imagery . Colors the theme evokes for you . Metaphors . Similes . Unique word pictures . Artsy stuff .
And remember : none of these things need to fit into any sort of song structure for the time being — they just need to capture the spirit of the song . They need to provide you with a deep well that you can return to for inspiration each time you return to the song .
Think of this practice as a way to ensure you can always catch the vibe of your song all over again .
If you ’ re like me , you want to see how it all turns out — even if it ’ s just a few completed lines . And it can be really difficult to turn off the part of your brain that deals with formatted segments and completed structures . But I ’ ve learned to exercise patience , and to take the time to diligently sit with inspiration until it has given me all it wants to give . Rather than thinking of my instinct as instant marching orders to write lyrics out in a formatted fashion , I sit with it quietly . I take notes on what it has to say , how it casts light and shadow in its own particular way , and how it informs the space it inhabits . I meditate on the good things it has to show me .
spirit of the song .
And this is where it comes full circle , because often , when I ’ ve finished capturing the instinct I had toward a new song , I will look over the thematic ideas , imagery , and associated terms I ’ ve put down — independent of the concerns of any finalized lyrics — and there it is : the word or phrase my mumble-humming was hinting at from the very beginning . “ Ffffuhhhh – luunnn – nuzzz ” turns out to be “ fall on us ,” and my prayerful consideration of the song ’ s direction has brought me back to something I was instinctively singing from the beginning .
Essentially , your early focus can be more stream-of-consciousness in order to preserve your instincts in the songwriting process . And that ’ s a substantial and valuable thing to capture quickly , because we all know that the sooner we bog down in that one pesky line of one verse , quibbling over its specific structure , the sooner we might lose our initial instinct . A half hour can go by before you even realize that you ’ ve forgotten how the song was making you feel .
And then , it ’ s as though you ’ ve lost the song . Lost its magic .
Which is just the worst feeling .
Ultimately , I get to know the instinct intimately before I try to act as its ambassador to write a song .
Early on in the writing process , it is crucial to honor your inspiration over and above the completion of any specific line or segment , because capturing that inspiration will carry you through the rest of the work . You will notice that great songs always create great atmosphere when they ’ re played , and I think so much of that stems from how connected the final song is to its instinctual origins . Thus , something like an Instinct Journal can continue to inform the work long after you ’ ve lost the initial feeling the song gave you , keeping you tethered to the
Only now I can see why .
And that lyrical choice is imbued with intent . It ’ s not something that merely feels right , but it ’ s something deliberate — something that serves the big picture . Now I know everything in this process is connected . The work I put into the song will continue to match the instinct I took the time to honor .
And the instinct will honor the song right back .
Kevin MacDougall Worship leader , published and recorded songwriter , engineer and producer . macdougall . k @ gmail . com