I call those times when I haven't written in a while 'fallow' periods, like a field the farmer doesn't plant one year, letting the grass and weeds grow, fixing nitrogen in the soil, so it will be ready for a crop again in the second year.
I often write long, wordy Songs coming out of the fallow period, just enjoying wordplay, letting the story go where it needs to go to find THE Hook, and a satisfactory denouement.
They may be too long for radio, more Singer-Song-Writer style than singalong pop hit, but they serve a function.
Ideally though, if you want other people to sing your Songs, they need to be short, short Lines, in prosody with interesting Melody, tempo, percussive vocalization, on the beat, memorable, memorizable, singable. Sometimes you'll hear a singer rushing to get all the words into a space, or altering the natural accented syllables of a word to match up to a Rhythm dictated by that Line in other Verses.
Getting some of the words out of the mouth of the singer, so they have time to breathe, so they can enunciate and communicate the other words, can be beneficial.
Especially egregious is the 'connector' 'and'. Singers don't enunciate the 'a', leaving the 'nd' to slur into the next word. Listeners are distracted figuring out what that word was, so they're not paying attention fully in the rest of the Line. e.g., 'and I' becomes 'ndi', and may sound like 'die'. I've seen Lyrics with a half dozen 'But's, lots of 'And's and too many 'Cause's. Writers use them to connect ideas, but listeners may not need them to 'get' what the Line is communicating. It's a Song-Writer's judgment call. Sometimes we're locked in for that word's setup for the Rhythm and Rhyme that follow. It's always your Song. You, as the first listener, get to make the call. I always recommend checking to see how you like it without them.

There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com