The Art of Rewriting

I went home discouraged from all of the night’s harsh words. The anticipation and excitement early that evening went down the drain. Instead, I went home flustered and uninspired.

“The lyrics are sloppy” ; “Your lyrics doesn’t make sense at all!!!! (take note of the exclamation points. Yes, that’s how expressive the guy was)” ; “There’s a language barrier” ; “Resonance of culture” ; “if you present a song like that to Westerners, it won’t sell.”

Criticisms I received on my song “Sanctuary”. Statements from a music producer, a member of the committee and a random songwriter in the audience.

I went to the Songwriter Critique Workshop expecting constructive criticisms, which I did, no doubt about that. However, the blunt words and facial reactions were unexpected and uncalled for. Another songwriter who preferred to present a non-sense song which he admitted it to be, performed a 3-minute song talking about his sexual pleasures about a girl named “Jane”. Surprisingly, the whole room clapped and the panel of critics were thrilled with the choice of words.

I just shrugged my shoulders in bewilderment.

But hey, I’m over it..and I’m moving on. So here’s what came out of the experience.

Today, I’ve picked up “and again”, a second hand book I found 3 months ago. “How To Be a Hit Songwriter (Polishing and Marketing your lyrics and music)” by Molly-Ann Leikin. (dream on jowe. Well, might as well try right? If it doesn’t work, then just do it for the sake of art and music.)

Reading the first chapter made me feel better.

Excerpt: I want you to take comfort knowing that all songwriters hate rewriting. No matter how long they’ve been working at their craft, and in spite of how successful they have become, songwriters always feel violated by someone telling them that what they’ve created isn’t perfect. All writers feel the same way. When my editor sent me his notes on the first draft of this book, even though accompanied by a glowing letter saying what a terrific job I’d done, I still had to hide in bed for four whole days before I could muster the courage to address myself to making the necessary changes”

And so, I realized my reaction was normal. That indeed, this whole exercise of rewriting can really get to you.

Molly says, It’s important to being a rewrite only after you’ve accepted the need for it. Approaching it halfheartedly will produce mediocre results.

Don’t you find it amazing how “acceptance” can really make a big difference in various aspects of life?

A few pointers from Chapter1 of the book:
- Speed has nothing to do with excellence
- Writing is a process. Each draft is part of that process. And with each draft, your song gets a little better and closer to what it eventually will be when it’s finished
- Patience is important
- Learning to rewrite is like learning to do anything – you acquire the skill slowly

And so again, I start these exercises, hoping at some point I might build up enough skill. Sometimes I wonder if age has a factor. Perhaps if I commenced at an early stage, I might have achieved a lot more. After reading the book “Outliers”, I tend to ponder on questions like this.

Anyway, I’ve written this down to share with my fellow musicians and friends. Always find inspiration, despite the demise of enthusiasm after a Critique workshop.

Just like what my friend said “At least you know there’s room for improvement”.