THE PROBLEM WITH DOUBT
Doubt is a dangerous enemy when it comes to making music, and doubt will ultimately prevent you from making potentially great music. Ideas can be delicate and fragile things and any doubt or insecurity is a heavy burden that can destroy your spawning idea before you'd had a chance to realise it's potential.
Nothing could be more important when you're writing than how you deal with the inexorable seeds of doubt that will come to you throughout your day. It is inevitable that the demons come, and they haunt us all. The key is to not let them define you and stop you from moving forward in your music making. I know several amazingly talented musicians who can’t deal with their seeds of doubt and end up not being able to develop their career at all. They start hundreds of pieces of music and then let doubt consume them and stop them from finishing tracks or having enough confidence to share them with the world - these people could be so successful and it's a tragedy to see. The impact is HUGE, life changing. This is not a small detail to your day. How you deal with your seeds of doubt will impact whether or not you have a career and how good that career will be.
A real vibe killer in the studio is when you start doubting whether your current idea is the best one, and your doubt urges you to neglect the idea you are currently working on to go and search for a better one. Personally I feel this really kills the flow, and I prefer to think of every idea I am working on as a sacred one with potential of it's own to be developed, and as such I have developed a great strategy for dealing with this never ending prism of possibilities: Ready for it? I go ahead and develop almost each and every idea that spawns from the first one. As soon as I sit down with my instruments I start saving different versions of the song every time I create a new music sequence that sounds nice, and I then develop each and every one of those ideas in parallel to each other. Using this process I find that in every writing session during a day I'll typically create maybe 4 or 5 separate songs from the same starting point. This way I don't have to become preoccupied with "what if" or "what about that".
So in other words, rather than ditch my ideas I prefer to save different versions every time I hit on something interesting and I vow to develop each idea along it's own personal trajectory, in order to explore whether the jam truly had potential or not. 9 times out of ten it's the more quirky unexpected moments you hit on during this session that turn out to be the most interesting - and you would never have found that out if you hadn't gone through the effort of developing each idea and arranging through to finish. So with that experience in mind I encourage you to also aim to develop all the ideas that sprout out from a single jamming session, and don't look back in doubt. Since you are working on several similar ideas in parallel you don't need to doubt so much and you can just enjoy exploring different paths knowing that you don't have all your eggs in one basket.