Write Lyrics To Win Hearts And Minds - The Key To Powerful, Memorable Lyrics | Ben Murdock (MMus) | Skillshare
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Write Lyrics To Win Hearts And Minds - The Key To Powerful, Memorable Lyrics

teacher avatar Ben Murdock (MMus), The Songwriter Coach

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:57

    • 2.

      The Five Primary Senses

      5:09

    • 3.

      The Two Further Senses

      2:20

    • 4.

      What Is Sensory Writing?

      4:24

    • 5.

      Project 1: The Big Idea Sensory Write

      0:41

    • 6.

      Evoking Emotion

      5:38

    • 7.

      It's A Kind Of Magic

      5:06

    • 8.

      Project 2: The Vehicle Sensory Write

      1:29

    • 9.

      Mind Control

      3:45

    • 10.

      Panning For Gold

      2:00

    • 11.

      Project 3: Panning For Gold

      0:34

    • 12.

      What To Do With The Gold

      5:04

    • 13.

      The Final Lyric

      1:48

    • 14.

      Project 4: The Final Lyric

      0:32

    • 15.

      Final Thoughts

      1:06

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About This Class

Writing lyrics is a transfer of information, ideas and emotion from the writer to the listener. But how well we transfer these things determines how good or great those lyrics are and that comes down to the language we choose, the imagery we use and a ton of other factors.

We are looking to get into the heart and mind of the listener with our lyrics so they relate to them. We want our lyrics to stir the listener, making them feel or understand something. And this course is all about HOW to do that really successfully with some very simple, easy techniques which, once you know them, you can use every time you write.

What's in the course?

  • The Seven Senses. We start off by looking at the seven senses and how by using them in our writing we can generate incredible raw material for our lyrics.
  • A Kind of Magic. Then we look at a kind of magic formula for making our writing really memorable and experiential. And it’s not a gimmick, it’s rooted in both poetry and biology and it’s pretty brilliant.
  • Mind Control. We'll cover just how you get into the hearts and minds of the listener and how we can craft our lyrics to control their mind and give them a sensory experience they will remember. 
  • Panning for Gold. We'll learn how to select the best bits of our writing - the bits which will make the song really resonate with the listener - those lines and words which get into their head and heart.
  • Putting it all Together. Finally we’ll look at how we can use all the wonderful material we’ve written and produced in the projects to create a final lyric.

This course will leave you with the ability to create endless ideas and quality material, it’s going to open up a well of lyrical possibilities you can dip into whenever you want.

You’ll be able to create a lyric about anything, anywhere, anytime which will be poetic, original and will make people feel something and remember your song.

Please join me inside the course - I look forward to seeing you there.

Meet Your Teacher

Teacher Profile Image

Ben Murdock (MMus)

The Songwriter Coach

Teacher

Hi, I'm Ben Murdock, The Songwriter Coach. I've been writing songs for around 30 years. Just saying that makes me feel old!! 

I have a Masters Degree in Songwriting and have spent the last few years really digging into and researching the songwriting process and all the techniques that go into this wonderful and amazing creative outlet. 

Sometimes what I discovered didn't surprise me at all, but quite often the things I found out amazed and astonished me.

We often write songs and don't know the names of the techniques we're using - we just use them because they feel right. We learned these by stealth - our teachers were the artists we spent hours and hours listening to. But the key is, we learned these techniques. 

And it turns out there is ple... See full profile

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Transcripts

1. Introduction: Hi, I'm Ben. Murder of a songwriter couch. Watching lyrics is a transfer of information, ideas, and emotion from the writer to the listener. But how well we transfer these things determines how good or great those lyrics are. And that comes down to the language, which is the imagery we use, and a ton of other factors. We're looking to get into the hearts and minds of the listeners with all their acts so they relates to them. We will allow x to stir them, make them feel or understand something. We can even make them time travel into their memories and past experiences with the right words. This course is all about how to do this really successfully with some very simple techniques, which once you know them, you can use every time that you write. Inside this course, we're going to begin by generating some incredible raw material for other effects by using our senses in our writing. We all know the five primary senses of sight, smell, hearing, taste, and touch. But we're gonna go further and include two more senses. And the use of senses makes any type of writing really relatable for the audience is intended for. Following that, we're going to look at a kind of magic formula for making all writing really memorable and experiential. And this is not a gimmick, is rooted in both poetry and biology, and it's brilliant. They'll be writing exercises along the way. And finally, we'll look at how we can use what we've written and produced to create a final lyric. This course is going to leave you with the ability to create endless ideas and quality material. It's going to open up a well of lyrical possibilities you can dip into whenever you want, you'll be able to create a lyric about anything, anytime, anywhere. Which will be poetic, original. And it's kinda make people feel something and remember your song. Please join me inside the course and I look forward to seeing you there. 2. The Five Primary Senses: Hi, I'm Ben murdoch with songwriter coach. I'm so pleased that you've decided to take this course and can't wait to see how it helps you with your songwriting. So this first part of the course is all about using our senses in writing. But why should we? Well, we humans perceive and make sense of the world around us. By using our senses, we literally use cents to make sense. And we're processing sensory information all the time. We are experts at it. So using sensors in our writing turns out to be a great way to communicate and relate with others, which is a major factor in songwriting. If we can find a census of the listener, writing is going to give them an experience because they're going to relate to the song in a much stronger and much more personal manner than with just plain words alone. So it's not just gonna be a cerebral response. We may find their memories, their experiences, all manner of things lurking in their subconscious. We're now writing for their minds and their hearts. So let's look at the five primary senses First. When we write lyric, site is often our go-to sense. What we see helps us make sense of the world around us and it's easily relatable to people with sight. Our brain is constantly processing all the senses, but we are mainly site orientated creatures. Psychologists Haikou Union states that our brain is mainly an image processor, not a word processor. Explains this is because much of the sensory cortex is devoted to vision and part of the brain responsible for processing words is comparatively small. With this in mind, it makes sense that we use site in our writing to make words more powerful. And getting to the listeners minds eye is a great sense to paint powerful pictures and set the scene. For those Smell only accounts for a much smaller proportion of what's processed by the brain than sight, it's still a really powerful sense of smell can take us back in time and trigger memories. And this triggering of memories and experiences is all important in giving the listener as sensory experience. For the science gigs among us, these are called odor evokes autobiographical memories. And there's evidence that those triggered by smell or older, more emotional, and induce stronger time traveling characteristics than autobiographical memories evoked by the other senses. Wow, I know that's a lot of science. In one sentence. This is really important stuff. We want to evoke emotions and help recall memories and the listener. And here we find that smell can do this more powerfully than any of the other senses. You can literally crawl inside the brain of the listener with words drawing out memories and emotion. Now clearly we can't manufacturer a scent in our lyric writing, but we don't need to. And if you really think about it, we can't manufacture site either by words alone or touch or taste. We're looking to simply get inside the mind of the listener and let their minds, I do the rest. Or in this case, their minds knows if that's the thing. It's incredible that smell is capable of making us time travel into memories more than any other sense. So if we use our words to trigger memories associated with smell, we can tap into this powerful sense. This is a crucial sense for humans. It's really the only sense that we will directly affect with our lyrics once they've been packaged into a song, the songs we really have the ability to Commodus now think of a gentle ballad or a soaring classical piece, or get a crowd of people energized and dancing. But many grades of emotion and movement in-between using words which stimulate this sense can add that little bit of power and drama to the writing. I still remember tasting beer for the first time with my older brother's egging me on. And it was not very old at all. And I hated it, but I grimaced up at them and pretended that it tasted great while they all laughed at me. And the fact that I can still remember that first taste of beer like it was yesterday, shows the time traveling ability of this sensor as well. Some tastes Sue thus, we sometimes use food and drink to cheer us up. That sneaky chocolate bar in the middle of the day or that first sip of wine as you put your feet up after a long, tiring day. And we all have different tastes in taste, but we can all relate to a lyric which explores this sense, touches a really powerful sense and can be really evocative, since touch is a way of conveying love and lust, but also anger and violence. Humans are hands-on creatures. Every day we process a huge amount of tactile information, some of which is going to be linked to feelings. The feeling of holding a child's hand, does he crossed the road, is going to be different from the feeling of holding the hand of your first love as a teenager. Yet both are evocative and powerful. It's easy to stimulate a response in someone with a sense because we always remember how things feel and we're always ready to jump into those memories and experiences and relive them. 3. The Two Further Senses: In addition to the five primary senses, there are two further sensors which are used a lot in writing, but we may never have considered them in much detail. Knowing their name. They are the sense of movement and the organic sense. Movement is often called the kinesthetic sense or kinesthesia. And this means the sensory perception of movement. It relates to our movement and position in the world and is a very rich sense. The act of running for a bus is a kinesthetic event, just as picking up your phone is or walking, anything involving movement of the body will fall into this sense. So use of this sense in our writing is something which is easily understandable and relatable because we're all performing thousands of different movements every day. The final sense is called the organic sense because it relates to sensations are arising from the body, literally from the internal organs, hence organic. It includes things like breathing, the heartbeat, stomach, eggs, tightness in the muscles, dizziness, nausea, the list goes on and on. This sense can be used to convey feelings of horror, goosebumps on the skin fall into this organic category or love, the quickening of the heartbeating butterflies in the stomach when you see the one that you love, loss, the sudden drop in your abdomen and at dark, empty feeling inside, fair, the Hadamard bladder gets so full, so quick failing, among many other failings as well. All humans have a library of these organic experiences stashed away and we can recall them quickly and easily. And when we do, we'll get a sense of that feeling. But it's the same for all of our sensory experiences actually, whether it's sight, smell, touch, taste, whatever it is, they're all, they're locked away in the dusty library of our psyche are Java's lyricists, is to manufacture keys to get into these libraries so the experiences can be dusted off and bought to mind for the listener. And when we do that, we are triggering a sensory experience for them, which they will respond to. It's why the sense is making your writing more powerful and memorable. So now we need to look at how to use these seven sensors in our writing. Let's find out in the next lecture. 4. What Is Sensory Writing?: Okay, so now let's look at how we use these seven senses in our writing. We're going to do so by doing what I call a sensory right. A sensory right is essentially a free writing session. You'll write about a subject, making sure you include all of the seven census in that writing. So for instance, I might choose to write about a breakup. Begin like this. It was cold and dismal when I woke, I reached across the bed and felt only the morning chill caress my fingers. I check the time. If she were here, should be making coffee by now. That familiar smell of home and daybreak would be lifting me out of bed and into her arms. Instead. Only last night's lonely access fills my nostrils all stale and empty. Hearing this opening paragraph of a sensory writes, I've used touch where I reached out and feel across the empty bed and smell coffee and the stale smell of mourning and morning breath. Loosely, there's the use of site as well where I check the time. So although site is our main sense, we don't always have to lead with it. My example there, I'm not talking about waking up and realizing I'm alone. She's not there. And that early morning confused, just waking up feeling that time can be one where we mainly rely on our other senses until we fully open our eyes and take everything in. So with a sensory right, you simply write down anything and everything that comes to mind about the subject. There are no rules here whatsoever, except that you should use all seven of the senses and you should write for only ten to 15 minutes as a maximum. Try to plunge yourself into the situation you're writing about. What could you see around you was smells might be in the air. Can you hear, is there a taste of something? How is it making you feel, baby breathless, your heart's beating fast, nausea IS elated. Who else is there when and where is all of this happening? When you do this, when you really explore the census as you write, the writing will really come alive and feel real to the listener. Remember, this isn't going to be the finished song lyric. It's just the creation of raw material at this stage. We're not looking to create rhyme or structure here. So the pressure is off. We just want a load of writing which we can pick over later for the best bits and then begin sorting. So you can be free and just go for it. It's a good idea to have the seven senses written down near you as you go through the exercise to remind you of what you need to include in your writing. You can use the seven census crib sheet for this, which you'll find stored away in the resources area. It's completely up to you whether you want to write on a computer or using a pen and paper, use whatever you're comfortable with. This is a quick cautionary note about sensory writing. Please don't overdo it. Sensory writing is something that we can do every day as songwriters, But we should only spend a few minutes each day doing it and then leave it. It's the old adage of quality over quantity. It doesn't follow that quality comes with quantity in these exercises. If you write for three hours, it doesn't mean that what you write is going to be better than if you spend just ten to 15 minutes doing it. It's the short bursts we're after here like heck training for the body, the high-intensity impact training. We're trying to train our lyric writing muscles so they turn up and react quickly when called upon, we don't want them to tire. Ten minutes a day is perfect. It's enough. When the ten minutes are up, your own senses in mind will still be working in the background, processing away while you get on with your day and suddenly may pop into your brain lighter. It really is like heck, training for the body. You do a short workout and following your muscles repair and lay down more muscle, your metabolism is fired up and it continues to burn fat. And if you keep working out regularly, you will form muscle memory, where the muscles become able to perform a task without any conscious effort. If you work for hours, fatigue is going to set in and even your subconscious may tire, meaning you don't get any of those fabulous ideas a few hours after your writing. Because he enacted. Not only that, but it also becomes a chore if you need to do something for hours every day. So keep it simple and keep it quick. We're looking for total Heroku muscles with muscle memory. So when we sit down to do a sensory right, we get to the good stuff quickly with minimal effort. In short, you'll become an expert by doing this little and often. 5. Project 1: The Big Idea Sensory Write: Okay, so this is the first exercise and it's called the big idea. What you're going to do here is your first sensory, right? And it's going to be writing about a subject you want to write about. So it's the big idea, your big idea. It could be anything. Remember the rules. They are to give yourself ten to 15 minutes no longer and try to get an almost seven census if you can. Now to an example with my own big deal sensory right in the resources area, if you want to have a look how I approached it, I gave myself ten minutes. And remember, this isn't the finished article of a song where the state is just the raw material. 6. Evoking Emotion: I'm sure most of you will have heard of TS Elliot, who was an American poet who died in 1965 and is responsible lyrically for Andrew Lloyd Webber's shown cats. Lloyd Weber used TS Eliot's book, old possums Book of practical cats for the lyrics for the show. But CSL, It was responsible for something else. Something which is so valuable for all poets. And there exists. He recognized that poets or lyricists need to evoke emotion in the reader or listener. And he offered us a way of doing this. He developed and popularized the work of Painter and poet Washington Allston, who had coined the rather awkward phrase, objective correlative. And this was to explain how ours can create an emotional response. Ts Eliot explained it this way. The only way of expressing emotion in the form of art is by finding an objective correlative. In other words, a set of objects, a situation, a chain of events, which shall be the formula of that particular emotion. Such that when the external facts which must terminate in sensory experience or given the emotion is immediately evoked. Now I reckon that's quite wordy and complex. Despite being brilliant. Essentially, it's saying that you can find something to be the physical representation or manifestation of the abstracts or subjective concept that you're writing about, such as emotions. This thing, TSL it calls the objective correlative may sound complicated, but put simply, it can be almost anything. He says an object, situation, a chain of events. And that gives us a lot to work with. And using something that's easy for the listener to get their head around to represent something which is more abstract is a great trick. So by way of example, Joni Mitchell in her song, both sides now uses clouds to carry the feelings of wonder. In the first verse. Form wonderous shapes like ice cream castles or she observes. But inverse two, she's changed their tune. Now the cloud's only block the sun raining on everyone and they go in the way of her doing so many things. So now the clouds are carrying the feelings of frustration and regret and depression. These first two juxtaposed versus take you somewhere and making you feel something when you listen. Tsl, it says that if you can do this successfully, you will have found a way to express emotion through the art form of poetry or song writing. And it will end up giving the reader or listener a sensory experience, evoking the emotion that you're writing about. It's going to make them feel something. Wow, amazing. If we get it right, we can make people feel something. But how do we do this successfully? Well, because TS Eliot says, the end product is evoking emotion through sensory experience, it makes perfect sense that we use sensory language to help us succeed. Now we've already started this process with our first sensory, right? But TS Eliot wants us to do more now, he's a bit of a hard task master. Let's break down what he said and simplifying, we can think of the thing we choose to represent the emotion which he calls the objective correlative as the vehicle polygons, this is simpler language, but also I chose the word vehicle because we want to drive it into the hearts and minds of the listeners. In my earlier sensory right, the vehicle I could choose could be the bed. The empty bed is the object which represents the end of the relationship and the lonely and better or sad feelings that might emanate from that. Okay, we're calling the objective correlative the vehicle. And we know that all vehicles need fuel to get them going. So how do we fill up the vehicle? Well, TS Eliot says that the sensory experience is brought about when we give the external facts about the emotion and that emotion is represented by the vehicle. So we're gonna use sensory language to give those facts. This will act as the fuel in the tank of that vehicle to fire the piece of writing and get it moving, driving it right into the hearts and minds of the listeners. And when we do both these things is going to trigger something in the listener evoking emotion. Now you might be thinking, well, not all songs are about emotions. It's not all about love and loss. And you'd be right. So yes TS Eliot says, we're looking to evoke emotion through hours and shows how to do it. So what about songs that don't explore emotions? Well, there's something we always want to evoke in the listener and it's a sense of something. Now I know that sounds vague, but it's true. Many songs, maybe even most are about love, and therefore they need to convey a sense of the emotion. But some songs are written to make people laugh. And so they need to convey the sense of humor. Humans not considered emotion. It's more a mood or a state of mind. Others may be about being young, growing old rebellion. The list is potentially endless. Not every subject can be classified as an emotion, but whatever we're writing about, always striving for is to get the listener to connect with the subject of the sensory level to sense what it is we're writing about, thus provoking a response. They may see in their mind's eye what we've written about. They may recall a feeling of youthful rebellion which comes flooding back. Or if you're going for humor, they might laugh out loud. Remember we're helping them make sense of our subjects by encouraging them to use their senses. Really, it doesn't matter what it is you're trying to evoke in the listener. Sadness, love, grief, laughter, The Roots. Your goal is the same. She's a vehicle to represent the mood or emotion or the state of mind that you're writing about. And then write about it using sensory language. 7. It's A Kind Of Magic: Soon we'll be doing another exercise. But before that, I'm gonna talk about why the next exercise is going to work. What we're gonna do is find a vehicle from our first sensory, right? So remember that can be an object or a situation or a chain of events that can be almost anything. And this vehicle is going to be the thing which represents the emotion or mood that you're going for. For example, I may have written about how I still think about X and I only want to keep the happy memories in that sense rewrite. I may have described a photograph taken before the breakup where we both still smile back, eyes wide and happy. So a good object or vehicle for me would be fat photograph. So now I'm going to do another sensory, right, with a photograph as the subject and vehicle I've chosen to represent the emotion I'm going for. This is all about taking the vehicle and zooming in to squeeze out all the juice, all the emotion, feeling or material that we can. We're going into the detail here. Perhaps I'll emphasize how we both never change in that photograph. Love never dies here because time stands still. Love is preserved in that moment. So I don't need to think about the hurt that followed. This may lead me on to think about other happy moments. Memory's such a case we shed under the lamppost on 6-3, the genes used to wear. How she would whisper to me on the phone. The failover, happy. Maybe now this is beginning to sound a little bit familiar. Yes, I'm using adherence song Photograph as the example here. But it works so well as a zone because we can all relate to the imagery used and how the items that he sings about our vehicles of the emotion that he's feeling. And it drives them right into us. He uses a photograph as well as ripped jeans and a necklace. These objects serve as a physical manifestation of the abstract or subjective concept that he's putting across in the song. And he stacking up the objects now to really drive the message home. In this song, he's writing about an X. And one thing to remember, only the good stuff. This is really subjective. Everyone would feel is differently as it's really individual. Most emotions are because we're all different. We have different beliefs, different backgrounds, different upbringings, and the brain is a hugely complex thing after all. Ok, so here's why this technique works so well. This is the crux. Now, imagine if I had sharon simply told us in his own house he was failing. The sadness he felt. How it is wanted to cling to the happy memories, the song would have been weaker, one-dimensional even, and crucially, I'm pretty sure it wouldn't have been so successful. And by success, I don't just mean commercial success. I also mean that successive staying true to the subject that you're writing them out as a writer. And that's because it wouldn't make us feel anything particularly strongly. We wouldn't associate with anything or be encouraged to sift through the millions of our own memories and feelings and experiences and draw on them. But he didn't tell us. He showed us that. You've probably heard people say that when writing poetry and lyrics, you must show, not tell, or at least show before you tell. And using this technique makes sure that you do just that, keeping you on track. You show by using this technique handed down to us by TS Eliot, you're firing the census the listener with this beautiful sensory language around a mood, emotional state of mind that you're writing about. So when we think of the photograph, we probably don't see edge Sharon and his X in our mind's eye. The wording has cut a key to get into our library of memories, our experiences, our feelings, and find our own. And even if we don't have our own sensory picture he's painted is something we can relate to. We don't always have a frame of reference or share the same experiences of the writer, but we can still relate. So for instance, thankfully, I have no experience of being kidnapped and being placed into a grotesque game of last man standing when surrounded by death and horror. But when I watched the movie, saw it got the pulse going, turn my stomach. And I related to the plight of the poor contestants with feelings of panic, anxiety, stress, and fair, and I think a very worst it will sense the notebook, however, I've seen many times, but that's just me. So back to adherence own photograph. What he thinks of her genes or a heartbeat. Again, it's not his experimenting with crystal clarity because that's his memory, not ours. Instead, it's a memory or feeling of our own, drawn from the library of our own experiences and senses. And this is the magic of sensory language. It has the power to control the mind and the centers of the listener that can make the listener time travel into their past and grab onto a memory or sense of something and make them feel and re-experience it. They really is, is Queen set a kind of magic? Ts Eliot said, the vehicle we choose becomes the formula of that particular emotion you're writing about is really interesting. He uses the word formula because we know there is no magic formula for writing poetry or lyrics. But with this technique, there is a formula to write magic into your lyrics. 8. Project 2: The Vehicle Sensory Write: Okay, so for this exercise, you're going to need to find something in your first sensory Bright's, which represents the mood or the emotion do you are going for when you wrote it? Remember, it can be an object situation, a chain of events really, it could be almost anything. This is going to be the vehicle, the objective correlative as TSL vehicles it. Now you've selected the vehicle, you're going to use it as the topic for your next sensory, right? So on a separate piece of paper or a new document, right. The vehicle name at the top of the page in the shearing example, it would be photograph as before, give yourself ten to 15 minutes to complete this, this exercise, this right. And again, try to get all the seven sensitivity can, but don't beat yourself up if you can't. I put my own vehicle based sensory right in the resources section. If you'd like to see how I approach this exercise. I chose the bed from my first sensory right, as the vehicle for this one. And if you're struggling to find something to be the vehicle than just remember a can be almost anything. Read your sensory rights and look for objects that crop up. Do they symbolize the feeling that you're going for what happened in, in your right. Was there a situation or event which stands out and represents the whole thing? Did you wrote a lovely metaphor or simile? A line-like his soul hardened steel could be just what you're looking for. Steel could be the ideal ideal vehicle to use. 9. Mind Control: Ok. You've completed your second sensory right. Which was all around the vehicle that you pulled out from the first right. So why are we doing this? Why spend less time working so hard to find the right words. But words have power. The power to heal, the power to hurt, power to unite, the power to persuade. And with this technique, the power to trigger a feeling or memory and someone to get them fired up about your song and love it with the words you choose and how you construct them. You're opening up a book of magic and using a recipe to put a spell on the listener. Once you do this, they're yours. Slightly long song says, I put a spell on you because your mind recipe, formula, it doesn't matter what you call it. The point is, it works and we'll practice. It will work every time. So if you want any more or a further evidence why and how this all works and why it's a great way to write. Then we can look to the Greek philosopher Aristotle. Remember that CSL yet cooled the endpoint of what we're trying to achieve as writers, as they sensory experience which evokes emotion. And to do this, we show the reader or listener waterfowl using sensory language written around the vehicle. Well over 1500 years before TS Eliot was saying anything, Aristotle said something very similar. He didn't classify a sensory experience. He called the end-product catharsis, which to the ancient Greeks literally meant purging or vomiting up. Nice. The ancient Greeks wrote drama so that the audience would feel and experience something strongly. They all gathered at amphitheaters and watch the show because it would draw emotion out, purging or cleansing them. And this experience is called cathodic. And this is all still relevant today. Catholicism really as a physiological response rooted in biology. I talked before about triggering a response in the listener through our larynx. So Let's look very briefly at how a trigger causes a response in the nervous system of the human body. Why? Because it's the same process. So if you place your hand on something boiling hot, it will trigger a signal which is sent along the nerves from your hand up to your brain and back again with ferocious speed. It tells you that the thing you're touching is hot. You scream and remove your hand quickly. Heat, pain sensors and your brain have done their job and you're left in pain. You left feeling something and responding to it. Lyric lines is knowingly or unknowingly use the same principle. They write killer lyrics to get inside the heads of zealousness. They know that the head controls everything, including the heart. If you can get inside listeners head, you can control the person. You can make them react physically, manipulating the very organs of the body. You make them feel something and respond to it. You can make them travel in time into their memories. In the same way, gory, horrific scenes in movies would drive up your pulse and turn your stomach Gu, while deeply moving moment in a romance film will make your chest tighten and make you cry. These, by the way, are all cathartic responses to an art form. And we humans seek out these experiences because we want to feel something over and above the normal baseline feelings of sometimes very boring day-to-day life to their sensory experiences that cathartic both TS Eliot and Aristotle were right and he would argue with them. So they were not burning our listeners hands to get a response. We don't have to go that far. We are using the same process of triggering a feedback loop. We using all their eggs to get inside the head of the listener and take control, firing sensory signals and triggering responses. Just like when you physically scold your hand. And this will make sure that the listener feels something experiences in response. And that's why this technique works. 10. Panning For Gold: So now we have two sensory rights of our own. We can begin to pull out all the best bets on the golden nuggets which we fail, might get a place in the final song. So this activity is unsurprisingly and maybe a little unimaginatively called panning for gold. But how do we know go when we said, well, if you actually panning for gold, you would scoop up a load of material from the riverbed or from a creek bed and swirling around in a pan and that Pam would do the work for you, the heavy metals sinking to the bottom while the non valuable sludge and silt rises up and can be washed away. So when you wrench the pans contents, you're hoping to see some shiny gold sitting in the bottom, then you'd be rich. Now I'm not saying that our sensory rights will be full of non valuable sludge and silt within your few nuggets of gold, but you get the picture. We have to be a little bit ruthless hair and leave some stuff on the page only extracting the best beds. The other stuff's gonna stay there on the page safely so you can always go back to it at anytime. It's not like your discarding it. You're merely putting aside for now to focus on the shiny gold. So golden terms of songwriting is anything which makes you think or feel any of these things when you read over your sensory, right? Wow, that's a clever line. That's exactly what I wanted to say there. That sounds like a song title. That's really moving. That's great. Imagery or metaphor. That word is perfect. That's really poetic. That word combination is great. Now this list isn't exhaustive. There are plenty of other things which might mean you struck gold, but its a few hints to get you started. When you read back through your sensory rights, just be aware of how what you're reading makes you feel and think and trust your writers instinct. And you will certainly find the gold. 11. Project 3: Panning For Gold: So now it's over to you for the third exercise. Look over your two sensory rights and pick out all the best bets. If you're using a computer, copy the golden nuggets and paste them into a new document. Don't cut and paste because we want to retain everything from your rights in their complete form with the context you wrote them in because you might need it later. If you're using paper and pen, then write down the best bits on a new sheet. Again, I put my example of this exercise, the golden nuggets that I found in my own writing in the resources. 12. What To Do With The Gold: All right, so now you have a load of golden nuggets from your two sensory writes. What do you do with a more? Well, here are a few tips for working out what to do and where the bits of gold may go within your song. Firstly, you can group your best bets into rhymes or you're going against this makes it easier for later when you choose a rhyme scheme because you can quickly pick out the elements which go well together. And now everything has to be a perfect rhyme like cat and hats, for example, you can group by sounds which are similar. Am I may group all words with an R sound for like car, alarm, mark. And these have different endings, but they share the same vowel sounds so they're assonance rhymes. You'll know if things fit sonically well together. So list them all in sections and or groups so you can easily find them later. Sometimes we start with the title in mind when we begin our sensory right? For instance, the edge Sharon song I talked about before is simply entitled photograph. And that may well have been his starting point. But more often than not, a great song title shines through in our writing when we pan for gold. It's that shiny nugget which our eyes fall on mesmerizing us and insisting to be used as the title. I love a song is often placed in the chorus and given a prominent position there. It's like the top table of a wedding. Everyone knows all the important people are going to be seated there. And similarly, our brains know a title line, Mommy here one. And from where it says, it stands out and makes the song, helps make the song. It's sometimes why we think a song it's called something different from what it actually is, because our brain has made some connection with a really strong line, even if the artist called the songs something else. So we're looking through your goal. Can you find something which literally leaps off the page, begging to be used as the title. When we did our sensory rights and we zoomed in in a second, right. Can you remember that we were actually doing here was to get as much material as possible for the Vs. Now may very well be the created a load of great zoomed in material in your first sensory, right? Hopefully you did, but the second sensory right helped us to make sure we got more. The inverse is the part of the song which carries the story. It contains the little things, the imagery, and the fine detail which set the scene and tells the story. It's useful to consider the fact that the opening line and end line of averse can carry a lot of weight. So why is this? Well, anything at the beginning of any form of writing is starting off an idea or a story. If you write your book, it's really important. The first few lines grab the attention of the reader to force them to keep reading. And the end line of the verse is really significant to, because it's the jumping off point for the chorus is the conclusion to the, all the material of the verse, closing it off and telling us that this is where the verse ends and something else begins. Something which you're going to want to listen to. Both of these positions in the verse are places where listeners expect something significant and powerful. So when you're looking over your writing, make sure you place the powerful stuff and all the right places. The other main consideration of the VS is that we need to make sure they build from one to the next, like chapters in a book. Repeating courses are fine, but the verses of the part of the song which carry the stories and keep the story going. No one wants to read a book where chapter two is the same as chapter one and no author will be, will be published if they did this. And it's the same for us. Lyricists keep the peace moving, growing, and heading towards a conclusion. So in summary, we use the small details, the zoomed in stuff in the verse. Take care with the first and last lines to power them up. Always looking to keep moving from verse to verse. Chorus literally means all singing together. It's the part of the song where repetition is a good thing, where simplicity is a good thing. We want the listeners to learn the chorus really quickly and remember it so they sing along. It needs to make sense in the context of the whole song. So it needs to follow on from the verse and it needs to bring it all together, kind of synthesising everything and making the big point. When you did your sensory writes, you started with the big idea and that could have been anything, could have been falling in love, falling out of love, or a walk on the beach. Literally anything. The chorus is the part of the song to get across this big picture message and why it's important. Most of the hard work has been done in the verse. The scene has been set. We know what the story is, who it's happening to, and where and when it's all happening. A loader detail in the verse has helped us visualize and feel what's going on. So we're invested. Now comes the job of the chorus. And it's to tell the listener, while that stuff's important, it's putting across the crux of the zone why it matters, why they should listen. Why do I even begin writing this song? 13. The Final Lyric: When you come to write your final lyric, you won't use solely the golden nuggets that you found. You're going to scatter them through the writing. So you're going to need to flesh them out with connecting lines and words. And when you're doing this, you can choose to come up with new stuff for fleshing out. But also of course, you can look back over your sensory rights to see how the golden nuggets were handled within the lines they appeared, and then retaining some of that writing style and contexts. You may remember the opening of the first sensory, right? The I did. It was cold and dismal when I work, I reached across the bed and felt only the morning chill caress my fingers. I check the time. If she were here, she would be making coffee by now. That familiar smell of home and daybreak will be lifting me out of bed and into her arms. Instead. Only last night's excess fills my nostrils, all stale and empty. Let's say the IDE selected stale and empty as a golden nugget here. And in the context of the line, it's about post excessive drinking morning breath. So I could keep with that sentiment or shake up a bit and apply it to something else important in the song. For instance, the bed. So I may write this instead. Your side of the bed, stale and empty. I could even apply it to the love in general and mess with the word order. My empty style, hot. You'll find there are a myriad of different ways to use your golden nuggets and keep the writing process moving, making the end result original, fresh, and exciting. So your final projects in this course is to finish and polish the song as a full, complete lyric. The golden nuggets, they're going to need to find our way into the writing and you're gonna need to ride around them to make that happen. 14. Project 4: The Final Lyric: So as I said in the last lecture, the final project is to complete your lyric using the golden nuggets in fleshing out with new material or other words in lines from your sensory rights or bring it all together. If you want to see my own version of the completed zone, you will find it in the resources. Good luck and well done for getting there. I really hope that this song you've written will be the start of something great, offering a new way of generating powerful lyrics every time you write. 15. Final Thoughts: Okay, so you've begun a fantastic creative process here. You can now begin playing with it to make the song lyrics you write, sing, and sound the way that you want them to. And not only that, but they are going to evoke a response in the listener, making your lyrics powerful and memorable to them. The techniques you've learned in this course can be used in every day for any and every situation, feeling or mood to scope really is limitless. So I hope you'll use these techniques regularly to tome those lyric writing muscles and become an expert that sensory writing. In doing so, you're making your lyric stronger, more original, more memorable, and more likable and experiential. And the great thing is you only need to spend ten to 15 minutes at a time doing it. Good luck, and thank you so much for taking this course. I really hope it's helped you with your songwriting. Please feel free to comment, share your work, and let me know how you've got on.