How do you know if you’re writing songs that the public wants to buy? It’s a question I’m sure you asked yourself after reading my previous article on the ‘job’ of a songwriter.

The most obvious way is to study what has worked in the past – those songs that have sold a ton of records (remember, the difference between a ‘hit’ and a ‘HIT’ is the number of records that song helps sell). Generally speaking you’ll find a few qualities similar in these super-sellers.

Here are four ways to appeal to the record (and MP3) buying public:

1. Universal Themes Help.

Songs with themes on Love and Heartbreak do incredibly well, that’s why there are so many of them. But songs that strike a chord with the majority of the general public, that have some reference to popular ideas, do even better. “Lean on Me” (Bill Withers), “I Hope You Dance” (Tia Sellers, Mark D. Sanders), “We Are the World” (Michael Jackson, Lionel Richie) are all songs with big themes – universal in their message. It helps tremendously if you can write one of these songs without cliche.

2. Know your Demographic

I’m not sure if this is something that talked about quite as extensively in Popular music as it is in Country, but every serious Country songwriter can tell you the record buying demographic in Country music – women ages 18-35. It’s who the radio pays attention to. It’s who record labels cater to. It’s who the whole world sells to. (Ever wonder why it’s been so hard for female artist on Country radio lately and it was over two years before a female Country artist (Gretchen Wilson) charted at the top? Now you know. Women want men first and foremost; And secondly, they want their women to be ‘normal’, a lot like them, and not too much competition)

In Pop music the demographic is ages 12-17. The idea is to cater to these groups in the way you write your material. “Honky Tonk Badonkadonk” had appeal not only from the guys who loved the sexual inuendo and message, but also from that all important demographic, the girls – who didn’t get all offended over the content (they were too busy having fun dancing to the song on the dance floor to take it too seriously).

The optimal idea though is one that caters to every demographic (again, that’s why big themes work, practically everyone can agree – regardless of age).

(You’ve read points #1 and #2. Read on for point #3 and #4 …)

3. If There’s a Joke, It Helps To Let People In On It.

References to items, names, dates, places, or things are great to have in a song. Chances are someone somewhere will have used, or will otherwise know what you’re referencing. I’ll give you an example from one of my own songs:

She switched sides,
Left me high and dry,
Fell in love with the other girl,
Broke my heart and shattered my world,
And now everybody knows,
She told me on the Springer Show,
I just can’t beleive she would do this to me,
I never knew she could be so cold,
She switched sides.
-Switched Sides
-words and music by Paul King
-c2004 Way Low Halo, ascap.

Anyone who has ever seen the ‘Jerry Springer Show’ would know that what they do is have girls come out and tell their boyfriends that they’ve fallen in love with another girl. This ultimately leads to meyhem. I bet most of you have seen this same episode play itself out about a hundred times on the Springer Show as it’s part of the regular ‘plot’ of the show.

Incorporating, or better, writing a song about what happens on a TV show is one way to grab attention and cross that boundry. Just make sure the show isn’t too obscure for most people to get the ‘joke’.

4. Most of the time, they are in 4/4 time.

The majority of songs are in 4/4, but sometimes a songwriter likes to experiment with different time signatures. There’s nothing wrong with doing that – just remember, 4/4 comes ahead in sales at about a 8:1 or 10:1 ratio. It’s just hard to beat the numbers.

Ultimately as a serious songwriter, you should always be thinking about the money (Not that you’ll ever have any, who does?) – the money that your song can make for others in the way of record sales. And you should pitch the song in the same way. Always explain the financial benefit of cutting your song. Try to get them to believe in your vision of a million seller (a HIT) – not just another ‘hit’.