Let’s start by saying, anyone can write a song. It’s not a magical talent given to a select few.

Award-winning songwriter LP (Rihanna, Christina Aguilera, the Backstreet Boys) told us anyone who is “willing to, and willing to have fun” can write a song.

“I think that some songs are written by people who have never written a song before,” they said.

“Something fun happens and there doesn’t have to be any rules. I think that’s why there are so many new artists always coming out because people just wing it and sometimes it’s great.”

Making a song is like a project, with a beginning, a middle, and an end. Where to start is the first important decision you’ll face.

There really isn’t any right or wrong way to go about it. It comes down to what works best for you. You don’t have to always use the same approach either; you can try different approaches for different songs.

It’s easy to say “just start.” One of the best ways is to carry a little songwriting notebook with you where you can jot down any ideas that come to you.

Many accomplished Songwriters say they do this. It could be some words, a phrase, a title, a melody, or chords. Just write it down so you can return to it later.

Understanding structure is very important to writing a good song.

It’s like the skeleton of your track. Song structure holds everything together and determines how your listeners experience the flow of your music.

While there’s no one right way to structure a song, there are several tried-and-true formats that can help your track feel especially well-made. Here are some of them…

This is by far one of the most common song structures out there, especially in popular music. It’s often written as ABABCB, where A represents the verse, B is the chorus, and C is the bridge.

The verse sets up the story, emotion, or message of the song, usually with more detailed or specific lyrics.

The chorus is the emotional high point—this is where your hook or central idea comes in, and it’s usually more repetitive and memorable.

After repeating this verse-chorus pattern, the bridge tends to offer something different, both lyrically and musically, to break things up before you hit the chorus again to finish strong.

A lot of hit songs use this structure because it’s familiar while allowing enough room for creativity. Think about how many times you’ve heard a verse and known the chorus was coming up. There’s comfort in that repetition, especially if it’s done well.

A slightly simpler version of the first structure is the ABAB format, where there’s no bridge.

You’ve got the verse, which sets the tone and builds up to the chorus, and that pattern repeats. It’s straightforward, and it works especially well for shorter songs or when the chorus is strong enough to carry the tune to greatness without needing the extra variation a bridge provides.

Many pop and indie songs follow this structure because it’s short, sweet, and gets straight to the point. If you’ve got a catchy hook, this is a great way to let it shine.

Another classic structure, particularly in older styles like jazz and early rock, is AABA. This stands for verse, verse, bridge, verse. You’ll often see it in ballads or softer songs.

Here, the verse repeats twice before moving to the bridge, which adds something new, like a shift in melody or lyrics, before returning to the final verse.

The repetition of the verses makes it easy for listeners to latch onto the song’s main idea, while the bridge offers a much-needed change of pace.

This structure isn’t widely used in modern pop music, but it’s a great option if you’re looking to bring a more classic or storytelling vibe to your song.

While those mentioned above are some of the most common song structures, don’t feel like you have to stick to them exactly.

Some tracks have pre-choruses that grow the tension before hitting the chorus. Others might throw in an outro to close the song in a unique way–or maybe an intro to do the same as the listening journey begins.

You could even choose to mix and match elements from different structures to fit your creative vision.

Just remember that structure helps guide the listener, so you want to find a balance between familiarity and originality.

Some songwriters would say that writing a song requires you to solve musical and lyrical problems.

This may involve a learning curve when you first start. Sometimes the song cooperates, and sometimes it’s like digging for buried treasure, as LP said.

“Sometimes it flows very quickly, and sometimes, it’s really hard work, it’s difficult,” they said. “I call it eating a sandwich with your eye. It’s difficult and uncomfortable and doesn’t do anything.”

You just have to stay patient and open and let the song come when it will.

The below examples show how you can start with words, an idea for a title, or a concept of what the song is about, and then use that to mold the other elements of your song into a more polished and cohesive whole…

Paul McCartney — “Yesterday”

When Paul McCartney wrote his iconic song “Yesterday,” it was morning and he was sitting at his piano thinking about breakfast.

As he tells it, the melody of the song started out with the lyric “scrambled eggs” but then he realized that wouldn’t make such a great song title or lyric. So, he changed it to “Yesterday” and the rest is history.

This story shows how the original idea or concept for a song can evolve and change. The melody and chord structure were originally built around a whimsical lyric, and then the lyric was reworked to create a more meaningful song.

Creedence Clearwater Revival — “Proud Mary”

Although he lived in the San Francisco Bay area, John Fogerty of Creedence Clearwater Revival liked to write songs about the deep south and particularly the Bayou.

He wrote his famous hit song “Proud Mary” after having written down the title on the first page of his songwriting notebook as a teenager. He carried it around with him for some years before it turned into a real song.

When he first wrote it down, he didn’t know the title would ultimately refer to a riverboat. In this case, he had the title and some of the concept fleshed out already before adding the chords and melody, and then he created a context with meaning for the words and the title.

Popular songs almost always have some part that manages to stick in the memory of the listener. Songwriters call this the hook.

Sometimes the hook is in the chorus, or it’s a vocal refrain. The hook could also be a short instrumental section.

Hooks need to be relatively short so they can easily be recalled by listeners, so they are usually two to four bars in length. Try to listen for the hook in famous songs and analyze why they work so well.

Then use your instrument to write your own hook. (Voice is also an instrument).

How do you write a melody?

Repetition is always an effective method, especially for a hook/chorus.

Making the verse melody and chorus melody contrast with either other helps the chorus stand out.

For example, you could write a verse melody in your lower register and then the chorus melody in your upper register so it naturally has more energy.

There are courses all about melody writing, so if you want to dive deeper, you can check out this article on writing melodies.

If you have the concept, title, lyric, melody, chorus, or hook for your song already written, you might next decide on your song structure, sometimes also called song form.

Most songs have an introduction, verse, and chorus, and you might consider writing a bridge, or adding a pre-chorus, or a refrain.

A refrain is a short lyrical phrase which includes the title of the song, while a pre-chorus is a section which comes between the verse and chorus. Songs can also include an instrumental section or interlude, which might come after a chorus, for example.

If you’ve started with a title or idea, and come up with a hook and chorus, you can now focus on writing the verses. The lyrics could tell a story, or be fairly random.

Either way, pay attention to the sounds of the words and focus on how the words work with the melody.

Songwriters call this prosody and it is an important aspect of songwriting worthy of careful study.

The song now has verses, a chorus, maybe also a refrain and/or a pre-chorus.

The bridge, sometimes also called the channel, or the release, is a contrasting optional section which gives some relief from the repetition of the other sections.

It can be a complete surprise, perhaps modulating to a different key, or it could just be a slight variation on what has come before. The change can be based on the lyrics, melody, rhythm, or chord progression.

You could also consider adding a modulation, or key change to add interest and variety. The most common modulations are up a half-step or a whole-step, which tend to increase tension and excitement in a song.

Another device for similar effect is the breakdown, where the bass and drums drop out, or sometimes other instruments are omitted. This creates suspense and interest, especially when the instruments are added back in.

All of these optional devices can be used together or separately.

At some point, you will want to record your song so you can listen to it and play it for others to get feedback.

Software programs like GarageBand or LogicProX make it possible to create a professional-sounding recording of your song on your laptop or desktop.

You should first create some basic tracks, perhaps playing an instrument like guitar or piano through a digital interface or using MIDI instruments or a sequencer.

It’s still possible to rent a recording studio and hire musicians to record your songs, however that will be much more expensive and doesn’t always lead to better results.

A big part of the recording process is listening back to what you’ve done, and thinking about what is working well, and what is maybe not working so well.

Then you can tweak as appropriate. It can be a good idea to come back after a day or two, to listen with fresh ears.

In general, be observant about what parts of your songwriting process seem to work best, and where you need to improve.

It can also be really helpful to read books about songwriting and songwriters, as there’s plenty of very useful and inspirational literature on the topic of songwriting. You can learn a lot by studying the methods and successes of others.

Here are some steps you can take to help develop your songwriting steps…

Work on developing and increasing your awareness of and ability to recognize original song ideas. Write your ideas down in a dedicated songwriting notebook you keep with you at all times.

Look for other songwriters and lyric writers to collaborate with. Create a roster of people you’d like to co-write with and schedule times to get together to work on songs.

Experiment with changing up your songwriting process. Write the different parts of a song in the reverse order from your usual approach.

Let other art forms (or music) inspire you. Listen to some Mozart, read a short story, or visit an art museum. Study the art and make notes about the feelings the work inspires in you. Create a melody to fit with the words you wrote.

Do some free word-association. Think of four words, set a timer, and write as much as you can about each word, giving yourself two or three minutes for each. Then craft these words into a lyric.

Every songwriter, at some point, has encountered writer’s block.

It’s that frustrating feeling when the ideas just won’t come, no matter how hard you try.

It can be incredibly discouraging, especially when you’ve been on a creative roll and suddenly hit a wall.

But writer’s block is completely normal. It happens to everyone, and the good news is that there are plenty of ways to push past it.

Free writing is one of the simplest but most effective ways to get past a block.

Set a timer for 10-15 minutes and just write whatever comes to mind.

Don’t worry about rhyme, structure, or even if the words make sense.

The goal here isn’t to come up with polished lyrics, but to get your brain into a creative flow.

You might be surprised by how many interesting ideas pop up once you’re not trying so hard.

After your free-write session, you can sift through the material and see if there’s anything you can turn into a song or use in any way.

Sometimes, writer’s block happens because you’ve been sitting in one place, staring at the same surroundings, day after day.

Changing your environment can make a huge difference.

If you always write in your bedroom, try going to a park, a coffee shop, or even just a different room in your house.

New scenery can lead to new inspiration. The sights, sounds, and even the vibe of a different place can trigger creative ideas that weren’t coming to you before.

If you’re stuck, giving yourself a specific prompt can help kickstart the creative process.

This could be anything from writing about a specific emotion to focusing on a random object, like “a broken clock” or “a rainy street.”

The more specific the prompt, the better, because it forces you to focus on something tangible rather than waiting for inspiration to strike.

By narrowing your focus, you’ll often find it easier to start writing, and from there, the rest of the song can take shape.

If you’ve been stuck in your own head for too long, collaborating with another songwriter can be a game-changer.

Sometimes, a fresh perspective is all you need to get the creative juices flowing.

Your collaborator might suggest a lyric, melody, or concept that you hadn’t thought of, sparking a new direction for your song.

Even just talking through your ideas with another person can help you see them in a new light.

Plus, working with others adds a level of accountability that may be able to help you break through the block.

When you’re stuck, randomness can spark creativity.

A random word generator is an excellent tool for this.

You can generate a list of random words online and challenge yourself to write lyrics or a verse incorporating them.

It forces you to think outside the box and may lead to unexpected lyric ideas or metaphors.

Sometimes, just one strange word is all it takes to get your brain working in a new direction.

Here are some of the most helpful books and software for aspiring songwriters…

A large collection of interviews with many of the songwriting greats, from Bob Dylan to Paul Simon to Leonard Cohen. Check out the book.

Creedence Clearwater Revival (CCR) had more #1 hits than the Beatles in 1969. CCR’s lead Songwriter offers a masterclass on how to write, along with his horrific story of being cheated out of his royalties for 20 years. Check out the book.

This is a rhyming dictionary created for poets and songwriters. Check out the book.

Covers how to write better songs and make them stand out in the industry. Also has some good songwriting exercises. Check out the book.

Everything you need to know about the business side of being a musician and songwriter. Check out the book.

Evernote is an app designed for note-taking, organizing, task management, and archiving.

It can be very useful for Songwriters who prefer taking notes in digital format.

DISCO is a music management website where you can upload your recordings — demos, voice memos, full productions — and then add metadata.

One of the pieces of info you can add are lyrics, so you can use this service to write and save the lyrics to your songs and save them in the same place as the recording of your songs.

OnMusic Dictionary is a free online music dictionary offering definitions of common musical terms and symbols.

Artificial intelligence is already changing the way many people approach songwriting, and it’s likely going to play an even bigger role in the future.

AI can be an incredible tool for inspiration and creativity. Programs can help generate chord progressions, suggest lyrics, or even create entire melodies that get people started.

For songwriters who get stuck or just want to explore new ideas, AI can be like having an extra collaborator in the room. The growing technology can quickly spit out some rough ideas to build upon.

But there’s a flip side, too, as is often the case with this new tech.

One of the main concerns is that AI might take some of the heart and soul out of the writing process. Songwriting is so personal, and part of the magic comes from those human emotions and experiences.

If artists start relying too much on AI to create songs, there’s a risk that music could become formulaic–more than some of it already is–or lose its unique, human touch.

Another worry is that AI could shift the industry, making it harder for songwriters to stand out.

When machines can churn out songs at a rapid pace, where does that leave the artists who pour their hearts into their work?

In the end, like any tool, AI has the potential to enhance songwriting if used wisely, but it’s important to make sure it doesn’t replace the human element that makes music so special.