A Co-writing Primer

Writing with others can be a powerful way to write songs. Unlike writing alone, though, it is a different dynamic and requires a slightly different approach. When we write solo, we are having a conversation between our creative side and our analytical and (sometimes) judgmental side. If we get stuck, we can set the work down and walk away—or drift off in some meditative state until we find a thought that seems to plug in to what we hear or want to say. Alone, we call the shots for ourselves and live and die by our singular efforts.

Co-writing is different in several ways. The most obvious of those is that there are more cooks in the kitchen. The “steering of the ship” is a shared process, so the complete control we may enjoy when writing solo is replaced by a group focus.

Co-writing demands a sense of camaraderie and a willingness to give and take. It may also involve occasional butting of heads and that is inevitable. When this sort of thing happens, it is of utmost importance to find a way to work together, even though there are occasional disagreements. When two or more people are writing one song, I believe it is essential to “check your ego at the door.” It’s not a game of being right or always getting your way. Rather, it is about finding the best idea. In the end, that is ultimately more important. “Serve the song” is a good mantra to follow. In the end, the song is king. 

Being open to following ideas down a path is a strong tool. For example, someone brings a line to the table. You aren’t sure if it is exactly right, but there is something in it. Often, exploring that line brings up other thoughts and other lines—ones the group may not have thought of before—so the focus expands and the potential ideas grow.

I have done many co-writes where a line was used that got the song moving, but later was changed and made even better. The point is, there has to be an element of trust and a spirit of exploration. There will be times when somebody has a hot hand and you might not have a single idea to contribute. Don’t panic—it happens. Sometimes you just need more time to percolate, so to speak.

I have been involved with co-writes in which I contributed only a few lines and a bit of melody—but those lines were essential to the finished song. Even when I felt like I had contributed little, my co-writers felt like what I did add made the difference. And there have been a few sessions when I could not add anything to a song. Hey—it happens. The good news is that if you keep pushing and “pounding the rock”, eventually something good is going to come out of it.

When you know in advance that you are going to be co-writing, it’s a good rule of thumb to have a few ideas to bring to the table before you arrive. Maybe you have a verse or a title or even a melody hook line. Perhaps you have a chord progression or groove that you like. Whatever you can bring will come in handy at one time or another.

I keep a book of titles. I have a few songs I have started but haven’t been able to finish. I have lyrics that I like but have not found melodies for. I even have a few melodies that are in search of a good lyric. All these things can come in handy when you have a co-write session and nobody else has a clue where to begin. Titles, especially, can be a great starting point.

Whether we start with a melody, a lyric or a title, there is always the object of cracking the ice and getting the idea in circulation. Let’s assume we start with a title. We can brainstorm—like we did in class—and begin to write down all the ideas that come to mind immediately. Usually, this is followed by some discussion and batting around of the idea. What does it mean? What could it mean? Which direction seems the strongest? These are all good directions to explore.

Ultimately, in a co-write session, what needs to emerge is a point of agreement on the subject at hand. The closer a group can get to an agreement, the better the chance is that the effort will be barking up the “universal” tree. So seek to find the common ground that exists in the midst of three or four different points of view. Few people agree about everything—that’s just life. However, if you dig deep enough, most people share agreements about a wide variety of things. If the co-writers find agreement, the chances multiply that the listeners will also agree with the song idea.

Taking Stock Of Your Strengths

Ideally, we all should strive to write great lyrics, create wonderful melodies and invent perfect grooves for our songs. Getting better at each facet is an ongoing process for most of us—especially when writing solo. The advantage of co-writing is that the participants don’t have to be great at everything! Often, someone will be quick to establish a good groove, while another will excel at finding melody lines and someone else will have a gift for lyrics. We each have our strengths—and our occasional weaknesses.

The point is to add our effort to the whole in a co-write. Ask yourself what area you are strongest in. When you encounter someone with strength in a different area, let him/her run with it. After all, it is a collaboration. Trust a little more. And work within the area(s) that you feel most comfortable in. It is a give and take situation. So do both. Groups that can work this way often have great results.

Credit

My years of co-writes taught me one thing—if three people were in the room writing, the credit is given equally to all three. Maybe I only contributed two lines, but those lines were essential to making the song work. Or perhaps I wrote 80% of the song and my collaborators contributed the other 20% that made the song work. It doesn’t matter. We had a saying—“write a word—get a third!”. In any co-write situation, the best policy is to split the ownership of the song equally.

May The Best Idea Win

That sounds like a competitive statement, but it really isn’t. As we go through the process of our co-writes, we begin to establish agreements about structure, melody and lyrics. Inevitably, there are those “rough spots” where something—lyrics or melody—need to be ironed out and it can feel like crisis time. Everybody brainstorms and tries to plug in different solutions to solve the problem area in the song. What usually happens is that somebody comes up with a solution that suddenly seems so transparently obvious that everybody else wonders why he didn’t see it in the first place! In such a case, the best idea wins. And everybody is happy. One more nightmare put to rest, so to speak.

 Essential Steps

1. Establish the idea, whether it is based on a title or a concept, first line, or a melody.
2. Expand the idea—filling in the areas that have not been written yet.
3. Discuss the idea. Share feelings and thoughts about what the song should say.
4. Build a pattern that can be used as a template for the rest of the song—if you have established a verse and a chorus, then the rest of the song should follow that template, and follow the agreed upon idea.
5. When the main structure of the song is basically complete, review it and see if anything else is needed—a bridge, an intro, a vamp—or a lyrical section that ties it all together. Is there anything that sounds like it doesn’t quite fit the rest of the song? Examine the song from all angles. Is it logical from start to finish?
6. Remember that each song is a unique creation. In the final analysis, is it complete as far as what it communicates?