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Usually ships in 1 business days | | Only 3 left in stock, order soon! | | | | | | 6 x 9 North American Distribution music Packed with literally hundreds of hints, tips, and inside information only a working writer would know, The Art of Writing Great Lyrics demonstrates proven, no-fail methods for everything from communicating through song, defining styles, and collaborating with a partner to studying the market, making a great demo, and getting started on a career. Full of creative exercises, writing do's and don'ts, and a handy A to Z checklist for reviewing new songs, The Art of Writing Great Lyrics provides a lifetime of proven success tips in one indispensable volume. | | | |
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| | Product Details | | Author: | Pamela Phillips Oland | | Paperback: | 224 pages | | Publisher: | Allworth Press | | Publication Date: | 2001-05 | | Language: | English | | ISBN: | 1581150938 | | Package Length: | 8.9 inches | | Package Width: | 5.91 inches | | Package Height: | 0.79 inches | | Package Weight: | 1.45 pounds | | Average Customer Rating: |  based on 14 reviews |
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| | Customer Reviews | Average Customer Review:
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1 of 1 found the following review helpful:
 Excellent Book! Nov 13, 2009
I write sacred choral music and have had some of my pieces published. I've always had a hard time finding books to help me write the kind of music and lyrics I write, so I've pretty much had to figure out how to do it on my own. I bought this book hoping it would help me in some way - and I have loved it. I have learned so much from this book that I could apply to any kind of lyric writing. She presents boatloads of information, and it is all interesting to read. I am so glad I bought this book!
2 of 2 found the following review helpful:
 So you want to write soppy love songs for Whitney Houston? Mar 01, 2009
This book is aimed at wannabe writers of pop songs for the mass market, in the hope that it will be recorded by the likes of Whitney Houston and make you rich. Yeah, good luck with that. For the those of us who are more interested in getting ideas and guidance on writing songs that we want to perform and record ourselves, the book is less useful. Sure, it does contain useful information on form, rhyme etc., but it is all very pop-oriented. Furthermore, all the examples are from the author's own lyrics, sometimes clever, mostly soppy love songs, and most importantly, most of which you have never heard, which makes it more difficult to relate to.
1 of 1 found the following review helpful:
Not what you are hoping for. Sep 16, 2008
I gave this two stars... but don't be completely pushed away. I would have gone two and a half if it was available. The overall idea of the book is great. It will help if you are starting to write lyrics. If you already write a lot I would suggest not to spend the money. I write for a band that's been around for a while and figured I would try to spice some things up. The only things that seemed to be of any use to me were just reaffirmations of things that we all know. Having been written in the 80's the content is not very current. Essentially, this book could be condensed into the following ideas: Have a strong control of language and vocabulary, REALLY know who/what you are writing about, Don't write poetry and expect people to connect, Have a strong lyric you build around.
If you are planning to just start writing lyrics... it's a good book. Overall though, it was not for me.
The more I read, the less time I had to read Jul 16, 2008
When I first got this book, I couldn't put it down. It was so easy to read, so overflowing with great information that time just flew by as I sat on my sofa. By the time I was a few chapters in, I found myself spending less time with the book and more time writing. By the time I got to the last chapter, I was reading a small segment and then off to write some more.
Anyone who is thinking about starting a career as a writer should get this book.
10 of 10 found the following review helpful:
Great resource for an aspiring staff writer Jan 20, 2007
Ms. Oland provides helpful advice for the person wishing to write and market commercial songs. She gives tips on becoming familiar with language, building vocabulary, and learning popular song structures. She also dissects her own writing process, step by step, for the reader.
Later chapters deal with the challenges posed by collaboration, strategies to deal with criticism, and the music business.
This book is primarily for the commercial lyricist, not the musician or the artist who writes for self-expression. Ms. Oland is of the opinion that a lyricist shouldn't write too much from personal experience, and that a commercial song should make the audience feel good because "no one wants a loser." But some of the most sincere music, which ended up being "commercial," was written out of angst (Alanis, Nirvana). Oland's term for this kind of music is "living room hits." (In her defense, she does state that when an artist writes this type of song for himself, the song may become a hit.)
Ms. Oland also mentions that she is a much stronger lyricist than melodist, and although she does mention using "dummy melodies," musician-lyricists might find a different method than Ms. Oland's.
However, this book does include much wisdom and helpful information culled from years of experience.
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