| | Introduction | p. 8 |
| | How Did I Learn What I Know? | |
| | Songwriting Principles | |
| | Can Songwriting Be Taught? | |
| | What's New in This Edition? | |
| | Find Ongoing Updates to This Book at www.johnbraheny.com | |
| | The Craft | |
| | Creativity and Inspiration | p. 14 |
| | Creativity: What Is It and Do You Have It? | |
| | Developing Your Creativity | |
| | Motivation: Overcoming the Barriers | |
| | Craft vs. Inspiration | |
| | Developing a Songwriter's Consciousness | |
| | Finding Your Own Creative Process | |
| | Breaking Writer's Block | |
| | Stream of Consciousness | |
| | Problem Solving | |
| | Developing Good Work Habits | |
| | Subject Matter | p. 28 |
| | Finding Ideas | |
| | The Commerciality of Subject Matter: Mass Appeal | |
| | Writing From Emotion | |
| | Message Songs | |
| | Novelty Songs | |
| | Lifestyle Songs | |
| | Christmas Songs | |
| | The Media and Listeners | p. 42 |
| | The Media | |
| | A Poem Is Not a Lyric | |
| | A Song Is Not a Record | |
| | Writing for Radio | |
| | Song Length | |
| | Singles, Albums, Live Performances, Video | |
| | The Listener: Know Your Audience | |
| | Writing Lyrics | p. 60 |
| | Simplicity | |
| | Focus | |
| | Attitude | |
| | Titles | |
| | First Lines | |
| | Second Verse Curse (a.k.a. Second Verse Hell) | |
| | Rhyme | |
| | Poetic Devices | |
| | Pronouns | |
| | Prosody and Meter | |
| | Lyric Context | |
| | Cliches | |
| | Constructing a Song | p. 81 |
| | Basic Principles of Commercial Songwriting | |
| | Words and Music Together | |
| | Hooks | |
| | Chorus Construction | |
| | Repetition | |
| | Song Dynamics | |
| | Rewriting | |
| | Writing Music | p. 114 |
| | Melody | |
| | Completing Songs | |
| | Range | |
| | Scale Context | |
| | Harmony | |
| | Groove | |
| | Collaboration | p. 132 |
| | Why Two (Or More) Heads Can Be Better Than One | |
| | Finding Your Match | |
| | Can This Marriage Work? | |
| | Collaboration Business | |
| | Preliminary Business Meeting | |
| | Writing As a Band-Working It Out | |
| | The Business | |
| | Protecting Your Songs | p. 153 |
| | The Importance of Taking Care of Business | |
| | Your Song Is Your Property | |
| | Copyright Registration | |
| | Copyright Infringement | |
| | Public Domain | |
| | Online Resources | |
| | Avoiding the Songsharks | |
| | Where Your Money Comes From | p. 169 |
| | Methods of Payment | |
| | Split Publishing or Co-Publishing | |
| | Mechanical Royalties | |
| | The Cumpulsory License | |
| | Controlled Composition Clauses | |
| | Samples | |
| | Performance Royalties: BMI, ASCAP, and SESAC | |
| | Synchronization Royalties | |
| | Music in Print | |
| | Researching Print Music Deals | |
| | Income From Digital Sources and the Home Recording Act | |
| | Soundexchange | |
| | Royalty Logic | |
| | Royalties From the Home Recording Act of 1992 | |
| | AFM & AFTRA Intellectual Property Rights Distribution Fund | |
| | Publishing | p. 191 |
| | What Publishers Do | |
| | Exploring the Possibilities | |
| | Finding a Publisher | |
| | Getting Feedback From Publishers | |
| | Uncontracted Songplugging | |
| | Single Song Contracts | |
| | Your Chances For Advances | |
| | Exclusive Staff Writing Positions | |
| | Writing on Assignment | |
| | Self-Publishing | p. 217 |
| | Why Publish Your Own Songs? | |
| | How to Start Your Own Publishing Company | |
| | Business Expenses and the IRS | |
| | Casting: The Right Song for the Right Artist | |
| | Successful Pitching Strategies | |
| | Negotiating | |
| | Holds | |
| | Foreign Sub-Publishing | |
| | Administration Deals | |
| | Independent Songpluggers | |
| | Demos | p. 238 |
| | Why You Need Demos | |
| | Types of Demos | |
| | Who Gets What and How Elaborate Does It Need to Be? | |
| | What You Can Do at Home | |
| | Choosing a Studio | |
| | The Recording Process | |
| | Arrangements | |
| | Demo Production Services | |
| | CDs vs. Digital Audio Files vs. Cassettes | |
| | Presenting Your Demo | |
| | Using the Internet: Your Demo As Audio File | |
| | Marketing Yourself and Your Songs | p. 269 |
| | Where Do You Start? | |
| | Writers, Writer/Artists, and Writer/Producers in the Marketplace | |
| | Reading Your Road Map: Researching the Music Industry | |
| | Getting Ready to Face the Industry | |
| | Dealing With Rejection | |
| | In-Person Interviews | |
| | Getting Heard in a "No Unsolicited Material" World | |
| | Getting Through the Doors | |
| | Making the Calls | |
| | Survival | |
| | The Options of an Out-of-Towner | |
| | Marketing Your Lyrics | |
| | Organize Your Song Shopping | |
| | Showcasing | |
| | Contests | |
| | Your Home on the Web | |
| | Blogs | |
| | Legal Questions About Podcasts | |
| | Free Music Marketing Advice and Newsletters | |
| | Additional Markets | p. 322 |
| | Writing for Audio-Visual Media | |
| | Production Music Libraries | |
| | Children's Music | |
| | Music for Video Games | |
| | Cell Phone Ringtones and Master Tones | |
| | Music for Commercials | |
| | Musical Theater | |
| | Organizations | |
| | Getting a Record Deal | p. 364 |
| | The Artist vs. The Writer/Artist | |
| | How Record Companies Listen to your Music | |
| | Market-ability | |
| | The Professional Team | |
| | The Campaign | |
| | Your Web Site Is a Critical Factor | |
| | Why a Major Label Deal May Not Be Best for You | |
| | Should You Do It Yourself? | |
| | The Future of the Music Revolution | |
| | Songwriter's Resources | p. 384 |
| | For Industry Contacts | |
| | For Getting Your Demos Directly to Music Industry Pros No Matter Where You Live | |
| | Online Pitch Services | |
| | Local Organizations | |
| | National Organizations | |
| | Local Newsletters | |
| | Performing Rights Organizations: BMI, ASCAP, and SESAC | |
| | Online Songwriters Resources | |
| | Music Industry Information Sites | |
| | Tipsheets | |
| | The Trade Magazines | |
| | Songwriters Print Periodicals | |
| | Film and TV Trades | |
| | Audio-Visual Media Tip Sheets | |
| | Bibliography | p. 392 |
| | Additional Recommended Books | |
| | Index | p. 396 |