A Quote by Kane Brown
I usually think about titles. I'll hear somebody say something and write it down in my notes, and whenever we go into a room, somebody will start naming off titles, and whoever has the best title, that's what we start writing.
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I write titles that are confrontational. I write titles that make people want to pick up a book and find out more about it. I write good books; I write great titles though.
Titles are very hard. Sometimes a title comes before I start to write the book, but often I finish the book and I still don't have a title. I have to go through the book again and then sometimes I hope a title jumps out at me from what I've written.
I write titles of songs a lot. sometimes I'll end up writing a song that I don't have a title for and I'll say, 'Oh, this goes with that title.
Whenever I sat down to write something it was never anything I took lightly. It was something that I'd want you, somebody in Japan, and somebody [over there to hear it].
Sometimes I'll hear some music in my head or I'll go to the piano and mess around and come up with a tune, or be on the guitar and come up with some chords - or I'll come up with lines, or just some words, or just a sentence. It could be the title of a song. I do that all the time. I write titles of songs a lot. And sometimes I'll end up writing a song that I don't have a title for and I'll say, "Oh, this goes with that title".
Once I start writing about something, it goes off rather fast, and sometimes details which might be interesting such as what the room looked like or what somebody said that was not exactly on the same subject tend to get lost.
It's kind of like being a writer in the sense that you always hear other writers say, 'Well, the best way to start writing is to just start writing.' The same goes for improvisation. You want to start improvising, just start playing notes. And the more you do that, the more comfortable - or not comfortable - but I guess how you're able to adapt to situations. You become more familiar with your instrument. As soon as you have a musical thought, you can go ahead and add to that musical thought and know your way around.
I can always tell when I'm about to start writing. I go through cycles in reading. When I'm beginning to start to write something, I start reading what I think of as good literature. I read things with wonderful language.
For me, naming bands was the forerunner to really writing lyrics, because I work off titles.
I've been very fortunate at having good titles but I just think in terms of titles. I'm doing a workshop now where people write books and they come and I name their books for them. I'm good with titles.
I still start to get panicky each morning before I go on television. I'll say, 'I'm in awful shape, something is wrong,' and if I start to look like I'm going off the deep end, Jimmy Straka, the stage manager, will say, 'You're all right. Calm down.' Then Bryant Gumbel will grab me by the leg or something.
You start at the end, and then go back and write and go that way. Not everyone does, but I do. Some people just sit down at the page and start off. I start from what happened, including the why.
A lot of times, somebody will say something and it will give you a good title. So you carry a pencil with you and jot that down. You don't just write a song right quick, though. You fool around and work with it. You have to keep going over and over it and see if you can't write a song that means something.
Sometimes it could be just during the day, when I'm riding in the car or on the plane. I'll hear somebody say something that strikes a chord and I write it down and write bars at a time, and then when I'm in the studio I go to those bars and I'm like, "Maybe I should make a song about this."
I think any start has to be a false start because really there’s no way to start. You just have to force yourself to sit down and turn off the quality censor. And you have to keep the censor off, or you start second-guessing every other sentence. Sometimes the suspicion of a possible false start comes through, and you have to suppress it to keep writing. But it gets more persistent. And the moment you know it’s really a false start is when you start … it’s hard to put into words.
I think titles are tricky because they're like a really short ad for the book. And like an ad, they should open the door in a way that might be more accessible than the book itself. So I always like titles to be familiar. I'm not trying to break ground with the title itself. The title should feel like something already celebrated.
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