Noted Song Writer Janice Kapp Perry Shares Her Secrets on the Creative Process
by Janice Kapp Perry
as appeared in Meridian Magazine
http://www.meridianmagazine.com/Introduction
Through the years of my writing, certain questions regarding the creative process have been asked of me over and over; questions such as: “Which comes first—words or music?” or “How do you get ideas for songs?” or “What is the difference between a poem and lyrics?” or “How do you learn to write the music down?” I would not pretend to be qualified to write a definitive description of the creative process, but can merely make an earnest attempt to describe a few things I have learned along the way by just forging boldly ahead into unknown territory. In the beginning I often felt that I was in a little bit over my head and only rather accidentally settled on a process that worked well for me.
Developing Basic Skills
Before the creative writing process can begin it is important that a person acquire a few requisite skills in lyric writing and music composition. That idea seems almost too basic to merit mention, but I have been amazed at how many would-be songwriters have approached me through the years wanting to know how to “get their music out” when they have failed to learn even the most basic writing skills. They have a song in their heart and mind but have no idea how to write it down for others to evaluate and consider. Often claiming it came to them completely by inspiration, they seem to be seeking a magical way for the world to receive it. I believe that writers of both lyrics and music have a responsibility to develop their craft to the extent that skill and inspiration can come together to produce worthy music.
Deciding to Write
The act of deciding to write a song is the actual beginning of the creative process. This decision is sometimes the result of receiving a request to write music for a specific occasion such as a missionary farewell or homecoming (though we don't call them that anymore!), a young women's conference, a Primary chorus, etc. Some composers are uncomfortable creating under the constraints a commission imposes, however I find it motivating to receive a theme and a deadline that gives direction to my writing. I feel that I have done some of my best work in those circumstances. In addition, when I receive a writing assignment from the Church, I feel extra guidance from the Spirit and have come to rely on that.
Most often the decision to write is the result of my feeling something strongly and having an intense desire to convey that feeling lyrically and musically. When these urges come I start recording fragments of ideas in a notebook. Many of these ideas never see the light of day, but often I will refer back to the book and extract an idea whose time seems to have come.
Unless I have been given a specific theme or subject to write on, many of my ideas come from the scriptures. Scriptural passages, combined with my own life experiences and testimony, come together to spark an idea which is ultimately an expression of my faith. In my songwriting, I feel that I am just telling the story of my life and faith musically, hoping that others who share common life experiences will relate to what I have felt.
Typically the decision to write is accompanied by a vague restlessness and an excitement that can best be described as an almost frustrating yearning to express a powerful insight or feeling. The frustration comes from not knowing whether I will be able to find the right words to accurately express the feeling. Once the impulse has reached this stage I can't seem to turn it off. No matter what interruptions are caused by my daily routine, I seem always to be thinking (at least subconsciously) about what I am writing. I always write words first so that is what I will address here.
The Role of the Subconscious
I have come to recognize and appreciate the role of the subconscious and how indispensable it is to the success of my writing. I have, after all, been filling my subconscious with facts, feelings, sounds, events, and experiences for seventy years now and I have come to recognize that as my greatest resource in writing. I have felt a certain self-consciousness about sharing my discovery until I realized how definitely and predictably I can count on my subconscious, when properly programmed and mobilized, to bring forth things I have seen, heard, read, experienced, and felt to serve as the impetus for my writing. (Though I will refer to this source of ideas as my subconscious for the sake of this article, it may more accurately be identified as the Holy Ghost.)
After having discovered this process for myself and writing about it, I read the fascinating book The Creative Process (Edited by Brewster Ghiselin, 1952) which contains essays by many well-known writers, artists, poets and musicians who attempt to describe their personal creative process. Without exception they viewed the subconscious as a priceless reservoir of ideas for their creations. It was exciting for me to read as each described the process of tapping the subconscious for inspiration and direction in his or her work, and then to realize that I had in almost every detail identified the same process through my own trial and error. This validation gave me courage to share, in the best way I can, the process of involving the subconscious in creative work. The writer Henry James stated it aptly:
I was charmed with my idea which would take, however, much working out; and precisely because it had so much to give . . . I dropped it for the time into the deep well of unconscious cerebration; . . . with the hope . . . that it might emerge from the reservoir . . . [bringing] the buried treasure to light. . . . (Henry James, The American, preface)
How it Works for Me
I only feel entitled to approach my subconscious for help after I have consciously filled my mind with research, quotes, scriptures—anything I can find related to the subject on which I am writing—and after I have made it a matter of sincere prayer requesting help from the divine source in finding just the right idea or words for a new song. Then, ideally, I arrange for some uninterrupted time in which I can relax deeply into a somewhat trance-like state. It is very different from sleep, however, due to the heightened awareness it induces. After achieving this focus, it is time to program the subconscious for action. This takes an investment of emotion and concentration on my part and cannot be forced or hurried.
Every experience of our lives is retained in the depths of our mind (though many never reach the threshold of awareness) and the secret lies in opening the mind inward toward that valuable information. Experience has taught me that the more specifically I phrase the requests and instructions that I direct to my subconscious, the more successful the exercise will become. This whole process, though it requires deep relaxation, seems also to be quite exhilarating at times as I struggle to make the important connection with the subconscious.
When the Response Comes
It is very rare that ideas and inspiration come to me while in this relaxation and programming phase of the endeavor and yet I have learned that I cannot skip this part of the process and expect success. I have often been left with the feeling that the hardest part of my creative effort brought forth nothing. At this point it is usually best for me to instruct my subconscious to keep working and then for me to leave the project entirely—clean house, walk, run the vacuum, shower, play ball, watch TV, read the paper—knowing that the subconscious will continue percolating on its own power.
There is usually a significant delay during this period of incubation and then without warning—usually when I am doing something mindless and rhythmic—the sought-after insight appears, filtering lightly but distinctively into my conscious mind. To say it “came into my mind” seems very simplistic and yet I can think of no more accurate description of how it happens. It feels as if words are softly spoken in the mind, but no voice is heard. I find this to be a very moving moment in the creative process when the core idea of the song—sometimes the title—is “given”. It is as if an idea magnet sifts through the debris of the subconscious, attracting pertinent ideas and molding them together into a unique idea.
This moment of enlightenment is generally followed by another lull in the process but usually the spring bubbles up again and again at odd times and intervals so it's a good idea to keep a pencil and paper handy. Often many ideas for the song come through this process but occasionally the initial flash of insight is all I get and the rest is up to me. The testing, refining, and completion of an “inspired” idea is left to the conscious mind. I enjoy this part too. A good idea can be exhilarating and take over my mind and energy completely to the neglect of other things. Time passes so quickly during writing episodes and it is easy to forget something important I should have done, feeling complete devotion to my happy task.
A Few Pointers on Lyric-Writing
I have learned a few basic things about lyric-writing during the last three decades—by trial and error, in books I have read, through honest contest critiques I've received, by analyzing others' lyrics to see what touches me, but mostly by observing what people respond to in the lyrics I write. Their feedback has been a very important part of my education. Though the list isn't meant to be comprehensive by any means, here are a few pointers on lyric writing that I can pass along with some confidence.
Write about What You Have Experienced
I believe it is important to write about things you have experienced first-hand and then it will be believable to others. Those who have had similar experiences will respond in their hearts: “Oh yes, that's how it is; that's how it feels.” People look to writers to interpret their emotions and it is very comforting to hear something that feels familiar. In writing about one tiny significant feeling or experience you have had, you invite a positive response from those who will have had a similar experience. Author Chaim Potok states that from the personal comes the universal and that is true in lyric writing. When I write about my own tender feelings as my son or daughter departs for the mission field, it may strike a responsive chord in thousands of other mothers because it gives expression to emotions that they too have felt.
Stay with One Main Concept
It is important to settle on one main concept or idea for the song and not wander far from that focus. It is tempting to want to get in a lot of different licks on a certain subject as the ideas start coming, but generally the song is more effective if every sub-idea directly supports the one main concept. As a beginning lyricist I occasionally wandered from the main concept trying to make an all-encompassing statement on a broad subject rather than focusing in an innovative way on a specific idea. Having my songs edited by the General Church Music Committee a couple of times helped me to solidify this concept. For example, when I wrote I Love to See the Temple for use in my own stake, someone submitted it to the Church Music Division in Salt Lake City. They responded with a few timely editing suggestions before approving the song for general church use. Somewhere in those temple lyrics I had strayed to the concept of following the prophet (a good idea, but not the focus of this particular song!), and they suggested an alternative line that kept the song's focus on the temple, thus making it a stronger statement (and helping me in my learning process).
State it Simply and Poetically
When the main concept of the lyrics has been decided upon, the next step is to find a way to state it simply and somewhat poetically. In the beginning my quest seemed quite simple: Write a poem, set it to music. I soon realized that lyrics require a different form than poetry as well as a somewhat different vocabulary. Some wonderfully descriptive words that are the very heart and soul of good poetry do not work well as song lyrics. I feel that lyrics should be comprised of the warm, pleasing words we use in daily conversation. Some words “sing” so naturally and others seem rather harsh when sung.
As far as possible the words of a song should appear in the same order we would speak them. Reversing word order to make a rhyme usually detracts from the listener's comfort and enjoyment. I won't say I've never done it because sometimes I have done what was expedient to meet an impending deadline, but I'm much more satisfied with my lyrics if I take the time to craft the phrase correctly. Careless treatment of ideas seems to come back to haunt you as you hear the song performed later.
It is also important to not use a particular word just because it rhymes. Take time to find the word that says exactly what you mean even it requires that you back up a couple of lines and change the word with which you are trying to rhyme. A good text requires attention to proper grammar, and (in the case of gospel music) dignity in the language.
When a song has more than one verse, each line of the additional verses must match with the first verse both in number of syllables and, even more importantly, where the stressed syllables fall. Once the text for the first verse is set each succeeding verse should adopt the same form or the piece will be weakened. Adhering to this concept can easily make or break the song. I have had countless lyrics submitted for my consideration that were rendered unusable because of inattention to this basic concept.
A Good Hook is Magic
For the first forty years of my life I enjoyed hearing “hook” phrases repeated in popular songs without ever identifying them as such or realizing their importance. The hook, or memorable phrase in a song generally has its greatest impact when it appears as the first line of the chorus or refrain, although it can also be effective in the first or last line of the song. It is the repetition of the hook that has the greatest impact on the listener. Some popular songs seem to carry this to extreme, essentially repeating only the hook over and over and over. I personally tire of that very quickly, but still I cannot deny the power of a well-crafted hook.
The hook is all-important in pop music but can also be used effectively, if somewhat less blatantly, in gospel music. Even in some of our hymns we seem to sing with renewed enthusiasm when we come to the catch-phrase, “Oh, there's sunshine, blessed sunshine,” or “I need thee, oh, I need thee!” A good hook phrase, used tastefully, can add power to any song; conversely a song without a hook phrase can seem to wander without the listener ever getting a handle on the core message of the song.
Sensitivity vs. Sentimentality
There is a fine line between sensitivity and sentimentality. In general, lyricists should strive for sensitivity while avoiding crossing the line into sentimentality. Sensitivity seems to touch and uplift the listener, while sentimentality goes one step too far and plays on the listener's emotions in an uncomfortable way. Gushy, sentimental lyrics overwhelm, and occasionally embarrass us, while sensitive, dignified lyrics touch and ennoble us in a fulfilling way.
I make no claims that I have never crossed that line, but as a general rule I know it is best not to.
Which is First, Words or Music
Without a doubt the question I am asked most often is, “Which comes first—words or music?” I have a very definite opinion on this subject and cannot imagine working any other way— words first! On the other hand, I know of some successful writers, including my very talented sister Ann Kapp Andersen, who often write music first. I can't argue with their success, however from a completely non-scientific survey of composers that I have been conducting on my own for many years, I have concluded that the vast majority of composers prefer words first.
I prefer to have the lyrics completely written and refined before I actually begin writing the music. But some years ago I observed an interesting phenomenon in my writing—as I was writing lyrics the music was taking shape in my mind simultaneously. In fact by the time I had finished a set of lyrics, the music was written in my mind and all that remained was to sit at the piano and experiment with various accompaniment ideas as I wrote the music down. So now, in view of that admission, can I really say words first? Yes, I believe so because thinking of the words is a necessary catalyst to my thinking of the music. I have tried, out of curiosity, to write music first, but the words do not come simultaneously in that situation and the whole process makes me feel as awkward as trying to cut material with the scissors in my left hand. Somehow for me it just does not compute.
It just seems right to me that the words should come first and dictate the form and feeling of the music. One important argument in favor of words first is that music is much more flexible in the way it can be arranged around the words, rather than vice-versa. If the lyricist has found exactly the right words to convey a thought or feeling it is usually a simple matter for the composer to adjust the rhythm of the music to conform. However, if the music comes first it is not quite as easy for the lyricist to find just the right word to fit the rhythm and feel of the music. In other words, there are more musical possibilities in rhythms and intervals with which to adjust to the lyrics than there are perfect words to fit the music. Of course there is often a certain amount of give and take as the words and music are formed, so in the end, each person can only do what works best for him. But for me— words first!
The Heart-Touching Element
Now the most important consideration of all: Do the lyrics touch the hearts of those who hear them? Do the listeners feel an emotional involvement with the message that brings a smile, a tear, or a lump in the throat? Anything less would probably mean the writer has fallen short in his quest to touch someone's heart with his message. On the other hand, to realize that you have been able to evoke that kind of sweet emotional response in a listener is a very satisfying feeling for any writer.
A summary of suggestions for writing lyrics, then, would include these main points:
Write about things you have experienced or understand in depth.
Focus on one main concept per song—don't wander from that focus.
State the idea simply and poetically.
Recognize the difference between poetry and lyrics and use everyday language.
Don't reverse the natural word order just to achieve a rhyme.
Don't use an inappropriate or meaningless word just because it rhymes.
Use correct grammar, strive for dignity in lyrics.
Match the syllables and natural accents from verse to verse.
Remember the importance of a “hook” or memorable phrase.
Do not cross the line from sensitivity to sentimentality.
Decide what works best for you—words or music first.
Try for lyrics that cause an emotional response in the listener.
Generally speaking it takes me a long time to write lyrics that I feel good about. Nevertheless, I do prefer to write my own lyrics most of the time because the process I go through makes the song more meaningful to me in the end. I estimate that I write my own lyrics about eighty percent of the time. By contrast, writing the music seems to go much faster for me. Thus if I collaborate with a compatible lyricist (and you have to grow into this together) I can greatly increase the amount of music I can produce.
A Few Words on Writing the Music
On the subject of writing music I have far fewer concrete suggestions as it seems to me to be such an instinctive process. If I have written the text myself, the melody and harmony structure will have taken shape automatically during the writing of the words. If another person has written the text, I read it over and over until I have a definite feel for the words and then the melody and harmony begin to flow for me. Logically I know there are many melodic possibilities for each text but when I am well-acquainted with the words I often have the feeling that there is only one way for the music to go. It often seems that the words have predetermined the music and it's just a matter of recording it on manuscript paper for others to play. Thus I rarely experiment with melodic ideas to the degree that I write, rewrite, and refine lyrics.
It is all-important that the musical line support the hook or memorable phrase, of the lyrics. It is the strength of the music at that point that will drive the message home and make the listener long to hear it repeated.
It is crucial to attain a comfortable marriage of words and music throughout a composition. A sensitive writer/musician will feel this instinctively, for the process would be difficult to describe in any logical way. Just listen to your heart and write the type of music the words demand.
I try to write in a range that will be comfortable and accessible to the majority of singers. Occasionally I will hear a soprano lament the lack of a challenge for her in the higher register, but I am convinced that I would receive many more complaints if I were to write in the higher range. Mostly, I receive notes of appreciation for writing in a range that is comfortable for most people.
After a song is finished it is always a good to let it sit for a day or so and then replay and reevaluate it to see if I still feel good about it. I usually make some improvements at this time. It is also important to play it for others at some point. For me this will usually be members of my family. With all the music that is collected in my subconscious (and my conscious) it is easy to unknowingly borrow musical phrases from something already written by me or others, believing that it is original. As this is pointed out by others, changes can be made before the piece is published.
It is important to carefully add tempo and dynamic markings to the piece so that those who perform it in the future will know how you intended it to be done. Some will follow the markings religiously while other free spirits will make up their own interpretation regardless of your markings. It can be disturbing to hear it done differently than you had intended, but you may as well come to a place a peace on this subject because most performers seem to feel entitled to their own interpretation. Just be glad someone is using your song!
I have puzzled throughout my life trying to understand the awesome power of music but I can never explain it in any logical way. I only know that setting a text to music gives it power to carry the message deeper into our heart, soul and being. The combination of a simple gospel truth with an appealing melody is one of the greatest teachers we will ever have. Brigham Young said, “God gave us the capacity to enjoy musical sounds,” so I assume it is an important work that we songwriters are engaged in, and therefore it deserves our best effort to create worthy music.