A Quote by Nina Nesbitt
I've learned not turning things up to full volume is a good idea. Also, because I have the freedom, sometimes when I'm writing a song I'll get carried away with production when I'm only on the first verse, and that sacrifices the songwriting.
Related Quotes
Sometimes when I'm writing a song I'll get carried away with production when I'm only on the first verse, and that sacrifices the songwriting.
Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.
I write about what I know and what I've experienced. That's the only way it can be real to me. I love songwriting. There is something so satisfying in coming up with an idea and turning it into a song that means something to people.
The best thing we've learned is when you are attempting to write a full song, write a full song that day. When we first started, we would have great ideas, but there's something about a moment and a vibe that's being created in time that when you return to it, it sometimes works, and it sometimes doesn't.
I am not a character who gets carried away with good or bad performances and I won't get carried away by bigger or lesser critics. It's the same when you get praise. You can't get carried away with that.
The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.
I don't really have a set-in-stone process or formula. Sometimes the melody is there and I have to chase down the lyrics. Sometimes, the song is there and I have to make the melody fit. What I've learned so far about songwriting is that I can't force a song. If I try to do that, it's hollow, and people know a hollow song when they hear it. It's the song they stop listening to and forget about. I'd prefer not to write those kinds of songs.
I started to write the song. And I was in Gladewater, Texas, one night with Carl Perkins and I said, I've got a good idea for a song. And I sang him the first verse that I had written, and I said it's called "Because You're Mine." And he said, "I Walk The Line" is a better title, so I changed it to "I Walk The Line."
Songwriting is a craft. Writing good songs on a a consistent basis doesn not happen spontaneously. In fact, most of our best songwriters learned to write good songs by writing a lot of not so good ones. Education matters in songwriting, just as it matters for physicists, chemists, doctors, lawyers and MBAs. Education lays the foundataion on which to build experience.
The place is good. How good, one must have circumnavigated the globe to discover. Why not stay? Take root? But roots are chains. I have a terror of losing my freedom. Free, without ties, unpossessed by any possessions, free to do as one will, to go at a moment's notice wherever the fancy may suggest--it is good. But so is this place. Might it not be better? To gain freedom one sacrifices something [...] and all that these things and people signify. One sacrifices something--for a greater gain in knowledge, in understanding, in intensified living? I sometimes wonder.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
Sometimes I'll sing the same verse through the entire song, because the other verses aren't clicking. And when they do come to me, I'm in the middle of that same verse!
Like, when I write a song, the song comes first before production. Everything is written on an acoustic guitar so you can strip away everything from it and have it be equally as entertaining and good without the bells and whistles.
I will write a verse or a story and bring it into a songwriting session, because that's what's big in Nashville - the collaborative part of songwriting.
I carried props into the subway - the latest 'Semlotext(e),' a hefty volume of the Frankfurt School - so that the employed would not get the wrong idea or, more to the point, the usual idea about me.
Technology has grown so much that there's a whole idea of gluttony. Sometimes you get carried away because you can have a camera go through the window, but do I need a camera go through the window? Those choices are up to the director.
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