How Do You Start Writing A Song

Blank page. Phone full of half sung ideas. Brain screaming for caffeine. Relax. Starting a song is less mystical than your group chat makes it seem. This guide is for artists who want quick hacks, real world workflows, and savage honesty about what actually works. You will get step by step options to begin from melody, from lyrics, from chords, or from a beat. You will also get exercises, templates, pro tips, and examples you can steal and adapt in your next session.

Everything here is written in plain language. We explain terms like DAW and BPM and PROs so you do not have to look them up or pretend you already know. Expect hilarious examples, a little swag, and content you can use today.

Why starting a song feels impossible

Songwriting feels scary because the first note reveals everything. That is a lot of pressure. Also creative work is nonlinear. You might start with a line that seems useless and it becomes the chorus six months later. Accepting mess is your first songwriting skill.

Real life scenario: You are on a midnight walk and you hear a phrase that feels like a neon sign. You type it into your phone and think it is garbage by morning. Later you find it again and build a chorus around it. That is how most songs are born. Conserving ideas matters more than judging them prematurely.

Quick overview of practical starting points

You can begin a song in at least six useful ways. Each method gives you a different creative path. Try them all. Keep the ones that reward you.

• Title first Start with one strong line that states the emotional promise.
• Lyrics first Draft a verse or a hook with images and then fit the music.
• Melody first Hum or sing nonsense vowels until a shape sticks then add words.
• Chords first Play progressions until a mood forms and sing over it.
• Beat first Build or find a beat and top line a melody and lyric to it.
• Sample or loop first Flip a sample into something new and write on top.

All of these work. The trick is to use a consistent workflow so you actually finish songs instead of collecting fragments.

Before you begin do this

Three tiny rituals that reduce start up friction and make creativity less dramatic.

1. Open a folder where everything goes. Name it with the date and one word idea. Version control saves your future self from sob stories.
2. Record a voice memo first thing. You do not need a studio. Phones have good mics. Capture the first imperfect thing you sing. Later you can rescue or delete it.
3. Set a short timer. Creativity likes constraints. Ten to twenty minutes is perfect for a first draft.

Method 1 Title first

Start with one short line that states the song promise. The title is the song contract with the listener. It tells them what feeling they are renting for three minutes.

How to do it

1. Write one sentence that sums the feeling. Keep it under eight words. Example: I will not call you at midnight.
2. Turn that sentence into a shorter title. Example: Not Calling Tonight. Short is easier to sing and easier to build a hook around.
3. Sing the title on a few different notes until one melody feels obvious. Record it.
4. Build a chorus around that melody with two supporting lines that explain one consequence or image.

Real life example

Title: Not Calling Tonight

Chorus draft: Not calling tonight. My thumb knows where the phone is. I put it face down and practice being brave.

Why it works

A strong title creates a magnet that pulls every lyric and musical decision toward the same emotional target.

Method 2 Melody first

Melody first is the golden route for people who think in sound. Sing nonsense vowels and record the best gestures. This is called a topline if you sing over a track. Topline is a term producers use for a vocal melody with lyrics. If you do not know the term now you do.

How to do it

1. Play a simple two chord loop or a single drone on piano or guitar.
2. Sing on vowels for two minutes without words. Record it. This is the vowel pass.
3. Listen back and mark the gestures you would repeat. Those repeated moments are your hook candidates.
4. Replace the vowel sounds with words. Use conversation speed to test prosody, which is how words stress against the beat. Prosody matters more than rhyme.

Real life scenario

You are in a producer session and the beat is fire. You do a vowel pass. Your voice finds a melody that fits the beat. You write one line that repeats and the producer says that is the hook. You just toplined a chorus and did not even realize you were working.

Method 3 Chords first

Some writers are harmonic thinkers. Play progressions until one pulls an emotion out of you. Then sing. Chords set color and tension and can suggest melody shapes.

Starter progressions

• I V vi IV in major keys. Comfortable and big emotionally. Replace with numbers like 1 5 6 4 if you are theoretical.
• vi IV I V. A little darker and cinematic. Great for confessional songs.
• I iii vi IV. Use for modern pop with a wistful tint.

What if you do not know chord names

Use your voice recorder and loop any two chords that feel good. The exact names do not matter while you are drafting. Later you can label them or send to a guitarist who can translate to real voicings.

Method 4 Beat first

Start with drums and groove. Electronic producers and some pop writers love this route. The rhythm suggests melody shape and lyric cadence. You will probably write with a specific Beats Per Minute which we call BPM. BPM is the number that tells you how fast the song goes. DJs use it when they mix tracks and producers set it in the DAW which stands for Digital Audio Workstation. A DAW is the software where you make beats and record vocals. Examples include Ableton Live, Logic Pro, and FL Studio.

How to start

1. Find or build a loop at a BPM that matches the energy you want. 70 to 90 BPM for slow R B. 100 to 110 for mid tempo. 120 and up for dance and pop. These numbers are guidelines not laws.
2. Hum a topline over the beat. Use short phrases on the kick to create hooks.
3. Write a chorus that sits on the groove. Drums give you a rhythmic grid to place words where the ear wants them.

Real life scenario

You are at a house party and a friend plays a loop on their laptop. You hum a melody. Fifteen minutes later your phone has a demo that smells like that party. Songs do not need studios to begin.

Method 5 Lyrics first

Some writers are poets. They love the line and the image. If you start with verse or hook lines do not be precious. Let music answer the lyric rather than the reverse.

How to do it

1. Write two twenty line lists. One list of concrete objects you love or hate. Another list of moments in your day. Combine an object with a moment to create images.
2. Choose the strongest image and write a short chorus that states the emotional truth in plain speech. Then fit chords and melody to it.

Example

Image: The spare key under the flower pot. Chorus: I leave the spare key under something that will not notice the rain.

Prompt bank to get you unstuck

Stuck is temporary. Use these prompts to build a thirty minute draft. Each prompt includes a short scenario and a starting line.

• When the lights go out Start line: The apartment remembers us without power.
• Text message left on read Start line: You saw it and did not tap back.
• Fake bravado Start line: I walked in like I had rehearsal for my confidence.
• Memory by smell Start line: Your jacket still carries your cheap cologne from March.
• Small revenge Start line: I renamed your playlist and left it on shuffle at brunch.

Use any of these as titles. Write for ten minutes. Keep everything. You will delete most of it later and that is the point.

Prosody and why it will ruin your song if ignored

Prosody is how words sit on beats. It determines if a line feels natural or like a sticky puppet. Test prosody by speaking your lines at normal conversation speed. Mark the natural stresses and then place the stresses on strong beats in your melody. If a heavy word lands on a weak beat the line will fight the music and it will feel wrong even if you cannot explain why.

Real life test

Say out loud: I miss you more than last summer. Now sing it on a simple two beat loop. If the words feel jammed then rewrite. Try I miss you like we were a season. Keep playing until stress and music agree.

Rhyme advice that does not make your lyrics childish

Rhyme is a tool not a trap. Use it to create expectation and then break it. Perfect rhymes are exact. Family rhymes are near rhymes that sound related. Internal rhyme is rhyme inside the line. Use all three sparingly.

Example using family rhyme

late stay taste take. These words share vowel or consonant families so the ear hears connection without nursery school vibes.

Strong openers that hook within ten seconds

Listeners decide fast. Start with a line or a sound that implies story. Avoid opening with abstract statements about feelings. Actions and images win.

Openers that work

• The microwave clicks twelve and you are not here.
• I keep your key on the windowsill face up to catch rain.
• My phone vibrates like it has a memory of you.

Quick structural templates you can steal

Pick one of these common song maps and plug your parts in. Try to hit the first chorus by 45 to 60 seconds. Modern attention spans are short and first hook early matters for streams.

Template A

• Intro with hooklet
• Verse 1
• Pre chorus
• Chorus
• Verse 2 with a fresh detail
• Pre chorus
• Chorus
• Bridge
• Final chorus with ad libs

Template B Short form for singles

• Intro with chorus hook
• Verse 1
• Chorus
• Verse 2 short
• Chorus
• Outro

Use the structure as scaffolding not scripture. Songs that feel alive often bend the template with a repeated post chorus or a cold open.

Common rookie mistakes and how to fix them

Everyone makes them. The difference is how you fix them.

• Too many ideas Focus on one emotional promise and make every line orbit it.
• Vague language Replace abstractions like love or pain with objects and actions. Swap I am sad with The coffee has room for two but only one spoon sits inside.
• Lyrics and melody fighting Do a prosody check. Speak then sing. Align stresses to beats.
• Stuck on perfect first take Capture rough ideas. Finish later. Most magic comes through editing.

How to organize ideas and finish fast

Finishing songs is a muscle. Build a workflow that forces closure.

1. Record a basic demo within the first two sessions. It can be guitar or piano and a dry vocal. The goal is to preserve choices and stop rethinking forever.
2. Set feedback limits. Play for three people and ask one question like What line stuck with you. Their answers guide the last edit without killing your instincts.
3. Lock a lyric and melody by week two. If you keep changing both you will never finish. Record a final demo and move on to the next song.

Collaboration and co writing tips

Co writing is speed. You get more ideas in the room and you learn fast. It also requires humble communication.

• Bring a clear idea. Even a title will protect you from being steamrolled.
• Set splits early. Song splits are the percentage of publishing credit assigned to each writer. Publishing matters because it is how songs pay you royalties over time. Talking about splits does not kill creativity. It preserves careers.
• If you are meeting someone on a songwriting call share a demo and two goals. For example I want a stronger chorus and a left of center line for the bridge.

Tools and tech that actually help

Tools are accelerants. Use the smallest set that gets you producing ideas quickly.

• DAW Pick one. Logic Pro if you are Mac, Ableton Live if you like live looping and electronic production, FL Studio if you grew up making beats. Learn the basics so you can record demos quickly.
• Voice memo app Phones are instant recorders. Name every file with a date and a short title idea so you can find it later.
• MIDI controller Nice but not necessary. A simple keyboard helps you explore chord color fast.
• Reference playlist Keep three songs that feel like the vibe you want. A reference helps with arrangement and production choices.

How to use AI and songwriting tools without cheating

AI can be a co writer not a replacement for your taste. Use it to generate prompts, to create rhyme maps, or to help with lyric permutations. Always edit aggressively. If the AI writes a phrase that sounds like a press release, rewrite it with a personal detail.

Real life rule: If the AI writes the chorus and you would sing it to your ex slash your best friend slash your high school principal, then it probably needs a rewrite.

Publishing basics and what to know before you pitch

When your song is ready you might want to pitch to labels, managers, or playlists. Know a few terms so you do not get hoodwinked.

• PRO This stands for Performing Rights Organization. Examples are ASCAP BMI and SESAC in the United States. You register your songs so you can collect performance royalties when your song plays on radio or on streaming services. Think of them as your song salary collector.
• Split sheet A document that records who wrote what percentage of the song. Always complete one when you co write. Yes it is awkward. Yes it matters.
• Copyright Your song is copyrighted the moment you fix it in a tangible form such as a recording or sheet. Registering with your national copyright office adds legal advantages if you need to enforce ownership. It is cheap and worth doing once you have a finished demo you care about.

Exercises you can do right now

Three drills. Do them for ten minutes each. Stop caring about quality. Focus on quantity and wiring new creative pathways.

Object action drill

Pick an object near you. Write four lines where the object does an action in each line. Make the action tell the emotional story.

Vowel melody drill

Set a two chord loop. Sing on pure vowels for five minutes. Record. Pick the best phrase and fill in with words. This builds topline instincts fast.

Time stamp drill

Write a chorus that includes a specific time and a weekday. Time makes songs feel lived in and real.

Before you leave the session do this

Two minute checklist that prevents lost ideas and regret.

1. File your demo with a sensible name. Date it. Add one keyword like chorus or verse1.
2. Record a three sentence voice note about what you felt and what to try next. This note will save you from repeating the same mistake tomorrow.

Examples: before and after rewrites to study

Before I feel lonely without you.

After The spare mug still lives at the sink with your lipstick on the rim.

Before You made me change.

After You moved the photos off the mantle and left my face to learn light again.

Before I miss our talks.

After My phone keeps softening at three a m like it expects you to text back.

How long does it take to write a song

There is no rule. Some songs form in thirty minutes. Some take years. Speed is not a measure of quality. Practice and process make you faster. If you want to finish more songs set deadlines that force closure. Tell three people you will have a demo in seven days. Social accountability works better than willpower.

How to know when a song is done

Use this finish test

1. Emotion check. Does the song deliver the feeling you promised in the title or hook?
2. Memory check. Can you hum the chorus after one listen of the demo?
3. Clarity check. Does every line add new information or image?
4. Feedback check. One new listener can point out the line that stuck with them. If none of them can, tweak the hook.

Troubleshooting common stalls

Stalled on chorus melody

• Try moving the chorus up a third. Small range moves change perception big time.
• Make the chorus rhythm simpler. Simplicity equals singability.

Stalled on lyrics

• Do a camera pass. For each line imagine a camera shot. If you cannot, rewrite the line with a concrete object or action.

Stalled on production

• Strip everything back to a guitar and vocal. If the song works naked it will work produced. Add one texture at a time.

Practice plan to get better in 30 days

1. Week one daily: Ten minute prompt drills and five minute voice memos.
2. Week two daily: Melody on vowels for 15 minutes and a short demo every other day.
3. Week three: Co write two songs and finish one demo. Practice finishing not perfection.
4. Week four: Submit one demo to a playlist curator or a songwriter feedback group. Real world feedback speeds learning.

FAQ

What if I am not a musician but I have lyrics

Partner with a producer or a musician. Bring your lyrics and a sense of the mood you want. Even humming a melody on your phone helps the collaborator understand your idea. Use the object action drill before the meeting so you have concrete imagery and a title. That makes collaboration less scary and more productive.

Should I register songs before I pitch them

Yes if you care about protecting ownership. Registering with your national copyright office is inexpensive and gives you stronger legal standing. Also register with a Performing Rights Organization so you can collect royalties. If you are pitching demos to industry people a simple registration shows professionalism and makes it easier to claim credit later.

How do I write if I struggle with melody

Use a top line partner or start with chords and sing on vowels. Record everything and practice matching pitches with a keyboard. Sing simple intervals like a third and a fifth until your ear trains. Singing scales helps but meaningful melodies come from practicing small hooks and repeating them until they feel natural.

Is it better to write alone or with others

Both matter. Writing alone builds voice and confidence. Co writing builds speed and perspective. Alternate. Keep a folder of songs you wrote alone and one of collaborative demos. Both are part of your catalog and both teach different skills.

How do I make my first chorus memorable

State one clear idea. Repeat or ring the title phrase. Give the chorus a wider melody range than the verses. Use an open vowel for longevity on the big note. If you do these four things the ear will remember the chorus after one listen.

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