Yeah, I'm aware my name could even be Anna Lytical. Lol If you have the instincts from listening and playing a lot of good music that causes you to write music this way or that allows you to break the "rules" for a good reason then analyzing too much gets in the way. Most people aren't the Beatles. I've met lots of people who resist doing this stuff consciously like the plague. Some people are unconscious competents (they consistently write good music without thinking about it too much), some are conscious competents (who are good at explaining what the unconscious competents are doing) and some are incompetent (and need no introduction ). Most people seem to think that doing it without thinking about it is best (Or is that only guitarists?). But while they're trying to do that, their career is floundering and wasting precious time just like a lot of us have done.Before I read the Berklee book, I had "analyzed" a lot of music but didn't know what to look for even after a Bachelors in music. Me and a lot of other people thought we knew but we didn't. It was a revelation to me that varying the starting and ending points and pitches are important in popular styles of music. (Rock and Rap are popular in this definition) Since I discovered that, I feel enlightened. I started writing a lot more music that I liked and a lot more music period. (But marketing bamboo xyllophones is not for the faint of heart. Haha) Anyway, I've got 30 tunes that haven't been recorded yet. I'm a bit busy with a masters in music composition but I'll get around to them and more eventually before I leave this rock. I think it's best to take the big picture and plan in advance how each song on an album is going to be different. You can always change things later if they don't work out, but having variety planned in from the beginning will probably benefit most people. So, for arguments sake, you could define the parameters of your next album by saying The first tune will be in C Major the second rune will be in Db Dorian and the third tune will be in D Mixolydian and the fourth tune will be in Eb aeolian and the fifth tune will be in E minor pentatonic etc...Then decide on variations in the form. IVCVCBCO, IVCVCBCO, IVRCVRCBRCO, IVCVRCBRCO, IVCVCBRCO, IVCTVCTBCO, IVCVCTBCO, IVCTVCBCO, I=intro, V-verse, C-chorus, R-rise, B-bridge, T-transition, O-outroThen make a chart and plan variations in each section of the music, perhaps the first tune can have two four measure phrases in both the verse and chorus, then don't do that again on the rest of the album. Have an 8 measure phrase folowed by another 8 measure phrase, have an 8 measure phrase followed by a 4 measure phrase. Have a four measure phrase followed by 2 two measure phrases in one section and two four measure phrases in the second one. Or a four measure phrase followed by a 3 measure phrase or a 5 measure phrase even. If something doesn't work then just fall back on the tried and true 8 or 16 bar section divided in half. If you're running out of ideas is when you might want to start both the verse and chorus on the same note in one song and start the verse and chorus on the same beat in another song. (I don't recommend doing both but it might work for a special song perhaps with drone and sitar.) Or switch things up by having the verse start on the downbeat. Anything is possible really but like my art teacher used to say, it's better to know what the "rules" are and why you're breaking them. (Variety is a good reason I think) Then within the phrases you'll want to plan some variety in the RHYTHMIC scheme which the melody may or may not follow. Schemes like abaa abac abba abcb abca abcd aaab aaba abab abcc. Something my professor of composition recommends is to use at least three different rhythmic levels in the same instrument especially when an instrument first comes in, such as quarter notes, 2 eighths and 4 16ths for the sake of explanation. This is something I haven't looked into yet as far as popular styles of music go, but it may have some bearing. Another thing to try is to plan to start on a different chord in each song's ChorusIf all of you're songs are in CMajor, for the sake of example, then start the chorus in the first song on D minor, in the second song on E minor, in the third song on G Major, in the fourth song on A minor and the the fifth song on C Major. Even if you don't keep any of these or the previous schemes, it gives something to shoot for and starts people writing, which may lead to new and better ideas.The last chord of the verse sections should have Subdominant function which may be the actual subdominant chord. Taking the example of a verse starting in C Major then it's last chord could be F Major but other chords can serve as substitutes for subdominant function. The second chord D minor will work. You just don't want to end on the I or the V chord in the verse unless you know how to treat them, such as placing the IM7 chord in 3rd inversion weakening it's tonic function. Now you have the first and the last chords of the verse and the first chord of the chorus. Often the chorus ends on the I chord but you can also use another chord that can substitute for the tonic function such as the iii chord. Following these "rules" for harmony will help avoid wandering chord progressions. Another thing to think about is what the Beatles used to do. They would say if the chorus doesn't have any chromaticism then the verse will: either in the melody or in the chord progression or both. Another way to do that is if there is chromaticism in the melody in the verse then there won't be chromaticism in the chorus' melody but can be in the chorus' harmony in order to change things up.The same idea applies to the melodic rhythm. One section can have some syncopation, while the other is more flat footed. Or if the melody is flat footed then the accompaniment is syncopated and visa versa. That's not something I've employed much consciously but I'll give it a shot at some point not that I probably haven't already done it unintentionally.Also the first phrase within a section can be syncopated while the second phrase is flat footed or the antecedent within the first phrase is syncopated while the consequent is more on the beat within the first phrase. Cuban and African music even take it down to the level of one or two measures, where the first measure of the Clave is syncopated and the second measure is on the beat.Hope that helps. I'd say good luck but it's mostly skill.