting), try for a more complicated rhyme scheme. For beginners, though, I recommend simple rhymed couplets as above.
Another thing about rhymes: a key word (the one you thought of before you found a rhyme for it) will usually be more effective if you can make it fit at the end of the second line of a couplet instead of the first. See the lines about inventions above? Note that the invention comes in the second line of each couplet.
As you write, consider how many “beats” you have per line and what kind of rhythm you’ve got. Does it go DA-da-da-DA-da-da or maybe DA-da-DA-da-DA-da or what? Don’t worry about this too much for now, but later you may want to fiddle with the words to make the song “flow” more smoothly. There’s a lot of technical language for meter, but really it’s all about choosing words that carry a steady, natural-sounding beat when read aloud.
If your first few lines look really awkward (mine usually do), try to leave them alone for now and just keep writing. Very often, the next few lines will spark new ideas that will show you how to go back later and make the whole thing work better. But don’t get caught up in fixing it yet!
You don’t always have to start with the beginning of the song. Maybe you’ve got an idea you like for the chorus or even the ending? Fine, write that first if you want.
While you are drafting, there are no bad ideas. In reality, of course, there are plenty of bad ideas but for now you should pretend that every idea might be a good one. Write them all down no matter how dumb they may seem; you can sort out the junk later.
If a song just isn’t coming together, don’t beat your head against your desk; take a break and do something else for a while. A lot of creative work goes on at the subconscious level, so some part of your brain will keep turning the ideas over while you are doing your math homework, brushing your dog, baking cookies, or whatever you do to relax. I think I baked about 30 apple pies while writing songs for my last album! My wife thought I had gone insane but she appreciated the pie.
Step 5: Revise
If possible, take a break for at least a day before doing this so you can look at your work with fresh eyes. Then go back and start changing things. Words, lines, and even whole verses can and should be examined, dissected, rearranged, or eliminated. If drafting is the time to let ideas flow freely, revision is the time to be merciless with your work.
Anything that doesn’t clearly address the topic should be changed or removed, no matter how awesome it sounds. If you have a really good verse or chorus that just doesn’t fit this topic, save it for another song.
Read your lyrics out loud while keeping rhythm with your body; do any lines break your rhythm or just sound odd? Try finding another way to say the same thing. If you just can’t make a word “fit” properly in a line, maybe a synonym will work. Note, however, that sometimes you may want a word or phrase to “stick out” of the rhythm for emphasis.
Try singing your song in a completely different way than you first imagined it. If you conceived it as a rap song, try singing it as a country song or a slow romantic ballad. Try singing it like Ray Charles or Justin Bieber. (My wife suggests doing this when other people are NOT nearby…) As weird as it sounds, I find that new and better lyrics often come when I do this.
I am a bit hesitant about this next idea. If (and only if) your ego can take it, figure out whom you can ask for honest, thoughtful feedback about your work. Most people are reluctant to criticize (“Oh, it’s very nice”) but a few friends will tell you what they really think if you ask seriously. Listen to what they say and consider it. Note that you do not have to agree with what they say, nor do you have to take their advice: after all, they may be wrong. But you should listen.
If you can, come back multiple times for another look at your work. The more time you allow for revision, the better your work will probably be. I usually spend more time on this step than on all the rest combined.
Step 6: Publish
There are plenty of ways to share your work: school magazines, live shows, YouTube, CD’s (surprisingly cheap nowadays), etc. Be creative.
If you’re too intimidated to perform your own music, maybe someone else will do it for you. There’s probably a garage band somewhere near you that would be happy to have some original music to play. Bear in mind the way they play it will probably be different from the way you heard it in your head. That’s okay; it’s called collaboration.
I suggest you share a song “live” a bunch of times before you commit it to a published recording. This allows you to go back and revise it some more if you want. Once it’s on the web or a CD, it’s harder to change things.
You may be amazed at how much your audience loves a song you think is totally dumb, so get a second opinion before tossing it in the “fail” pile. I once wrote a really awful song about boogers and people still ask for it all the time… Of course, the opposite may also be true: you pour your heart and soul into a song and it flops with the audience. Don’t take it personally, just keep writing.
Remember, you don’t have to publish everything. Write lots and then share only your best stuff! However, you really should keep your “failures” (I have piles of these) someplace where you can come back to them later; you may find that in a week or a year, you will look at that “failed” song and see a way to make it work, or maybe just take the best piece of it for a new project.
Now, Some Specific Suggestions for Writing About…
One cool thing when we write about science is that the topic and vocabulary are usually pretty well defined for us. If you don’t already have a list of the key vocabulary, check your science book or ask your teacher. The hardest part about science songs is that you can’t just make stuff up. It’s okay to put some gibberish lines in the lyrics while you’re drafting, but during revision you should try to replace lines that say things like, “A cell is a shell that smells like a bell.” Even worse is to use vocabulary incorrectly, so check your definitions if you’re not sure. I get stuff wrong all the time, but I have friends who know more than I do and I always get a second opinion before I publish.
The biggest trick here is to choose (and stay on) a suitable topic without going too broad or too narrow. If you want to write about the American Revolution, for example, maybe you should choose one specific aspect of it. One of my workshop groups wrote a good song that was just about the Stamp Act. Another approach is to tell about the whole thing, but from the perspective of one individual.
For a complex math procedure, first write the steps of the operation without worrying about rhyme or meter. Then go back and see if you can paraphrase the steps in a way that fits a rhythm.
Another approach is to make up a story where a character has to use the sort of math you are addressing.
Two problems here: first, it has been done and done. Second, it’s such a broad topic. If you must write a song for your beloved, try comparing them to something novel (You’re the ketchup on my fries/The whipped cream on my pumpkin pies) or, as would a good novelist, find a “telling detail” that implies, rather than states, important things about the beloved or the relationship. When Ingrid Michaelson sings, “I’ll buy you Rogaine when you start losing all your hair,” this tells us in a subtle but powerful way that not only is she willing to run mundane errands for her beloved, but also that she’s in this for the long haul, even though she knows her beloved will not always be young and beautiful. That’s a lot to say in one line! Plus it does not sound all sappy and embarrassing the way so many love songs do.
If this description makes writing look like a clean, linear process, you should know that in practice most writers jump back and forth between the steps (or skip them entirely) quite a lot. As you draft, you may find you need to go back and fiddle with your topic; you may perform a song and then realize you need to go back and revise or even replace a whole verse. This is a messy, imprecise craft, so please use my process as a starting point but don’t feel beholden to it.
I cannot say this enough: make sure you separate your drafting from revision! If you get caught up in “fixing” everything before you write it down, you are likely to psych yourself out and not finish anything.
It’s fine to write lyrics to the tune of another song if you like; you can even download a karaoke version of a song from the iTunes store and sing your song to that! Be aware that there are rules about publishing songs with other people’s music, so do some research on that if you want to publish your work widely.
Keep some writing tools (a journal, laptop or tablet computer, etc.) nearby at all times, including when you sleep. Ideas should be written down now and evaluated later.
Good writers also read a lot. If you want to write lyrics or poetry, find some poets whose work you enjoy (they need not be “great” poets) and immerse yourself in their work. Read it out loud! Some of my favorites are Rudyard Kipling, Robert Service, Wallace McRae, Ogden Nash, and Les Barker. Your taste will differ, of course.
Just write and don’t fret too much about what people will think of it. Most people will be impressed if you finish anything at all regardless of how good or bad it is; some will make fun of your work even if it’s great; so write for yourself first and worry about the audience later. BTW: do not waste a second of your time or energy trying to please people whose only joy is in tearing you down. They are jerks. Ignore them.
Here’s the most important thing: don’t take this (or any creative task, I think) too seriously. It’s okay to create junk! I spend most of my writing time doing exactly that. You are probably your own most severe critic, so see if you can get the negative voices in your head (“you can’t do this, you’re not good enough,” etc.) to shut up while you write. Try to make a deal with those voices by promising you’ll let them have a turn later when you are revising your work.
I hope this helps… if you have any favorite writing tricks I’ve left out, please let me know!