"Pants delivery was my eureka moment," Julien Ehrlich of Whitney says on the pod, and with that we have my favorite out-of-context pull quote.

Ehrlich was not speaking metaphorically: when he and bandmate Max Kakacek were writing Whitney's first album, he drove a clothing delivery van that had no working radio. The monotonous drives were great sources of inspiration. Kakacek, on the other hand, was a competitive swimmer until he turned 18. Swimming endless laps staring at the bottom of the pool was a boon to his creative process. Kakacek runs now, where the monotony takes on a new shape: he listens to the same song over and over for his entire run.

"Lyrics don't come naturally to our brain," they said. "Our North Star is the melody." One big change to their process is learning how to tweak less.

Whitney's latest album is Small Talk.

“I’m a ‘go in phases’ type of gal. It took me a year and a half to write this record, but it came in blocks,” Gatlin says. It’s how she manages her routine in those blocks that makes her songwriting process so fascinating. Gatlin is most effective between 3pm and 5pm, and thanks to a typing class she took as a child, she can type those lyrics at 95 words per minute. She finds walks to be particularly inspiring for lyrics, but when she’s with her guitar, Gatlin sits cross-legged and gently rocks back and forth as a way to focus. And just like many songwriters have told me, bathrooms are especially productive.

Gatlin’s latest album is Eldest Daughter on Dualtone Records.

"I made a conscious effort on this album to be more disciplined in my writing because my ideas were getting stale and I was writing from the same place," Mariel Buckley told me. "I realized that my material was becoming repetitive when I was waiting for inspiration to strike."

Buckley's new process involved writing every day and writing from a more joyful place. The result is her fantastic new album Strange Trip Ahead.