Writing and rhythym

My web genius and ex Waterstones branch manager, Kirsty Farrelly, was talking to me last week about rhythym in writing.

I’ve written several times over the last few years about this, probably some of it predating this blog.

It’s one of the most important things in writing.  It can make it easy for people to read.  It can help the flow of the words.  And most important of all it moves the reader through the text.

On Saturday we watched a programme about the singer Tony Bennett.  He’s been one of our favourite singers for many years.  That’s because we love the respect he pays to the words of the song.

It was interesting because he was talking about George Gershwin saying he liked Fred Astaire’s delivery of songs.  Why?  Because Gershwin said Astaire delivered the songs the way he’d intended them to be sung.  The word he used was ‘reported’.

Any singer will want to put their own interpretation on a song, especially one that’s well known.  But just as classical musicians go back to the text to find out what the composer intended, then songsters need to do the same sometimes.

I’ve talked about the challenges in songwriting before.  I liken it to creating a sales letter in miniature.  Or the perfect short story.  Because in less than three minutes, the songwriter has to create mood, a story, images and a resolution.  Quite a challenge.

I do believe that there are good songwriters around now but I love the writers of what they call the American standard.  Two of my favourites are Cole Porter (I get a kick out of you) and Lorenz Hart.(Mountain Greenery, There’s a small hotel)  Even if you think you don’t like the music, then as a writer, studying their lyrics can be an education in itself.

They’re witty, elegant and sometimes with amazing internal rhyme schemes.

I love them – wish I could write something like that but I haven’t managed it… yet!