Absorb the moves hit writers make without thinking, so you start making them without thinking too

A 7-day lyric course, 10 to 30 minutes a day. By day 7 you'll have a finished lyric you're proud to say you wrote.

All you need is a pen, paper and the songs already on your playlist.

You've written a lot of songs. Possibly hundreds.

But if a stranger asked to hear your best ones, you'd play about two. Then you'd spend the third song apologising for the bridge.

You know the feeling

◻ You read your lyric back and your gut quietly clears its throat.

◻ Something's off. You can't say what.

◻ You swap a word, then swap it back. Then it's 11pm and you've got work in the morning.

◻ You play it for someone you love. "Oh, that's really nice," they say, in the voice they'd use for a casserole that didn't quite set.

So you bought the books. Watched the courses. Learned rhyme schemes, prosody and stressed syllables.

Your songs, though? About the same.

Which leads to the awful little thought: maybe great songwriters are just born with something I wasn't.

I don't believe that. And I've spent years in rooms with the people you'd assume were born with it.

I'm a Billboard-charting writer and producer. For years I worked as an A&R manager alongside writers and publishers from Sony, Universal, Capitol CMG, Hillsong Music and more. Some had Grammys on the shelf.

I'd ask them straight out: how did you do that?

Most of them couldn't tell me. They were running on instinct. One looked at me like I'd asked how he breathes.

So I stopped asking them to explain it and found a way to transfer the instinct directly.

Here's how it works

Analysing a song from the outside keeps you in the audience, taking notes.

Hand-copying it slowly puts you in the writer's chair. Your brain processes every line twice: first as the listener, then as the writer who built it. That second pass is where the magic hides, and nobody else is teaching it.

Every day has 3 parts (10 to 30 minutes total):

1. Inception: Hand-copy a section of a hit lyric, or the whole song.

2. Extraction: Decode the invisible moves inside it. I'll show you where to dig.

3. Embed It: Use what you found in your own lyric straight away.

Across the 7 days: titles → chorus → first line → verse 1 → verse 2 → bridge and pre-chorus → the full song.

By day 7 you have a complete lyric. 

You wrote it, by hand.

Here's what you'll decode over the next 7 days

DAY 1 Titles

You know when a title stops you cold, but not really why. Day 1 is where that changes. And once you know, you can't unknow it.

DAY 2 The Chorus

Most courses tell you to put the hook in the chorus. 5 stars. lol. But what actually gives a chorus that "energy" (like the rush of your first kiss) no matter how many times you hear it? Day 2 is when you find out.

DAY 3 The First Line

Your opening line is your first make-or-break moment. After Day 3 you'll know how hit writers light a fire in the first line that pulls the listener all the way to the final note.

DAY 4 Verse 1

Does a great verse 1 simply set the scene? Or is there something deeper going on? On Day 4 you'll find out how hit writers leave a trail of breadcrumbs that has the listener locked in before the chorus even hits.

DAY 5 Verse 2

This is where your songs have been dying without you seeing it. Day 5 is the autopsy that reveals the cause of death and prevents future songs from dying in your arms.

DAY 6 The Bridge & Pre-Chorus

A bridge or pre can feel like the weird uncle at Christmas dinner: part of the family, but nobody's sure what he adds to the occasion. On Day 6 you'll find out exactly what he's for and how to make him the most important person in the room.

DAY 7 The Full Song

The longer you sit with a song, the more you second-guess it. Until what started as something real ends up overcooked and lifeless. Day 7 changes that. By now the instincts hit writers edit by are already in you. So instead of guessing what's wrong with a line, you'll know.

This works even if...

◻ You've only got 20 minutes after the kids are asleep (or pretending to be)

◻ You've bought courses before and walked away smarter but not better

◻ You can't read music, can't name a chord past G, and suspect "prosody" is a skin condition

◻ You've never been in a professional writing room

No more theory. No AI writing your songs for you. The pen stays in your hand.

5 things you'll discover inside

◻ Why copying a lyric by hand teaches you things reading it fifty times never will

◻ What a great title is quietly doing before the first line starts

◻ The hidden job of a first line, and why most writers waste theirs warming up

◻ Why verse 2 is where most songs go to die, and what hit writers do differently

◻ Where to dig in a song you've loved for years to find decisions you never noticed were decisions

What songwriters are saying

Future you (the one 7 days from now) has a few updates on where you're at…

"I don't play songs for people to find out if they're good anymore. I already know before I hit play."

"It's not like every song is magically a smash the morning after. But they're not a write-off either. I know exactly what each one needs now."

"I used to think the answer was just… write more songs. Turns out that got me nowhere. Now every song I write is better than the last."

Future you has 7 days of insights and a complete song.

Right now, you have a button to click.

Everything you get

SUBLIMINAL SONGWRITING: LYRICS EDITION (the full 7-day guided course)

BONUS 1: "The AABA Chorus Is Not What You Think It Is" (from my advanced course, Top Shelf Songwriting)

BONUS 2: A Beginner's Guide to Setting Melody to Lyrics

YOUR PRICE TODAY: $17*

Why only $17?

You've already spent money on courses that taught you a lot and changed very little. I'd rather this be an easy yes.

It costs about the same as a decent set of guitar strings, the ones you forget to change for eight months. This won't go dull.

Grab a pen. Pick a song you love. Let's find out what the writer knew and never told anyone.

Nathan Eshman
Inspire the Song