Gadsby is a novel written in 1939 by Ernest Vincent Wright. The unique feature of this novel was how he wrote it. He actually tied down the E-key of the typewriter so he was not allowed to use that letter in the entire novel!

While some might see this as unimaginable and a task of almost certain impossibilty - the resulting work proves to be quite interesting.

You can actually read the entire book here, and gain some more insight into the novel at Wikipedia.

Can this kind of technique be used for songwriting?

Keep in mind, we are not necessarily talking about removing a single letter from your lyrics, but other examples of constrained writing.

Constrained writing means limiting the scope of what you are allowed to use when constructing verse, melody, or some combination of the two.

By nature most songwriting deals with constraints …

In Western music, for instance, we often deal with songs written in “keys” of major or minor (primarily). Once we have a “key” then most of our other chords are predetermined for us. Only through some (usually) well-known and common exceptions do we add chords outside of the established popular major scales.

With lyrics we also employ constraints. If we are using a certain rhyme scheme or certain rhythm to our lyrics we may be limited by what we can use for rhyming words at the end of a line.

But let’s try something more constraining:

PROBLEM:
Many writers lament they can write slow love ballads with ease, yet have a hard time writing up-tempo songs.

SOLUTION:
Constrain yourself by not allowing any slow songs. Constrain yourself further by not allowing yourself to write about “love” or “heartache”.

One part-time songwriter I know of tried this and over the course of a month wrote a half dozen uptempo songs that had nothing to do with love. (Okay it was me …)

PROBLEM:
New songwriters often write in confessionial style of songwriting. Experienced songwriters have learned to write in the “storytelling” style.

SOLUTION:
Obviously there are exceptions to this percieved “problem”. Some songwriters have made an entire career out of “confessional” songwriting. However if you would like to get better at storytelling and move away from what some consider “whining”, then it is time to invoke some constraints on your writing.

Jot down some great stories you have heard in your past and start writing some lyrics based on story. Chances are you may have a hard time at first and your initial stories may suffer from being too obvious or cliche or trite - but likely so did your initial “confessional” songs.

Mike Skinner of The Streets uses similar methods in his songwriting. In this article in the Guardian the reporter notes:

There is a note pinned up in his recording studio that reads, “Stating one’s location at the beginning of a verse is strictly prohibited.” It’s his “pet hate”, location-based intros. “You know - ‘Sunday morning, I’m lying in bed’ - it’s just the worst way to start anything. Like ‘Once upon a time.’ No. You need to just get in there.”

The same article goes on to state:

Skinner is proud of the fact that he managed to write Dry Your Eyes, a song about a break-up that made grown men cry, without using the word “love” once. There is a fair whack of emotion in the new album, although it is tempered by comedy and bravado. More than once, Skinner sings about being “panicked” and “frightened” and feeling as if he has no life outside the studio.

CONCLUSION
Putting constraints on your writing will only help you to grow as a songwriter, lyricist, and performer. It will help to broaden your outlook on life and help shape your career as an artist.

Happy songwriting!