Songwriting Tips from Josh Ritter for Crafting Simple, Emotional, and Memorable Songs
In 2017, Josh Ritter joined the Berklee Online Live: Songwriting series, delivering advice helpful for aspiring songwriters. Check out the full video interview below, as well as his top 10 takeaways.
There are times when you shouldn’t work on a song.
“I donât know that any song has ever come to me exactly the same way. When itâs really going good, I feel like itâs this kind of fine gray sand thatâs pouring down on my head. Itâs cooling, itâs calming, and itâs like Iâm standing under the sand of an hourglass. As long as that feeling is there, Iâm writing. And when itâs not there, Iâm done. Thereâs no benefit in sitting there when itâs not happening. And I only know that from such long experience, and hours and hours of wasted creative time. There are times when I should just be going outside, and doing something else.”
Work on songs a little at a time.
“Rather than being the type of person who gets up in the morning and writes a song, I get up in the morning and I do the things I need to do in my day, and when a phrase or a melody jumps in my head, Iâll sit down and Iâll write it down. But I wonât try to finish it unless itâs all there. I think thereâs a few songs that I remember writing all at once, but I think in general, I write best when something accrues, and I start the snowball rolling down a hill. After a while it picks up its own lines, and its own way of performance, but if I sit down and put my nose to the grindstone every day, it doesnât seem to work out as well for me.”
When a line jumps into your head, try it in a song.
“There are some lines that are the seed, or the pearl of the song, and theyâre important because theyâre the ones that jump into your head. âAll the other girls here are stars, youâre the Northern Lights,â thatâs like a line that, man, I wish Iâd thought to use that on a girl, but it never occurred to me. So when it jumps in your head, thereâs a reason that itâs there.”
The more complicated you make a song, the less powerful it is.
“I find that oftentimes, the things that make a song less powerful is that itâs more complicated. Thatâs why some of these old country songs are classics, because they start off with a thesis statement. âI Saw the Light,â is a Hank Williams song, and itâs a super simple thesis: he saw the light, heâs had this conversion, he was this bad guy but now heâs good, and changing his ways.
It doesnât need to get complicated, itâs just that one line, and you take this one line that youâve been delivered somehowâthatâs made its way into your mindâand you can unwrap it like an envelope. You just open it up, and the whole song is inside that line.”
If you can’t fit something into a song, leave it alone . . . for now.
“I picture a song as beingâif this makes senseâyouâre in a dark landscape, and you have a fire, and you need to go somewhere else, and you have to carry that fire somewhere else. You have to carry a burning branch to the next place youâre going to start your fire, so with each song youâre carrying a little bit of that original fire with you. The songs that donât have it, the songs where the fire goes out, theyâre just not right, so thereâs no sense in keeping them. That being said, there are some ideas which, despite every try to cram them into something, theyâll never fit. And those are the ones that are waiting around to become the really good stuff. ⊠Maybe it will be in 20 years though.”
You are the most important person in your audience.
“All you can really do is write for yourself. Thereâs all kinds of ways that you can structure a song, and write what itâs about, and all these things that will bring people in, but unless youâre singing something that really truly entertains you, then no one else is going to care. ⊠Write for yourself because youâre the only audience that matters.”
Write about what you obsess over.
“I find that writing comes from not a moment of thinking about something, as opposed to a moment of being obsessed with it. . . . When you have things that you really care aboutâthings that matter to youâthey are what make you. And to write as if those things donât exist is to efface yourself. Then youâre not really an artist anymore: Youâre just creating blanks. In the end, youâve got to say something. Big songs can be about little things, and little songs can be about big things, but really in the end the only thing that really comes out is that you have to put a foot forward, and talk about stuff.”
Writing a song is like going to a party.
“Writing a song is like going to a party: You want to show up when itâs happening, and you donât want to be the last one to leave. As much as youâre describing, you have to be able to go in, and paint a portrait of the thing, and then leave.”
Be bold and mighty forces will come to your aid.
“Oftentimes the thing that I find sets great art apart from the rest is its bravery and its vulnerability.”
Writing bad songs helps you write great songs.
“I think about failures as the moment when youâre cutting the block of granite, and youâve got this big huge piece of rock, and all those songs that never went anywhere, and all those things, thatâs just part of the stuff youâre chipping away until you get to the real songs. And the real songs are in there. There may be like 10 of them in 100 songs. But theyâre the statue youâre trying to get to.”
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