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Them a tic

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Was I riffing with that last post on theme? Yes I was.

It’s not always easy to identify the theme, defined in Wikipedia as “central topic, subject, or concept the author is trying to point out”

The theme of ‘Rambling Man‘ by Hank Williams is compulsion to travel based on one’s God-given nature. You can argue the wording of this definition, but you get the drift: if you add the elements and listen to the narrative voice you get a fair picture.

It’s no wonder there has been confusion over theme and subject. Let’s take a look at another country artist’s song: ‘It’s Been a Good Year for the Roses’ by George Jones. Because the title is a counterpoint to the theme, subject and theme are separated in their meaning to some degree. The subject is an awkward meeting of lovers in the act of separation with the first person narrator recounting seeming domestic drudge distractions: ‘the lawn could stand another mowing’ ‘it’s been a good year for the roses’ but acutely aware of the real feeling in the room “the half-filled cup of coffee you poured and didn’t drink”

This is too much information for the theme. The theme would be divorce or strained relationship; the end of domestic bliss. Themes encapsulate rather than articulate.

What of the topic? The topic may be the same as the subject. There may even be an argument for the explanation proffered two paragraphs ago to be the topic, rather than subject. But consider the setting of an essay for exam conditions. This isn’t how you (necessarily) write a song but it gets across what a topic is in the scheme of things.
The topic is a rambling man. Because you’ve only got the half hour or the certain word count to do this in, the person assigning the topic has to keep it simple but potent enough with intent to allow you to come up with a good example and gain extra points. You don’t need to know what makes a man ramble to write an assignment on it; just use your imagination. The topic of a man whose urge to ramble is brought on by the sound of a train is not reliant on knowing anything else about him. Other rambling men may yet hitch rides into future song narratives and be quite different from the fellow in Hank’s song.

The topic in George Jones’ song is how the narrator is lead, through the hurt and ennui of the situation, to remark on the state of the garden.

The me

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Should we be thinking about the theme when we’re writing a song? I wouldn’t recommend it; only because my experience has been that the theme will form of its own accord. It’s more the job of the reviewer or academic to decide whether there’s a theme and, if so, how well the song develops that theme, or works within it.

The composer has a broken heart, has lost his/her job, is missing someone; these are the emotions that drive composition. But so is necessity, desire for glory, a nice turn of phrase. It’s not possible to dismiss any of these factors when they are so much in display in their respective corner.

This is a separate concern than that found in the ideal theme for a set of lyrics; one organically grown as a consequence of exploring the implications of the scenario presented in the song. This means, despite the fact you might be writing nationalist ditties for Skrewdriver or California ditties of either the Beach Boys or Dead Kennedys variety, your fidelity to the song is what drives it, not your projection as to its place in the charts, or the fine words spent in that Mojo review praising the finished product.

If you call your song ‘Kill the Poor’ or ‘Wouldn’t it be Nice’ either way a theme begins to emerge. This is then quailfied by the lyrics as we progress through the song. And when I say “qualified” I mean not just that it explores every facet of that main notion, but that it alters our sense of what is meant.

This is not a critical exercise, so I don’t want to explore in too much depth what Jane Fonda being on the screen does to perception of what this act (killing the poor) would entail, but it does colour the content of the song; the lyrics going in slightly different direction than the audience at first expects from the title or opening lines.

The middle

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Apart from facilitating the bridge or fitting in with the musicians, does the middle matter to a lyricist?

In a narrative you will have hopefully reached some kind of bend in the road or drawn the listener into fever pitch, one or the other. There are hynotic songs where the middle will be very like the beginning and end but I’m thinking more of the centre of songs that say something through a sense of progression; whether this is achieved through a dramatic change in the vocal attack or a dip or raise in the mood.

It is possible to write passages for rock stars to fall to their knees to, just as it is open to all of us to craft the kind of song skeleton that tells the true story and provides plenty of opportunity for natural emotion to invest.

Repetition, especially of the chorus, the main line, the title, or combination of elements; is often lodged roughly in the middle of the song, even in those numbers where the same phrase is not deployed elsewhere in the song.

When the lyricist has the reins, the words will sweep the listener into the next verse and the next, where the musician – apart from wanting to show his or her chops – would ideally like a good line to come back in on vocals after a solo or a lead break. Anticipating a space between certain bits doesn’t hurt your discipline at songcraft but it can cramp your style. There’s a reason songwriters often go out on their own, and it isn’t all about vanity; sometimes it’s practicality.

Let’s away from cold theory then and see if we can’t show you how this thing works on the spur of the moment and off the cuff

What’s something topical right now? Reg Lindsay did the necessary conjecturing on how the first man on the moon would be observed many years ago. The Mixtures can provide the soundtrack to the notable figure on a more earthly vehicle and his fall from grace. We may as well choose something that holds the potential mentioned in earlier posts.

And let’s make it only three or four verses so we can see at a glance what takes place in the centre.

Let’s go for a biggie – a really tiny, minute biggie but I digress – the God particle Higgs Boson and no you don’t have to be a scientist to write a song on the subject

The God Particle

The puzzle piece missing on the placement of our plane
Ruminating on the remnants of religion and the warm remains
The Universe shows different I wake up just the same

The underground collider concocts another flaw
gravitate to gravitas or come grinding to a halt
The ego is elastic on what parts you ignore
but not how you measure each fault

Sat in with the atom made the most of the mote
Protein and nutrient proton and neutron
A dedication to a dead occasion
or the beginning of ever more future
times

What does that amount to?

Three-four-four(or five) lines; the three verses I recommend but the the first slightly shorter. I like the more abrupt tone this gives it to set it apart.
What that means for the middle is that it is the same pattern as the final verse (extra one word line notwithstanding) but you might notice that, while always paying fealty to the topic of the song, the two verses don’t have the same agenda or approach. This enigmatic evolution only helps the song but that’s because the foundations are there. You can get as strange as you like as long as you haven’t stopped talking about the God particle.

As much as the middle verse doesn’t rely on the first verse to set the scene – it occupies its own scene – nor set the mood for coup de grace in third verse. It’s a self-contained rumination on mighty mites, the fraternity of submicroscopic subjects of great importance.

The particle of the title is not mentioned and there is no hook of any kind. It does perhaps resemble a poem more than a song. Still, you can see the production of a song middle in action, and that’s a ride.

Wit will wilt

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Wordplay and a combination of aphorism and wry aside is a feature of memorable songwriting. It has been a device, or combination of, from all the great songwriters from Gilbert and Sullivan to Elvis Costello. Along the way, it hasn’t hurt performers like Joe Jackson to get their message across or release a record that makes it into the charts.

Of course “she’s got eyes like saucers/oh you think she’s a dish” lessens the seriousness even as it brings attention to itself so even the masters can overegg.

To really get across the point though, and to drag in that other favourite lyrical ingredient, the nudge and wink: consider two similarly-titled songs: “If You Seek Kay” by the blues performer Memphis Slim, and “If You Seek Amy” by the pop chanteuse Britney Spears.
It is hedging your bets writing suggestive lyrics that play with meaning just as they tickle your fancy. ‘Rock me baby with that steady roll’ is serviceable in capturing ribald imagery but these resonate more. While it’s true that both fifties blues and nineties pop find all manner of uses for sexual connotation, the difference is apparent. Even Memphis Slim’s own output includes the standard bonking metaphors about churning and grinding; useful when it comes to the censoring of bare descriptiveness (not so necessary in today’s sexualised success meter), but not a patch on spelling it out without spelling it out, as “If You See Kay” does.

The pianist, born Peter Chatman, is able to extend the metaphor cleverly throughout the song by pretending that he is really asking after some girl named Kay. Had Britney’s writer on “If You Seek Amy” done the same, it might have worked. But the task was harder because, while it pursues the same vein at a literal level as it does at a hidden level, the writer is unable to maintain the tension of the dual meaning and it ends up not making a lot of sense. So there’s the surprise at decoding but it’s not sustained by the song itself.

Cleverness is only useful in some contexts, even when it’s working. Dancefloor numbers rely on putting one into a trance groove, not startling them out of it with a line like Jim Steinman’s “We were barely seventeen and we were barely dressed” (the milder of his verbal jousts). Folk music relies on a straight telling of an important narrative or a pronouncement that can be embraced universally. Since we don’t all think of smart lines or ripping ripostes, it places the performer at one remove from their audience, when the idea is to get them to join in. In many of the more extreme music forms, the words are going to be drowned out in the general mayhem so, unless you’re expecting your fans to pick up on the little extras in double meaning by reading the lyric sheet, it’s largely wasted on the generic pummeling the sound provides.

So you can avoid lyrical flair and be excused, but it’s a good quality to cultivate, as you never know when that extra zest in your bag of tricks will come in handy.

Room for Rhyme

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With the rich repast of real time rappers, it is evident that rhyme remains popular. While there are doubtless alternative or indie artists who purposely pose as prosaic just to prove a point, that doesn’t mean the listener wouldn’t prefer a song that pleases them at some level.

If you want to achieve this by using alliteration or assonance, by artificially emphasising certain words or phrases, by mugging the crowd or scatting inbetween; there’s a number of ways of approaching the putting of words to song.

For this particular post, I shall concentrate on rhyme. There are a number of approaches you can take to rhyme. Either choosing the shop-worn because the words are easy to emote, and the audience laps it up, or having a perverse chuckle as Nick Cave does on Abattoir Blues/Lyre of Orpheus and seeing how bizarre a rhyming schema you can squeeze into the piece and still make it fit.

This would be a tiresome trick if not for the fact that this is the approach for this project. Cave wears styles like cloaks – whatever suits the song or, in this case, the album(s).
But even if Elvis Costello pulls out one too many groan-inducing puns on his lighter releases, we know there is more to the story, and so it is for playing with rhyme. Rhyme is a device that fits nicely beside the central theme, the double meaning, and the pleasing joining of images. It doesn’t have to dominate sense and it doesn’t have to draw attention to itself. Be like the beat and keep the piece moving.

It’s true that soporific ‘time/crime’ ‘love/above’ rhyming patterns do have the effect of the bopper tuning out the message, there is no reason to add to the stockpile of vapidity that already exists. The rhyme can be subdued without being stunted or stupid.

If you’re really writing a song you’ll notice that the rhymes roll out of their own accord. These will have richer resonance than you could have accomplished by trying to force a couplet into your concrete concept. This is the mystical quality of song crafting.

There is no need to address any metaphysical conjecture to make this claim. The process may be a firing of neurons brought on by presenting a novel display. That might actually be better. Then you know you can induce the state that produces results without having to make a votive offering. The wit is from within, the talent is taught. It all flows out so fast you don’t have time to think about it.

While this is a splendid way of working, it won’t be for everyone. Not every brain can make these kind of connections unconsciously and will be better off consulting some other lyricist for advice.

Opening gambit

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I think it’s a good idea to spend longer on openings. They are integral to the finished song in all but the most obtuse examples.

Let’s stick with songs of renown and consider “In the Ghetto” by Mac Davis. He wasn’t always this downcast and solemn. (His “Oh Lord It’s Hard to be Humble” was a regular among rural youth get-togethers.) but there is no doubt about the statement of purpose where narrative is concerned in this song. It has a place-setting title but consider how different a work it would be if it started with a gun incident or a mugging. “On a cold and grey Chicago dawn/and another little baby child is born/in the ghetto” The first line lets us know it’s a bleak situation and the following lines throw forth the startling notion that the birth of a baby is a catastrophe here, not a cause for celebration.

You’ll notice that whenever nonsense lyrics comprise the title or the central coda, they often start off that way. It’s as if why not, or maybe having decided on lyrics that can’t possibly mean anything to the casual listener, they figure they better maximise their chances of getting away with it by getting in early before the person listening has had time to form an opinion.

The choral beginning of “Ba-ba-ba- Barbara-Anne” is an approach that works as it serves to prepare the lead who can then come in and tell us about his encounter with the subject of the song. Perhaps proper names share a similar association between title and opening as do abstract terms, for there are a number in the vast vault of Christian name ballads and first name laments that start right in addressing the subject of the song.

There’s no hard and fast rule on whether you use the title in the first line or save it for the chorus. Or not repeat it in the body of the song whatsoever.
My counsel would be that you see what natural shape the song wishes to take. It will become apparent when you learn to read what is developing, just where to place the varying elements, including title and opening line.

Whether you wish to place your song in some locale in the opening line (e.g. ‘In Dublin’s fair city’) or use some point in time to set the scene (e.g. ‘When I was just a lad of ten’),  is as much a natural consequence of the construction as it is an act of volition.

In the above examples, if I want to sing to you about sweet Miss Molly Malone then I need to find some way of introducing her and I do this in ‘Dublin’s fair city’ ‘where girls are so pretty’. Now you may be writing your lines to fit in with the chords or melody you’re toying with, and that’s fine; it’s another approach, but that doesn’t stop the resultant words for serving the song well. Here we find the place – the big city in the case of an Irish folk song – to be full of pretty girls and so the narrator’s eye being caught by the song’s namesake is the more remarkable. In the best folk tradition, it doesn’t take long to tell us what the redoubtable MMM is up to. In this case, wheeling her wheelbarrow through streets broad and narrow hawking seafood.

In the case of “Lemon Tree” the narrator or songwriter, depending on your school of thought and/or critical focus is using the remembrance of the lesson he got at this father’s knee with the way this has panned out in his life. The simile of love and  a lemon tree needs a bit of authority as it’s not a ready image one thinks of in the many musings ‘pon the subject of amor. Knowing the tribute paid to fatherly advice when the song was written, it’s about the readiest appeal to authority there is. Even if we don’t always look to Dad for pronouncements on the subject; it’s a bit down the blokey calendar from other topics of discussion.

 

We have an opening

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In the writing of succint sentences and tidy lines, the opening line is a factor in providing the resonance of the whole piece or can be.

This doesn’t mean you have to come up with an opening line of a sufficient standard, or ability to dazzle, before proceeding. You can start with a line that will end up in the middle or the chorus. There are no hard and fast rules; provided this freedom doesn’t baulk the beginner.

I daresay you can readily pick the classics that launch in superbly with a poignant or pungent line. ‘I can’t remember if I cried’, ‘Busted flat in Baton Rouge/waiting for the train’ ‘How many roads must a man walk down?’

Like every line (well, almost), these famous opening lines are representative of certain fundamentals. They place you as the listener, even though these run across first, second and third person narrative. How is this possible? Well, our brains naturally adopt, and are receptive to, first person; whether this is thinking silently or speaking aloud.

Second person works perfectly well, especially when there’s the involvement of the narrator in the second sample. The character or voice relates the good times for themselves as much as for their cherished companion of yore. And so it does for the reader or listener or viewer.

The third person is exclusive to ‘a man’ so not a woman or a child. Our later age would barely allow that this wanderer is to represent all of humanity. That is a moot point when the lyric goes on to specify that the walking of a quantity of thoroughfares would ‘make you a man’  Women may be as wayfaring as they wish without fear of calibration

All this aside, it does the business because it poses a profound question. It makes us want to stick around to see what happens next; how the matter will be resolved.

This is why conversely some songs are so annoying; they fail in some way to live up to their promise.

Bob Dylan at the height of his powers was doubtless the greatest of his age. You are left astonished at the force and effusiveness and effortless effrontery. It’s altogether  magic and he is guaranteed a place in the poetic pantheon. Rather than repetition or vague allusion, he let’s each verse build on the impression. This, to be fair, is not surprising given that he comes from the folk tradition where the habit is to tell a story. So if one is going to battle or about to be caught up in a typhoon, it still should start in the peaceful or vanished past. “Well I was walking down the street one day” “When I quit my job”, only with more of an image to take away with you.

It was said of Bram Stoker that he was not a genius but had written a work of genius, Don McLean may fit that slightly sad sub-circle. Although their other work doesn’t justify dismissal by any means.

The strength of his classic (McLean’s  that is) is in the ‘guess who’ elliptical imagery that soon eclipses that first rumination on how upset [the narrator] is. But it would have been promising in many a context. That’s fine, as he doesn’t waste it whatsoever

Kris Kristoffersen kornered the marKet on being down at heel. Well, he had his corner as Tom Waits and Supertramp and Seasick Steve had theirs but to continue. His is outlaw territory, romanticising the non-conformist lifestyle. As all the Bowies and Gaga queens and madonnas have demonstrated time and again; adopting a persona is good business. It’s turning out a heartbreaking reminisce into the process that elevates the song into that strata were subsequent artists are going to want to interpret it or plain cover it unadorned.

‘Sunday Morning Coming Down’ is another hobo moment but one without a love interest.

Let me show you what I mean

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Of course, those are just claims, not credentials. Credentials comes through the work.

To a certain extent it’s valid to keep a sheaf of your best poems, a book with scraps of lyrics, and a notebook of ideas. Some songwriters go through their whole lives being parsimonious and piecemeal. If you want the skill that can be used to write good songs, it’s better to cultivate the skill of being able to improvise. At least that’s how it works best with me.

I’ve gone through, and go through, different stages of either writing songs up to nine versions (or whatever) or writing a piece in one burst, but I have always found riffing to work better than sitting there, pencil in your mouth, puzzling over how to get across what you want to say.

Let the subject matter dictate the song.

If you try and rein in what may otherwise be a potent theme, you risk being too didactic and weakening the artistic or poetic effect.
Better to go with the flow.

For instance, let’s make this purposely hard, if I was writing a song of my own choice, I would find a strong title, one pregnant with meaning, and develop from that. But this isn’t about what individual songwriters do to prepare so much as it is providing skills that can be applied across a range of circumstances that might require some snappy rhymes or ditties. So let’s move on to a most unattractive region of writing praxis; the reducing of something that I, and many of my fellow minstrels, have habitually done throughout our youth without having any knowledge of this critical theory. I speak of postmodernism. And, yes, while I could proffer my song on the subject, “Postmodern Tension”, I want to do something illustrative and, gawd knows, it’s about time postmodern theory was made useful in this way.

So I’m going to ask you to cast your eyes down this blog and now, eyes downcast, imagine having to come up with songs entitled ‘The song’s about to start’ and ‘Ladies and gentlemen’. You don’t see any potential in that as it’s clear those post headings were chosen for purpose and are not promising as song titles. I agree with you, however, making the best of a bad lot:

If you’re a real novice, you could jot down the things that come into your head when ‘the first song’s about to start’. chatter, smoking, posing, nervous excitement

or you could start straight in at a faster pace, knowing you can do it as a a first draft if it doesn’t say what you want or is in some way naff

Depending where you are on the scale of lyricists, this can take a varying amount of time. You might first have to realise that ‘chatter’ and ‘natter’ are too close in meaning to dwell for that long, or you may have a bolt of inspiration and hit on a couplet that carries promise and you won’t apprehend it for it’s use of language and poetic device but by the fact that it drives you on and inspires more thoughts to come pouring out.

I think, when you get the rhythm, you instinctively know where the song is going to go. I’m not always down with the path of the narrative but as long as it stays faithful to the theme (which is nothing less than a meaning or set of meaning attached to the title in my songs) I don’t mind.

If you continue to hone your craft by insisting to your muse that you are writing a good song about this subject or scenario, then you’ll find it gets easier.

You probably wouldn’t stop to try on ‘shatter’ and ‘scatter’ and so forth as you know that you can get the idea of chatter over without rhyming it, or even including the word.
Sometimes it helps to then glimpse back at the reality of what you are writing about. Perhaps you don’t need to make it about a horror-themed event so you can use ‘splatter’, perhaps you just need to look at what is happening with the chatter when ‘the first song’s about to start’. It dies down; there’s an expectant hush. So, without stopping to survey the options, it becomes apparent that it’s an easier road to rhyme the ‘dying down’ and that’s the best way to phrase the line anyway. If you want to be stubborn ‘the content of their chatter/ceases to matter’ but that borders on prosaic whereas

‘How narrow the sorrows the crowd have half drowned
a sign of their awe is the chatter dies down’

Now, look, you can edit this as ‘a sign of their awe as the chatter dies down’ or whatever, but you now have a song that is starting to pull away from the literal meaning.
You may not even be aware of the implications of this wordsmithing but it’s a good thing it’s leading you on.

But, you wail, what can I do with ‘Ladies and Gentlemen’, especially when you’ve twigged that the code for those entries was that they were the kind of phrases that get bandied around at live gigs. ‘Ladies and Gentlemen’ is archaic and doesn’t sing to the current generation. It’s too mannered to be of much use.
But that approach is setting up barriers before you get started.
There are surprisingly few topics or turns of phrase that can’t be moulded into works of art.

“Ladies fan out and gents in the corner”

It’s one line. But here’s the thing, Now you’re referencing several things at once: a ladies’ fan, the ladies being more demonstrative while the gentlemen are guarded and huddled in the back, the allusion to amenities and where they’re located

You can read as much or as little as you like into it. Contemplate how you’re going to be more expansive so it’s clear that the ‘ladies fan out while the gents hang back [like the amenities]’ without putting it that way, and without causing problems with the rhyming schema.

Trust me, this isn’t a problem, not like those back trying to list top hats and mink coats and then find things to say about them. Thinking outside the box isn’t mandatory but it is a handy aid.

Now, just because you can see promise in your idea is no reason to get bogged down. In the early stages of my writing vocation I might be stuck with just those lines or the title and that line and I’d be trying to do what I could in the way of equalling it for the qualities it possessed.

An easier way is to jot that line down in a journal kept for that purpose, and explore some of the other ideas that might have come up. What about the fact that its very usage here is only introducing something else, it’s not the honorifics that are significant but what they herald.

Ladies and gentlemen
it is my pleasure
to reach this stage
and take your measure’

Again, this might not be where your thoughts were heading when you first decided to write a song called ‘Ladies and Gentlemen’ but that surely sounds intriguing, yes?

If you want to do a close reading of this (I know it’s scrap of verse with perhaps not even the intention of writing more, but humour me) then you realise that it has a couple of balls up in the air: the fact that it manages second person to make the song about the ‘ladies and gentlemen’ after all.

The only problem with the novice jagging this kind of dual purpose is that they then need to create further verses to match and this can be particularly daunting, especially if they stumbled on this part.

It’s another reason to write a lot quickly so you don’t get stuck on how marvelous a certain triplet is

‘Ladies and gentlemen
I’m sure you’ll agree
The sect to neglect
is the cult of Me’

That probably doesn’t add much to the picture, in fact it takes something. But it might serve to inspire something that will work. There continue to be different approaches you can take at each juncture. This second verse was a result of saying “well, if I can’t use this gaze at the audience, I’ll change tack and think of other instances where “Ladies and gentlemen” introduces something. In this ‘I’m sure you’ll agree’ but as it stands it doesn’t follow on as now it’s proselytising and the idea of staying with the ones not up on stage is too interesting to abandon.

‘Ladies and gentlemen
may I introduce
a means to betray
an attempt to seduce’

This not only follows on from the first (if it ends up being the first) it takes it in still more interesting directions.

Ladies and Gentlemen

Quote

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Let me introduce my credentials. I draw my inspiration from copious quantities of reading, of listening to music, and of going to concerts.

There is a mix of experience and technique that I bring to bear on my own writing. My two strongest areas are in song lyrics and poetry. I bring a poetic sensibility to other works but am not bound to. It does help, however, in providing you, the reader, with a good combination of expert tips and insights into the process.

I can write on practically any subject, but I arrived at this point through much trial and error, many broken conceits. I don’t need time to write. I don’t lack for inspiration. I can write to order if the request is general i.e. write me snippets for a musical on a tabloid banning a reality TV star. There’s no way in hell I’d want to do that. But I could.

I like pieces to be filled with the kind of lines that one can chew over; build patterns with. Poems that act like gifts to the reader when they spot another layer.
But equally I could write you a dozen songs called I Love You.

II

I think, just as it useful to step out on stage the movements and interaction of the characters in a play you’re writing, it is helpful to be able to sing (at least in your head) your song lyrics.

Singing is a whole other discipline but it can feed into your songwriting enterprise. It will help if your singing is matured to the point where you are tracking the significance of what you are singing about, rather than dragging the words into a sloppy pastiche of your idol(s). It is natural to begin with emulating the singing styles and/or lyrical panache of the artistes you look up to but the real revelation comes at the point when you realise you have your own style. And this style is not affected, but natural.

The first song’s about to start

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Dear blog reader and random surfer alike,
this blog is written in the wake of my long-running comics blog coming to the stage of being all over bar the shouting and my Blogger blog being a social commentary and general information focus with the blogger’s idiosyncratic take, no doubt.

This will follow Drink it Black (named for the barked command from the Hulk as he hands Nighthawk his coffee) more in stthat it will be about the business of listening to songs and writing songs and playing songs and watching people perform songs.

If that’s the sort of thing you’re interested in, either because you’re looking for a kindred iSoul to engage with or you’re in a band yourself.

I won’t be as a/musing necessarily as much as in Touched by the Son, as this WordPress blog is for my fellow enthusiast, and I wouldn’t like to waste your time.

I am open to any suggestions for subjects to write lyrics about, not because I can’t think of any! I never stop thinking of titles and lines, stanzas. I am just happy for my readers to derive specific benefit from time to time.

And I’ll be pleasing myself a fair bit of the time as well, but only because I want to cover the many aspects to master.