Master of Craft: Pop Songs

A Master’s Program for the Relentless Pursuit of Accessibility, Connection, and Impact
A pop song is not a poem. It's not a confession. It's not an expression of the self.
It's a product.
It is engineered for maximum impact, built for instant connection, and designed to disappear just in time for the next one to take its place.
The greatest pop songs are not deep. They are not subtle.
They are effective.
This is not about writing art.
This is about writing money.
This is the standard for the pop song.
Philosophy: The Four Pillars of Pop Song Mastery
1. The Hook: Immediate, Inevitable, Unforgettable
A pop song doesn't ask for attention, it takes it.
- The Three-Second Rule: If they’re not hooked, they’re gone.
- The Chorus is the Song: Everything else is just set-up.
- Melodic Stickiness: If it’s not looping in their head after one listen, it’s not done.
Example: Call Me Maybe—one line, and you’re already singing along.
2. The Emotional Formula: One Feeling, No Complexity
A pop song does not require thought. It's designed to trigger a feeling.
- One Emotion Per Song: Love. Heartbreak. Confidence. Regret. Nostalgia. Pick one.
- Clarity Over Poetry: No metaphors, no subtlety, no confusion.
- Conversational Lyrics: Write how people talk.
Example: We Are Never Ever Getting Back Together—the title is the song.
3. Familiarity Wins: Give Them What They Already Want
Pop music is not about originality. It is about predictable surprise.
- New But Familiar: Make it fresh, but make it feel like they’ve heard it before.
- Proven Chord Progressions: There are only a handful of formulas that work. Use them.
- Trendy But Timeless: Match the moment, but don’t be forgettable.
Example: Blinding Lights—modern production, but straight out of the 80s.
4. Disposability is a Feature, Not a Flaw
A pop song is not meant to last forever. It's meant to dominate, then vanish.
- Built for Repeat Plays: Keep it short. Keep it addictive. Keep it easy to replay.
- No Filler, No Indulgence: Every second must serve the song.
- Move On: The next song is always more important than the last.
Example: Drivers License—massive, emotional, everywhere—then gone.
Program Structure
Semester 1: The Foundations of Pop Songwriting
- The 3-Second Rule: Writing songs that hook instantly.
- Pop Lyricism: Conversational, emotional, effective.
- Melodic Engineering: How to write hooks that are impossible to forget.
- The Structure of Hits: What works, why it works, and how to master it.
- Assignment: Write and demo 10 pop songs in one month.
Semester 2: Advanced Pop Craft & Market Strategy
- The Psychology of Familiarity: Why we like what we already know.
- Writing for an Artist: Adapting to vocal range, persona, and branding.
- The Role of Production: How arrangement makes or breaks a hit.
- Pop Song Deconstruction: Breaking down the biggest hits of the last 10 years.
- Assignment: Write a collaborative pop song tailored for a specific artist.
Semester 3: The Business of Pop Songs
- How the Industry Works: Publishing, royalties, and songwriting splits.
- The Pitch Process: Selling your song in under 30 seconds.
- Trend Forecasting: Where pop is going next.
- Mastering Co-Writing: How to write with and for other artists.
- Capstone Project: Write, produce, and pitch a fully market-ready pop song.
The Pop Songwriter’s Code
- You will write every day. Inspiration is unreliable—discipline is not.
- You will edit without mercy. If it doesn’t serve the song, it’s gone.
- You will study the hits. Learn the formulas, master the structure.
- You will put the audience first. Your feelings are secondary.
- You will write songs that work. Not just songs that exist.
Who This Program Is For
This is not for people who need to express themselves.
This is not for people who want to be poets.
This is for songwriters who want to write money.
You don’t write these songs to be understood.
You write songs to be listened to.
If you’re ready to master the craft, get to work.
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Thanks!
B
A pop song isn’t about depth. It’s about connection, speed, and impact.
It hooks instantly, moves quickly, and disappears just in time for the next one to take its place.
You don’t write pop songs to be understood.
You write them to be heard.
If your song isn’t undeniable, it isn’t done. Get to work.
PS -