Why I’m Stealing This Bruce Springsteen Songwriting Hack (And You Should, Too)

Between juggling day jobs, finding inspiration, and figuring out how to walk the precarious tightrope of genre definition, being an American songwriter is often easier said than done. But in 2013, Bruce Springsteen dropped a deceptively simple writing secret during an interview with Uncut magazine.

A fleeting comment in an otherwise lengthy interview with the British publication, the beauty of Springsteen’s advice is in its almost obvious nature. “Well, duh, Melanie,” you say. “Of course, Springsteen would have good advice.”

To which I’d humbly reply, “So, why aren’t you using it yet?” Here’s a helpful trick for both of us to use. Happy writing.

Bruce Springsteen’s “Secret of Songwriting” Hack

From “Born in the USA” to “I’m On Fire” to Nebraska deep cut “State Trooper,” Bruce Springsteen has no shortage of seemingly universal songs that appeal to the masses. However, as he explained in his 2013 interview with Uncut, universality isn’t his initial goal when writing a song. In true artist fashion, he’s thinking about himself first. While discussing his track “Lonesome Day,” he describes how the song shifts from first to third person.

“I switched right out of this personal thing to this sort of overall emotional mood and the feelings that were in the air here in the States around that time,” Springsteen explained. “But it works because one thing works with the other. The second verse can actually come in on what was said in the first verse.”

“The secret of the songwriting,” he continued, “was to get personal first, then you sort of shade in universal feelings. That’s what balances the songs. All experience is personal, so you have to start there. Then, if you can connect in what’s happening with everyone, the universality of an experience, then you’re creating that alchemy where your audience is listening to it. They’re hearing what they’re feeling inside, and they’re also feeling, ‘I’m not alone,’ you know? That’s what you’re trying to do.”

Put Yourself First, Then Branch Out From There

Whether you consider yourself a folk, country, rock, or other artist, we all tend to drag a dark cloud of self-doubt behind our writing process. What if people don’t like it? What if it’s too specific? What if it’s not specific enough? John Prine says to leave certain details to the imagination. Joni Mitchell will describe how the Coyote’s eggs were cooked at that lonely diner with the leggy waitress. What to do? Where to turn?

I notice these trepidations within myself and my fellow community of songwriters. Bruce Springsteen’s songwriting hack is the most functional advice I’ve seen thus far to help bridge the gap between personal and universal experiences. I think we, as individuals, tend to believe our reality is far too nuanced for anyone to possibly understand in totality. But then again, so do all your bandmates, best friend, mom, partner, and gas station clerk you see after you get off work…everyone thinks that.

And in a way, we’re all wrong. The human experience is more connected than many of us—especially artists—tend to believe. After all, what other reason is there to make art besides expressing your unique perspective on life? Knowing your experience isn’t as distinct as you thought can be frightening. It can also be exhilarating.

So, that’s why I’m happily listening to The Boss and taking a page out of Bruce Springsteen’s book. Start as personal as it gets. Get so specific that it’s almost embarrassing. Get so specific that it is embarrassing. Then, start making connections to the outside world. There are often many more than we’d like to think.

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