Writing a Musical: Tips and Resources

Tools Composers Love: Faves from the Pros

Wondering what music tools and tech the pros use? Here are a few tools composers love as given by my composer friends and colleagues.

The Wizard and I – The “I Want” Song

by Holly Reed | 7 |

The “I Want” song, usually the second number in a show, tells us who the story is about and the thing they’re willing to risk everything to pursue.

Curtain Up, Light the Lights – Writing Opening Numbers

by Holly Reed | 5 |

When constructing “curtain up” moments and opening numbers, you must be clear, clever, and able to convince the audience to stay with you for the ride.

Writing for Today’s Musical Theatre Performer

by David Sisco | 5 |

There are a number of challenges musical theatre performers face in today’s industry. Most pressing are the vocal demands of a musical theatre score. Some contemporary scores require what is considered heavy vocal load singing for longer periods of time than is healthy. As writers, we have a responsibility not to normalize potentially dangerous vocal writing for the voice. We must take into account what the voice is capable of recreating 8 shows a week, whether on a Broadway stage or regional theatre. It is the highest sign of respect to the performing artists, who bring to life our characters, allowing them to tell their stories in more powerful ways.

Helping Characters Land Through Song

by Steve Cuden | 6 |

Audiences need to discover a unique protagonist to whom they can attach themselves and follow as he pursues a powerful goal. The goal is the hook. Pursuing it is what keeps the audience invested in the protagonist and his story.

What’s New in the Public Domain for 2023

by Holly Reed | 4 |

Looking for new ideas for writing a musical? A great place to start is the canon of works in the public domain. Here’s what was released recently and is yours for the adapting!

3 Writing Tips from Wicked Creators Winnie Holzman and Stephen Schwartz

by Carol de Giere | 3 |

The people who created the musical Wicked did many things right. They ended up with a mega-hit...

“If I Loved You” – Conditional Love Songs

by Holly Reed | 4 |

Not every show has a love story at its core, but most do. It can take the form of romantic love, familial love, friendly love, or passion for life, but (in a good story) the heart of the protagonist is always on fire for someone or something.

By the Light of Metaphor: Experiences of Metaphor-Maker Stephen Schwartz

by Carol de Giere | 2 |

From whole-song metaphors like “Meadowlark” and “Beautiful City” to the nature-inspired similes of “For Good,” Stephen Schwartz is a master of imagery-filled lyrics that represent an emotional journey.

Story Design: The 7 Plot Points

by Holly Reed | 1 |

The 7 Plot Points are often used in creating narrative structure for novels, films and musicals. Use them to evaluate, refine and polish your script.

5 Key Takeaways from Irene Sankoff

by Kenady Sean | 3 |

The MusicalWriters community recently chatted with Come From Away writer Irene Sankoff. Here are our 5 key takeaways for new musical development.

Orchestrating a New Musical: The Wind Section

by Travis Frank | 1 |

The musical theatre orchestra wind section includes both woodwind and brass instruments and can be used to provide color, texture, and a big band jazz sound.

Bushwhacking: Second Couples, Villains & the Multiplot

by Holly Reed | 1 |

We have established our “normal world” (time, place, characters, and rules of said world), identified our hero, defined his/her clear “want,” and entertained the audience a little as well. Now what?

Orchestrations: The Hidden Secret That Makes a Musical Great

by Kevin Laskey | 2 |

Orchestrations play a surprising role in how audiences get caught up in the work. They’re that little bit of pixie dust that can make a musical take flight.

Wicked the Musical’s Groundbreaking Score – Act 1

by Guest Writer | 0 |

The score of the musical sensation Wicked is groundbreaking because it brilliantly melds pop idioms with sophisticated musical theater song construction.

Orchestrating a New Musical: Instrumentation and Setup

by Travis Frank | 1 |

Instrumentation is selecting which instruments will be present in the pit band of a new musical and is often determined by the style and budget of the show.

Orchestrating a New Musical: The Rhythm Section

by Travis Frank | 1 |

The rhythm section of a musical theater orchestra is usually defined as the keyboards, guitars, drum kit, and bass. Travis Frank discusses how this section keeps the rhythm and groove throughout numbers and how best to write for this versatile group of musicians.

The Superobjective: Keeping Your Story on Track

by Steve Cuden | 0 |

It is the pursuit of a protagonist’s “grand goal” or superobjective that grabs us and keeps our attention. Stay on track and never lose focus of that goal!

I Want Songs in Context

by Carol de Giere | 1 |

One way writers can avoid musical muddle is to write a good I Want piece. The audience needs to know the longings of the central character by having him or her sing about what’s missing in their life. Since we tend to root for a character to get what they want, we become engaged.