Keep writing different versions of the same song selection. You never know what you might come up with on your fourth or fifth effort.

Think in a circular fashion. The “5ths up” or “circle of 5hs” progression is almost invariably comfortable starting place for setting narrative lyrics to music.

Try not to judge your song ideas the moment you get them; often, there is a kernel of genius somewhere within any idea.

You might not get something every time you sit down to write, but it’s important to spend some time at your worksite every day, even if it’s just to improvise, touch an instrument, or play some chords. Stay in touch with your music.

Even though John Lennon claims he thought the Aeolian Cadence was an exotic type of bird, it can really add a lot of character to your songs if used cleverly.

Begin at the beginning with your songs. Identify your strengths and start there.

Be sure your listeners can relate to your lyrics. It’s fine to assume your fans are intelligent, but don’t make them work too hard to understand your songs.

Every musical composition has two crucial elements: Melody and Rhythm. Beyond that, melodies get their harmonic shape from cadences, which also are a major consideration when writing a song.

At the heart of writing a good song is understanding the concept of “prosody,” which includes the rhythm, stress and intonation of speech.

When you’re creating a song, try to remember the length. Today’s popular songs are generally between 3 to 5 minutes long. Anything that runs much longer may be difficult to get radio play.

Having a crisp structure and clear progression is particularly crucial for narrative songs. When you’re done writing, step back and ask, “does this make clear sense?”

Make music that’s bigger than yourself by thinking about what the song needs instead of what you want. Songs often have a mind of their own.

The next time you sit down to play or write a song, concentrate on improvising. But conscientiously avoid your usual patterns and instead work on exploring interesting new concepts.

Get feedback on your songs as often as possible, but only constructive or critical feedback. Groupies and adoring fans don’t count.

Some songsmiths find it effective to begin their songs by coming up with a title before they do anything else. They often insist it provides a unifying concept around which the rest of the song is based.