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Josh Ritter says there is a time to write a song, and a time when you definitely should not write a song.

As a songwriter, my job is to pack three minutes with as much imagery as I can, both lyrically and musically.

Beyoncé is hitting the Grammys hard this year, so we look to her (and a whole bunch of other Grammy grabbers) for advice on songwriting.

Why did Phil Collins’ “In the Air Tonight” create so many myths? Its mood is solemn, even mysterious, and its lyrics are replete with gaps of meaning: it invites the listener to make sense of it.

There are two topics they say never to bring up with your inlaws – religion and politics. Funny enough, those same topics carry some baggage for songwriters, too, though not for the same reasons.

If you’ve been writing songs very long, you may have heard how important “imagery” can be in songwriting.

The typical performing songwriter is both the man-power behind and the face in front of a business built from the ground up.

Mark Simos is a songwriter, educator, and author, who has written for Alison Krauss, Ricky Skaggs, Del McCoury, Laurie Lewis, Jimmy Barnes, and so many others.

I recently finished a new book with co-author Jan Stolpe called “Beginning Songwriting,” and I’d like to talk about its contents here.

We all have a particular style of writing, whether we’re aware of it or not. Our style supersedes genre, and characteristics of it bleed through.