August 2003
Guild Tidings
The official Publication of
The International Songwriters Guild
Volume 8, No. 8
NEXT MEETING
5:00 PM
Sunday, August 3rd, 2003
The International Songwriter's Guild meets the first
Sunday of every month at the Central Florida
Musician's Union building at 3020 East Robinson (at
the extreme east end of Robinson less than a block
from Herndon Airport).
Songwriters, composers, performers, publishers, and the curious are encouraged to join us. Non-members are invited to attend a meeting or two to get a feel for our group and what we do.
Officers:
President/Treasurer
Russ Robinson (407) 851-5328
Vice President/Member Reception/Newsletter
Matthew Griffin (407) 903-1212
Membership Coordinator/Website Coordinator
Susan Foster-Trewick (407) 760-2153
President's Letter
Dear Members,
Well here we are in good old Orlando, the city we all love so much. But in August with
this very hot weather, we tend to wish we were some place else. It's not easy keeping cool! At least most every home has central air conditioning, I do. When I think of the years I lived in Manhattan, where 92% of apartments are not air-conditioned! The moral of the story is to keep cool; it helps when you're writing songs.
I was so very pleased with our last meeting. After it was over, I had great comments regarding our critique session. This is, to me, the most important part of our meetings. I'm glad to hear members are saying if they get criticized, it helps them to learn how to write better. And it's done in good taste. In the past we've had problems with a few bad critiques that were actually hurtful. A good writer can learn from others. Often we can produce a better song if we'd only listen to ideas from our fellow writers.
In closing, I want to tell you all to keep cool, keep writing, and bring your latest endeavors to our next meeting. Perhaps, try using today's world events as a topic. Goodness, it seems here should be lots of ideas thereabouts! Give your views in a pro and con manner. Food for thought!!!
See you Sunday,
Russ Robinson
Writing with a Consistent Viewpoint
By Matt Griffin
Here's a topic that's come up each of the last couple of ISG meetings: writing your lyric using a consistent viewpoint. The general rule on changing the viewpoint of your song is: don't! Exceptions can be made, of course; more on that later.
First off, what do we mean by viewpoint? Think of your singer as the "speaker". To whom is he/she speaking? The viewpoint is, essentially, who is talking to whom. A related issue is whether you're telling your story in first, second, or third person. First person is the "I/we" viewpoint; I did this, I did that. Putting your lyric in first person makes the story most personal ("I believe in music, I believe in love!"). Second person is the "you" viewpoint, as in, "You're so vain". Third person is the "he/she/they" viewpoint; basically, your story happened to someone else. Third person is the least personal viewpoint. The advantage is detachment; if you're telling a sordid tale, it may be better to do it in the third person so you don't cast the singer in a bad light.
I think the reason that songwriters often don't worry about viewpoint is because many other writers don't have to. It's commonplace, for instance, for a novelist to shift viewpoints a number of times; this allows the reader to understand the thinking and motivation of a number of different characters. The difference for the songwriter is simple brevity. We have so few words to devote to our topic that we risk confusing the listener if more than one character "speaks".
In practical terms, the good lyricist should normally pick a single speaker, listener, and person. If your first person love song has a fellow singing to his sweetheart, don't insert a verse where he's suddenly singing to his tractor (not very romantic, either). The listener, by the way, can be unspecified. Think of an actor in a musical, on stage alone and singing about his feelings. But it should always be clear who the speaker is, even if it's just a simple "I".
Those exceptions I mentioned? Certainly songs have been written where the viewpoint shifted. One method that can work: a viewpoint change at the start of the last verse. Example: I really love her, I really need her, now we're really happy together. Notice that the viewpoint shift ("I" to "we") is a mild one, since "we" includes "I".
If you must change point of view, do it as few times as possible and be obvious about it. Take pity on your audience and avoid sudden, unexplained jumps. If you really need multiple voices to tell your story, try using third person and make it clear who's talking when (as in Bob says no, Claire says yes). Another idea: literally use multiple voices. Some duets have been written where two people are expressing mutual love or even arguing. Of course, your demo should also have two singers to make it clear to the listener.
Generally, few songs should require more than a single viewpoint. Keep it simple and you won't go wrong.
P.S. For a more detailed treatment of the subject of viewpoint, take a look at Sheila Davis' "The Craft of Lyric Writing".
ISG Bulletin Board
Place your classified ad or gig announcement here! Free to ISG members as always! Just get your text to Matt by the print deadline (usually the Friday 16 days prior to the monthly meeting); email is best (griffinmc@netzero.net).
Printing services for Guild Tidings are graciously provided by
Printing USA, 4732 South Orange Blossom Trail (just south of
Holden), Orlando. Phone: (407) 857-7468.
Custom CD Cover Art Full color paintings, black & white illustrations to computer-edited photos with half-tone for photocopying. Prices start at $25. Call John Martello at (407) 293-1739 or email: omegaltd158@juno.com.
Omega Ltd. Productions
3415 Silverwood Drive
Pine Hills, FL 32808-2847
Songwriting Workshop on Saturday, July 26th
SusieCool, Rich Allen, and Asli Walker would like to invite you to attend a songwriter's workshop presented by Kim Copeland and Susan Tucker from Journey Publishing and Sage House Music in Nashville. All songwriters from novice to advanced are welcome.
When: Saturday, July 26th, 10 AM to 5 PM
Where: UCF Rehearsal Hall
(also: showcase at Underground Blues, 7 PM)
Price: $45 pre-registered ($40 if NSAI), $50 at the door.
To register, call 1-800-776-4231, access code 11
Only if pre-registered, your fee also includes:
One song pitched to a publisher
Can perform at showcase
First 15 pre-registered will have an original song critiqued at the workshop;
others will be selected at random, time permitting.
One-on-one sessions also available on Sunday ($50 per hour). Call 800 number above for info.
More info: http://susiecoolsongs.com/workshop
Or call Asli at (407) 359-0506
We're always looking for material for the newsletter.
If you have any information that you would like to see
added to the newsletter, please see Matt Griffin at
the meetings, or you can email him at
griffinmc@netzero.net.
Please keep your articles brief and to the point.
Print deadline for the newsletter is approximately two weeks
prior to the monthly meeting.
Classified advertising may be placed free of charge to
members in good standing in the ISG. For more
information on display advertising and/or
classified advertising for non-members, please call
Russ or Matt or email: griffinmc@netzero.net
New members always welcome!
We're always looking for new faces and new music.
Come to a meeting and check us out!
July TOP FIVE
Winners of last month�s evaluation session
(members only)
(1) One Fifth at a Time Larry Martin
(2) Subtle Suicide Bill Vontobel
(3) Family Tree Angie LaVelle
(4) You Did What You Could Do Gar Brandt
(5) Dreaming Got You Me Patricia Locke