A Quote by Will Champion
When you write something it has to hit the level that you accept as being good.
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I live in L.A., and whenever I get together with anybody to write, everybody is obsessed and fearful and wants to write a hit for everyone else. They wanna write a hit for Rihanna; they wanna write a hit for Katy Perry.
If we were to hit the level that Metallica or somebody like that hit, we'd have had a hard time dealing with it. I think it would have been our doom. It's hard for anybody at that level.
I was never trying to write a hit. I was just trying to write good songs and get a message out, and it was my great good fortune to be popular.
Mum would hit us with anything. You'd see her looking for something to hit you with, and you'd think, please let it be something reasonably soft. She threw a chair at me once. It was like being in a western.
Ultimately, the first, best step in getting your work noticed is to write good work. If people don't engage in your writing, no amount of serialization or free downloads is going to matter. You have to write something worth reading, and often it takes time to get at that level.
Ultimately the first, best step in getting your work noticed is to write good work. If people don't engage in your writing, no amount of serialization or free downloads is going to matter. You have to write something worth reading, and often it takes time to get at that level.
For me, writing isn't a way of being public or private; it's just a way of being. The process is always full of pain, but I like that. It's a reality, and I just accept it as something not to be avoided. This is the life I have. This is the life I write about.
When you're like, 'Yo, we gotta write a hit song, we need a hit song right now,' that never works. Every time that happens, I never write a hit song.
That's what stock-car racing is. You hit someone, or you get hit. That's something I had to learn. It's a key factor in why I'm so aggressive. I don't want to have to hit you. But if you're going to hit me, I'm going to hit you.
I wouldn't say I'm underrated, but more reserved. Only time will tell, but I've been good so far in being consistent and making hit after hit writing for myself and other artists, from rap to R&B, and being able to make those different records.
You get into the habit of being angry and hurt by life, and then when something good happens you can't accept it because it doesn't fit the pattern.
There are some things you have to accept come with being really good at something: more attention, more eyes on you, every move you make - whether good or bad, you have to answer. If that's the price of where I want to get, it'll be worth it.
Many years ago someone told me something that I flatly refused to accept. And I still don't accept it now, despite all the times I've seen it proved right. "The common good and the individual good rarely coincide..." Sure, I know, it's true. But some truths are probably worse than lies.
We're pretty good at putting bunts down and really good at hitting. I know as a pitcher, when you face a pitcher you know can hit, that's not fun. I think taking pride in that, and being able to hit helps your own cause.
Any negative review you write, they'll say, "Oh, you're being so mean." I think the problem with a lot of criticism is that too many critics either write just description or they write in a Mandarin jargon that only a handful of people can understand, or they write happy criticis - everything is good that they write about. I think that's really not good. I think it's damaged a lot of our critical voices.
I set myself a rule before I actually write a tune to the lyrics, and the rule is that I've got to take the lyrics on to a level of understanding before I can actually write music to them. What I'm doing is interpretation. If I don't write the lyrics, therefore I must interpret them to the best of my ability. So my rule is that I must understand it, but I don't necessarily have to accept.
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