What Metallica’s “Black Album” Teaches Us About Writing Briefly

October 22, 2021 § 7 Comments

By Brendan O’Meara

Thirty years ago, Metallica’s self-titled record Metallica, better known as ‘The Black Album,’ was released. It was Metallica’s fifth studio album and was a watershed moment for the band in terms of sound and, more important, brevity.

Metallica had made a name for itself with epic seven-, eight-, nine-minute-long songs, but it was ‘The Black Album’ where the four key players wanted to challenge themselves not by making increasingly epic songs with more intricate time signatures, but something more welterweight.

They wanted to reach more people, and in order to do so, they needed to cut the fat.

What can we, as writers, learn from this pivot?

Lars Ulrich, the band’s de facto spokesperson and drummer, said on the first episode of The Metallica Podcast, “Is it easier to write a short song or a long song? I would say it’s easier to write a long song. The hardest thing to do is edit yourself.”

It’s incumbent upon the writer to pen the shortest possible work, no matter the length. The editing down comes with constant rigor and self-questioning, self-reflection: Do I need this? Do I really need this? Aw, dammit, no!

We can’t fall in love with a great sentence or paragraph or guitar solo or lyric if it’s not in service of the piece. The floors of great artists are littered with masterpieces.

And even if you love a great turn of phrase, or an overly verbose exhibition of your lyrical pyrotechnics, you might be getting in the way of the message. Where are my footnote writers out there? You know who you are.

James Hetfield, lead singer and lyricist said on Episode 2 of The Metallica Podcast, “Drawing the listener in by not overplaying. Their ears get bigger to hear what you’re doing and it draws them in. Through subtlety, you can make more dynamics … Simplify stuff. Don’t be so fancy.”

This takes an incredible amount of restraint because if you can shred, why wouldn’t you shred? It means checking the ego and asking yourself, again, how does this serve the song, the essay, the book? Are you trying to be too funny? Are you undercutting your narrative with a gag, too much telling, a flourish better left on the bench? Ulrich said much of their earlier music, certainly on the album that preceded ‘The Black Album,’ was “self indulgent.” To get past this, strip it down and ask more and more of the words left behind to carry the day.

By keeping things as lean as possible, there’s nowhere for the message or the story to hide. If we surrender to the story, anything unnecessary melts off the skeleton and, as Hetfield says, the ear gets bigger, drawing them in.

And this isn’t to say iron out every wrinkle, every ounce of weirdness that you bring to the page. Part of what makes a piece snap, crackle, and pop is the you-ness you bring to a subject. That can be a unique take, your language, and even your ability to appear in the piece as a guide.

Hetfield managed to cut open his veins more from ‘The Black Album,’ and what he found was a greater connection to the audience. Again, it wasn’t self-indulgent, but in relaying a delicately worded personal trauma, it let the audience feel seen.

Matt Wardlaw of Ultimate Classic Rock writes, “The situations were getting vaguer and connecting with broader audiences. ‘I’ started showing up in Metallica’s lyrics more and staying. Hetfield’s characters weren’t getting strapped to an electric chair or chopping their breakfast on a mirror anymore, but the anger, aggression and fear were stronger than ever in the whipping boys and scapegoats that reached millions.”

For the memoir or personal essay writer, it’s not enough to have had this weird/quirky/traumatic experience. It has to serve the reader in some way. This way the reader can overlay her own experience on yours. You dissolve away, you become a vessel for the reader’s experience. You, in effect, become invisible, but all present.

In physics, we talk about density. A cube of lead the size of dice is heavier than an equal mass of aluminum that’s several times “bigger.” That’s packing a punch in a small package, and that’s the great lesson in Metallica’s ‘Black Album,’ that it sacrificed zero power in going shorter, finding freedom in tighter confines.

___

Brendan O’Meara hosts The Creative Nonfiction Podcast and is the author of Six Weeks in Saratoga: How Three-Year-Old Filly Rachel Alexandra Beat the Boys and Became Horse of the Year. You can follow him on Twitter @CNFPod. Better yet, sign up for his newsletter at brendanomeara.com.

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§ 7 Responses to What Metallica’s “Black Album” Teaches Us About Writing Briefly

  • Heidi Croot says:

    That second-last paragraph, wow. Rarely heard it so well put.

    • bromeara8 says:

      Hey, Heidi, thanks for the kind words, glad that graf struck a chord (rock-and-roll pun definitely intended).

      In early drafts I think it’s OK to be a bit self-indulgent with this “thing” or whatever happened, but at some point you have to consider how the reader will benefit from the story, however you define benefit, in this case. Hence why we write dozens of drafts!

      Thanks for reading, and happy writing!

  • “The floors of great artists are littered with masterpieces.” Wow. Yes. Thanks. May all our floors become so littered!

    • bromeara8 says:

      Hey, hey, Jennifer! Indeed … I’m trying to line up a conversation with Ira Glass for The Creative Nonfiction Podcast, and I know for a fact, that the cutting room floor at This American Life is, likewise, littered with masterpieces.

      Have a great day!

  • Great post, Brendan! I think the willingness to cut even when it hurts is what makes one an author. Sometimes I decide to indulge myself in a personal piece instead of cutting as much as I should. Still, if you feel an author’s job in writing is to serve the reader, most of the time spent should be about culling anything that doesn’t add value.

    • bromeara8 says:

      I always find watching deleted scenes from movies a great exercise in this. You see all the work that went into that scene and it got cut, but when you really think about it, what did it add to the story?

      There’s commentary about deleted scenes for the movie Ratatouille with the director Brad Bird. It’s brilliant. Commentary over why the scenes had to go is so rare. Tough decisions, but when you get to the very end, what serves the story, what serves the reader/viewer, etc?

      Fun things to think about.

      Thanks, Donna!

      • Heidi Croot says:

        Ratatouille now on order. I’ve always wanted to watch it anyway. Thanks for the tip, Brendan!

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