How to Write Song Lyrics: An Expert’s 7 Step Guide

You’ve just bought yourself a brand-new laptop (the kind that weighs a couple of ounces and is paper thin). You’ve purchased a silver pen with your initials on it. You’ve rented a villa in the Caribbean. 

You also have your trusty digital audio recorder by your side, set to capture the cosmic overlap of words and music. The scene is basically set for one of those Behind the Music episodes seen on VH1.

You’re ready to write a great lyric. 

But where do you start? Lyrics can make or break a great melody. But coming up with lyrics is often easier said than done. 

In this article, I’ll fill you in on some tried- and-true techniques used by the pros when they’re setting out to write lyrics. I also take you step by step and show you how to fit your lyrics into the common formats of songs.

Different Lyric Types

Webster’s defines a lyric as “the words of a song, as distinguished from the music.” Well, that’s fairly cut and dried. But when the word is defined as an adjective, things get interesting: “songlike; specifically, designating poetry or a poem expressing the poet’s personal emotion or sentiment….” 

Now we’re talkin’! You can think of lyrics as thoughts with rhythm and rhyme — and on rare occasions, you can even dispense with the rhyme.

A great lyric is an idea with wings. Take a look at the different forms a lyric can take and see where some of your favorite songs took root before taking flight:

• Concept-driven lyrics
• Story lyrics
• Love song lyrics
• Current event and protest lyrics 
• Novelty and humorous lyrics
• Parody lyrics
• Inspirational and spiritual lyrics

Concept-driven lyrics

Behind most great songs is a great idea or concept. A concept is a lyrical blueprint for the song (and its authors) to follow. A strong concept usually equates to a great song.

Write down the concept of the song in prose (the un-poetry sort of writing down the simple points of a story) when you start the song, and refer back to it frequently to make sure your lyrics stay on course.

For example, the ’80s classic “Missing You” revolves around the tortured hero who throughout the verses professes the many ways life is no longer the same now that the love of his life is gone. He’s in a quandary as to why she left, and it sounds as though he’s ready to stick his head in the oven when he’s saved by the chorus.

The dichotomy between what he’s saying in the verses (his gut-wrenching feelings) and what he’s saying in the chorus (where he puts on a front for the world) is the unique concept for this song. No matter what his friends say, what he says, and how it may appear, he’s not missing her at all.

Storytelling Lyrics

Songs that tell a story are as old as time itself. Even in days of old, songwriters realized that songs were a good way to put a relatively plain story into an attractive package and make everyone want to listen. Today great storytellers often write in the style of a country, but no restrictions govern the genres the story song can cross.

Now take a good look at the lyrics to the story song “Just to Get High” (written by Chad Kroeger; performed by Nickelback). You can just feel the urgency and intensity of emotion rise in Chad Kroeger’s tragic tale of his best friend’s dance with the demon of drugs. His own mother stays silent even after he sells her rings. 

The specific imagery Chad uses — the sores on his lips, his melted fingertips — gives the listener a gruesome visual to go along with the narrative. The repeating mantra of “tell me what you know…tell me what you gone and done now” makes the listener wonder whether his friend is alive or dead — or just a part of the living dead. 

One can’t help but suspect that this person actually exists in Chad’s life; whether he does or not is immaterial, because he lives within this song.

Love song lyrics

Love is one of those dishes that can be served up a thousand different ways and still be a lyrical feast. Like Bubba’s shrimp list in the movie Forrest Gump, if you made a list of all the song titles that use the L word, it would reach from “here to New Orleans.”

The love song can range from celebratory to suicidal and all points in between, and still be considered a love song. Because love is the driving force behind much of human activity, writers never seem to run out of inspi- ration. 

Taylor Swift’s “Love Story” uses the age-old and very effective Romeo and Juliet theme. She uses the effective flashback device to add the dimension of time. This adds a somewhat dreamlike mood to the lyric and makes the listener wonder, did it really happen like this, or is she living an illusion? 

Notice the quick rhymes as she baits the hook: “We’ll make it out of this mess, it’s a love story baby, just say yes” and “go pick out a white dress, it’s a love story baby, just say yes.”

Current event and protest lyrics 

Certain artists have become well known for their ability to encapsulate world events into musical form and often sum up the feelings of the people. 

As an example, “Ohio” is Neil Young’s powerful response to the four students killed by National Guardsmen at an antiwar demonstration at Kent State University on May 18, 1970. It became the protest song of choice for an America that was sick and tired of its troops dying in the Vietnam War. “Tin soldiers and Nixon’s coming, we’re finally on our own, this summer I hear the drumming, four dead in Ohio.” 

The photos in the newspapers told the story of the horrific event, and this rock anthem became the soundtrack. 

Novelty and humorous lyrics

One concept that is sometimes forgotten by “serious” songwriters is the element of a novel approach or humor in a song. A thread of wit running through an otherwise serious lyric can add a much-needed lift to a song.

Bob Dylan is especially good at injecting humor into his songs — “the pump don’t work ’cause the vandals took the handle” from “Subterranean Homesick Blues” is a good example.

Parody lyrics

A parody lyric is a (hopefully) comical reinterpretation of someone else’s more serious lyric. Some parody songs have gone on to be hugely popular, a few even rivaling the popularity of the original.

Many times a parody artist takes a popular song and writes a lyric that is often topical and sometimes even in direct contrast to the original.

Weird Al has carved a wide niche for himself with his clever and well-crafted take-offs. Some of his popu- lar parodies include “Lasagna” (a parody of “La Bamba,” written and sung by Richie Valens), “Addicted to Spuds” (a send-up of “Addicted to Love,” written and sung by Robert Palmer), “Like a Surgeon” (based on Madonna’s hit “Like a Virgin,” written by Thomas Kelly and William Steinberg), and “The Rye or the Kaiser” (a parody of Survivor’s “Eye of the Tiger,” in which, presumably. Al is a master at taking the grand statement of a song and cutting it hilariously down to size.

Inspirational lyrics

Lyrics of praise and worship, words of inspiration, and stanzas of belief have been the basis of many of the world’s greatest and longest-lasting songs. A song is a powerful force that can change minds, shape nations, spearhead causes, and uplift the emotions.

For example, the mid-@’90s hit “Change the World” by Eric Clapton centered on the ways we all can make a difference in this vast universe. It’s a great example of how an old concept can be given a new lease on life through a fresh musical approach. The arrangement of this song is a unique combination of country-blues and soul.

How to Write Song Lyrics: 7 Steps

Much of the process of lyric writing is experimentation and trial and error. Many writers prefer to start a song with a co-writer and finish it up separately (often getting back together one more time to compare notes and finalize the song). 

Like viewing a painting, it’s good to take a step back to see the whole picture clearly. There’s no need to force a lyric. You’ll find that if you just give it a little time (but not too much), the lyric will naturally come. It’s great to come back after a break and get each other’s fresh point of view.

Here’re some steps you might consider:

1. Start with a title

Oftentimes, a good title is a stepping-off point for a lyric and song. At its best, a title can literally sum up what you’re going to say in the song itself. 

I’m constantly jotting down potential titles from the words people say, things I see in newspapers or magazines, and phrases that seem to come to me out of thin air. “The Search Is Over,” “Vehicle,” “High on You,” “Hold on Loosely”…in fact, most of the songs I’ve written or co-written have started life as ink stains between the lines of a spiral notebook, as a title I jotted down or one that someone suggested to me.

When you feel you have an intriguing title, the next step is to examine the possibilities of those words. Find unique ways to look at common words (or common ways to look at unique words!). 

Following is a list of some famous song titles. As a quick exercise, pretend you’re seeing the title for the first time. Now imagine the storyline that the title may imply to you, as if you just stumbled across it in your own notebook. How would the concept of your song differ, and how would it be similar to the hit? How would you put your own life experience into the lyric?

• “Heart of the Matter” (written by Don Henley, Mike Campbell, and JD Souther; sung by Don Henley)
• “My Life Would Suck Without You” (written by Max Martin, Dr. Luke, and Claude Kelly; sung by Kelly Clarkson)
• “If I Were A Boy” (written by B. C. Jean and Toby Gad; sung by Beyonce)
• “Breakeven” (written by Stephen Kipner, Danny O’Donaghue, Mark Sheenan, and Andrew Frampton; performed by The Script)

A title doesn’t have to be clever or even unique to be effective. Sometimes a generic title can be infused with new life by using a different camera angle or shedding a new light on an old subject. 

Notice how one of the most common titles of all time, “I Love You,” is presented in a fresh light in the context of the song performed by Martina McBride (written by Tammy Hyler, Adrienne Follese, and Keith Follese) of the same name.

2. Brainstorm ideas

If you start with only the title in mind, you’ll want to develop that title into an idea. If you’re not sure what the song is going to be about, then sit down and create a list of different ideas that could be expanded and covered by your title. 

Just for an example, I’ll say you had a dream last night; the title “Deep in the Heart of the Night” jumped right out and you’re convinced that this title was sent to you from the ethers to use in your next song. Your mission now, should you accept it, is to go about discovering just what the song will be about in relation to your title.

As you think about your title, “Deep in the Heart of the Night,” make a list of all the things that you can imagine happening deep in the night. Your list may look something like this:

• Falling in love deep in the heart of the night
• Fantasizing that you’re falling in love deep in the heart of the night
• Looking back at falling in love deep in the heart of the night
• Thoughts and feelings that only come to you deep in the heart of the night
• Waking up from a dream deep in the heart of the night
• Getting a phone call deep in the heart of the night
• Driving your car or truck deep in the heart of the night

You get the point. Now, after thinking over those ideas, you decide to use “Driving your car or truck deep in the heart of the night.” Maybe this is because you just bought some new wheels or you’re craving an escape to somewhere — anywhere. It’s most likely that what you choose from your list will be one with which you feel the strongest connection. That affinity for your subject will become the fuel for your brain that will help you maintain your creative flow.

Some of the greatest lyrics are remembered more for their idea or story rather than for their clever rhyme schemes, hooks, twists on the title, plays on words, or expanded clichés. A theme that matters to you can draw out some amazing emotions in, and often as, a sidelight.

3. Tell a story

After you have a concept — what the song is going to be about — you’ll want to elaborate on that concept and develop it into a story. Let your imagination run free. Going back to our fictitious example of “Deep in the Heart of the Night,” try to picture yourself being deep in the night, and take note of all the emotions you might be feeling in the seat of your vehicle as you drive the night away. 

Make note of all that your imagination dictates to you — the stars, the clouds, the terrain, the glow of your dashboard dials. These are the images that will illuminate your lyrics.

For “Deep in the Heart of the Night,” you may decide that the song is going to be about driving to Tulsa late at night. Perhaps you chose Tulsa because you liked the way the word sounded. Maybe it was the wide-open plains of Oklahoma that held the attraction for you. Perhaps there is someone waiting for you in Tulsa. Maybe Tulsa somehow represents a fresh start for your life.

Or it could be that Tulsa is just a random point on the map, and you’re think- ing “anywhere’s better than where I am right now.” When you’re expanding on the idea of driving deep in the heart of the night to Tulsa, ask yourself questions such as the following:

• What is the motivation for driving?
• Why is the destination Tulsa, Oklahoma?
• Am I writing from a personal perspective, or am I telling a story about someone else or from another person’s point of view?
• Am I writing about the trip in the present tense, looking back at a past trip, or dreaming of one in the future?
• What is going through my mind as I’m driving?
• What emotions am I feeling as I drive along?
• Who or what is waiting for me when I finally reach my destination?

Asking these questions and making these decisions will influence the tone your lyric will take — angry, tender, excited, full of longing, full of remorse, and so forth. These decisions will also influence the style of language you use from formal to hip or slang.

There are plenty of things to think about when developing your concept. When writing a screenplay for a movie, one of the tips in training is to decide how the story will end up before you even begin. And so it goes with develop- ing the story for your song — think your concept through to the end of that drive to Tulsa — deep in the heart of the night.

4. Structure your song

When you hear a new song on the radio, you probably don’t turn to your friend and say, “Wow, awesome pre-chorus — I love how it sets up the hook!” Nonetheless, every song has a structure that it’s built upon. The framework can follow any of several tried-and-true patterns, or it can break the mold and go where no song has gone before.

Knowing basic song forms, also referred to as form, will help guide you as you’re constructing a song. It’ll also help identify what you are already doing instinctively. It’s important to understand the basics of song structure even if you choose to stray from it in certain instances.

Most songs usually include these sections:

• Intro: This section, which is where the song typically starts, reveals the melody of the chorus, or sometimes the verse, in instrumental form. Its purpose is to get the ear ready and introduce all that is to come. Listen to any radio station. 
• Verse: The purpose of the verse is to reveal the storyline and melody of the song. It helps propel the listener to the chorus while conveying the song’s basic mood and message. The words, or lyrics, of the verse tend to expand from verse to verse, with new information added to move the story along. The melody and chord pattern of the verse are usually the same from verse to verse, except for minor variations in melody usually to make a lyric fit.
• Chorus: The chorus is the “money section” of a song — if you’ve done your job well, this is the part people will go around singing as they plunk down their hard-earned money to own a copy for themselves. This section usually contains the title or “hook” of the song, at either the beginning or end of the chorus. The chorus features a signature phrase or musical figure that’s repeated throughout the song and that serves as the main identifying portion of the song. 
• Pre-chorus: Sometimes a short section of a song precedes the chorus. It provides a little “fresh terrain” both lyrically and melodically before pressing on to the chorus. It’s usually no more than eight bars in length and sometimes contains the identical lyric each time it comes around. It might even be just a single line. The pre-chorus isn’t essential, but it can add a nice twist when it’s used.
• Bridge: The bridge, sometimes called middle eight (referring to the eight musical measures the bridge tends to occupy), comes after the second chorus in the majority of pop songs. It’s not a necessity in all songs. It can either contain lyrics or be instrumental in nature. Regardless of whether the bridge contains words, its main function is to give the listener a break from the established verse and chorus, providing a different melody and harmonic progression. 

The verse-chorus form is the most common in today’s pop, rock, gospel, R&B, and country music. In the verse-chorus form, verses alternate with a chorus section. The chorus is always the same except, perhaps, at the end, where you can extend it to make a really great ending for the song.

The story that the song unfolds is contained within the verses. When the chorus is sung, it usually proclaims the title as the hook. Pop or rock songs that work well usually start out with a line that people relate to; then the words of the verse pull the listeners in and get them hooked. The power comes when the chorus is sung. Listeners take notice of a good chorus and imprint the song in their minds.

A pre-chorus — the short section that leads up to the chorus — is a great device that you can use when writing a verse-chorus song. The Beatles’ “Lucy in the Sky with Diamonds” is an excellent example of a song that uses a pre-chorus with great success.

Think of the pre-chorus as a mini bridge. Like an actual bridge, it takes your listeners’ ears and minds into some new territory. It also allows the lyricist to build the story before hitting the chorus.

5. Put your lyrics to music

Now that you have the structure of your song figured out, it’s time to put your lyrics to music.

Verse lyrics

Songwriters generally use the verse to set up the idea or premise of the song. The verse lyric conveys the meat of the meaning of the song. 

First it draws the listener in with a catchy opening statement or question, and then it sets up the song’s premise or idea as it leads to the chorus. Each subsequent verse adds new information to the story — often looking at the premise from a different perspective. 

One popular technique is to start with a general or nonspecific idea in the first verse and get more situation-specific in subsequent verses as the song develops. You may also want to set up your scene geographically (“In the town where I was born…”) as to where the action takes place, or set the time perspective as to when the situation occurs (“Many, many years from now…”). 

The verses serve to set up the chorus of the song. In story songs, the verses are all-important, drawing the listener in as the tale unfolds. Tell it as simply and interestingly as you can, embellishing it with poetic devices such as rhyme, word rhythm, alliteration, imagery, personi- fication, simile, metaphor, assonance, and anaphora (a-NA-phor-a).

Pre-chorus lyrics

If you feel your song needs a pre-chorus, make sure it’s doing its job lyrically. A pre-chorus can give the song some fresh chords to differentiate the verse and chorus. Lyrically, the pre-chorus (or B section or channel) is a place to further set up the action in the chorus. 

If the verse is very specific — mentioning names, dates, and locations — you may want to make your channel more conceptual for contrast as you set up the hook. If your verse is general in nature (talking about love as a concept as opposed to jumping in bed with someone), your pre- chorus can get down to specifics before hitting the chorus.

Chorus lyrics

The chorus lyric is really the money lyric (the one that people remember first and that motivates them to buy the record — that in turn makes the songwriter money!). When you’ve done a great job in your verse (and pre- chorus, if necessary), you want to sum it all up as simply and infectiously as possible in the chorus. This is generally where the hook of the title is placed. 

The chorus is sometimes just one or two words chanted over and over as in “Mony, Mony” (written by Tommy James, Bo Gentry, Ritchie Cordell, and Bobby Bloom; sung by Tommy James), or it can really expand and crystallize all that was said in the verse as in “Because You Loved Me” (written by Diane Warren; sung by Celine Dion). 

Whether the listener is hit over the head with the lyrics of the chorus or seduced by it, it must be something they want to hear again (and hopefully, again and again).

There is no law that says the lyrics in a chorus have to be exactly the same each time the chorus comes around. Sometimes when writing a chorus, you have a few variations that are hard to choose between. If you can’t decide on the one best option (at the risk of confounding a sing-a-long), use them all in unfolding choruses. Just make sure the title doesn’t change too radically.

Bridge lyrics

The bridge of your song can be an important element for a variety of rea- sons. It can serve to sum up, in broad terms, the main idea of the song. It can expand upon or amplify the lyric’s main theme, or it can simply be a respite or oasis from the intensity of the rest of your song. 

At the bridge of “What a Girl Wants” (written by Jenny Bicks and Elizabeth Chandler; sung by Christina Aguilera), the song’s feel shifts from its intense groove to a light, syncopated rhythm that adds contrast. It is the singer’s chance to give her loved one a heartfelt thanks for being there for her. 

The bridge is also your chance to reflect on what you’ve already said in the song and say it a bit differently — as in “Don’t let her slip away, sentimental fool, don’t let your heart get in the way,” in the song “Hold on Loosely” (written by Don Barnes, Jeff Carlisi, and Jim Peterik; performed by .38 Special).

6. Paying attention to the rhythm of the words

Whatever section of your song you’re writing, you need to consider not only the meaning of your words but their rhythm as well. This often-overlooked element of the mechanics of lyric writing is the secret weapon of many successful songwriters. Frequently, the beat of the words is accelerated in a certain section of a song to add excitement.

The rhythm of the words in a song can be as important as the rhyme scheme and the meaning. This is a large part of the feel and appeal of rap music.

In the smash rap-meets-melody “Empire State of Mind” sung by Jay-Z and Alicia Keys (written by Alicia Keys, Al Shuckburgh, Sean Carter, Jane’t “Jnay” Sewell-Ulepic, Angela Hunte, Bert Keyes, and Sylvia Robinson), the entire song depends on the rhythm of the words for its engine. 

The success or failure of any rap song depends not only on the cleverness of its rhymes and the lyrical content, but to an even larger extent on the “danceability” and catchiness of the rhythm of its words.

Helping to make rhyme work for you, here is an example where the first and second lines end in similar sounding words and the third and fourth lines end in a different set of rhymes. Take a look at how one of America’s most descriptive songwriters, John Mellencamp, uses this form in the verse of his 2001 release entitled “Peaceful World:”

…world is a wreck

…being politically correct

…didn’t at first

…made it worse and worse

“All Fall Down” is a modern-era example by the group OneRepublic. Check out this gem from the pens of Ryan Tedder, Andrew Brown, Zack Filkins, Brent Kutzle, and Eddie Fisher:

Step out the door and it feels like rain

That’s the sound, that’s the sound on your window pane Take to the streets but you can’t ignore

That’s the sound, that’s the sound you’re waiting for

Another type of rhyme scheme is where the last line of four lines rhymes with the first two lines instead of the third. For an example of this, check out the verse in the ’80s Survivor song, “I Can’t Hold Back” (written by Jim Peterik and Frankie Sullivan):

There’s a story in my eyes

Turn the pages of desire

Now it’s time to trade those dreams For the rush of passion’s fire

The third line adds just enough sound variation to keep the whole verse sounding fresh. You can see how monotonous it would get if the pattern was identical by inserting the fake line Now it’s time to trade those lies in place of the third line. In the original line, the long e sound of dreams is a welcome relief from all the long i sounds.

Oftentimes you can get away with a minimum of rhyming and still have your song sounding top notch. The lyric to the classic hit recorded by Elvis Presley, “Can’t Help Falling in Love with You” (written by Luigi Creatore, Hugo Peretti, and George Weiss), has an interesting backstory. The song, originally titled “Can’t Help Falling in Love with Him,” was then tailored to fit Elvis when he showed interest in the song. If you read through the lyrics, it’s apparent that all the rhymes were crafted to fit the original title.

7. Refine and edit your lyrics

Once you have a draft of your song lyrics, fine-tune and edit them. Look for ways to make them flow, rhythmic, and structured better. Remove any words or lines that aren’t contributing to the song’s message or emotional impact. Make every word count, and go for simplicity and directness.

Your lyrics should be easy to sing after you arrange, rearrange, and fine-tune them. Read your lyrics out loud so you can make sure they flow and sound good. Make sure there are no awkward phrasings or forced rhymes. The syllable count and stress patterns in each line should match the melody and musical phrasing.

Don’t forget to check your consistency. You don’t want the narrative or message to contradict itself.

It’s okay to take a break if you’re stuck with your lyric writing. Go out, experience life, and tell some stories!

As for me, I go through phases with songwriting. Sometimes I’ll write three songs in a day, and sometimes I won’t write anything for three months. I guess it depends on what’s going on in my life. If you’re stuck, go on an adventure for some fresh inspiration.

Let friends, fellow musicians, or songwriting mentors give you feedback on your lyrics. Don’t be afraid of constructive criticism.

Jacob Carter

Jacob Carter is a lyricist. He created the lyrics writing course to teach people how to analyze and write lyrics. He graduated from the University of Oxford with a degree in English Literature, so he’s skilled at playing with words.

He’s also an amateur guitarist, which means he knows music and melody very well. With this background, he’s a great lyricist you can rely on to learn writing lyrics.