WOW! 

This would be SO far out of my comfort zone lol... But YOU pull it off! NICE 🙂

It's not exactly my comfort zone, either, Tony. That's what made it fun to try 🙂

In that long Verse I it seems like we're waiting a long time between Lines. Then when the Lines come the information in them doesn't advance the storyline much. We're a minute and 11 seconds in by the time you get to the Chorus. Some recommend getting there more quickly, within 47 seconds, no later than 60 seconds. The 'wait' time in Verse II doesn't seem as long.
Three 'And's and a 'But out of eight Lines. I think they're just clutter, in the listener's ear, and in the singer's mouth.
The "Where are you, whoever you are" Line strikes me as more intriguing. I wondered if it would be a better title Line. But the rest of the Lyric doesn't really set up for it. Nor does it set up for "A Heart That's True". The Singer-Character talks about himself for eight Lines, just abstract philosophizing. Then, suddenly, he addresses himself to a 'You-Character'. And then he wonders about the difficulty of finding a heart that's true, but nothing in the Verse gives the impression he's having that trouble.
Later the Singer-Character addresses himself to the audience, the listener, about what 'She' did.
The two-Line Coda employs the same Melody as the Chorus. If it's intended as a Bridge it might work better if it had its own Melody, different from either that of the Verse or the Chorus.
I'm wondering if scrambling the Lines around a bit might be interesting. As an exercise you can actually print a Lyric out, cut the individual Lines into strips, and rearranged them on the table, just for an exercise in editing.

A HEART THAT’S TRUE
(Words & Music by Gavin Sinclair)

In my life, I guess, I've had my share of lovers
Well, not that many, truth to tell.
And it would break my heart to think I ever broke another
I know that feeling far too well
And I would always take such care
Of a soul when it was shared
'Cause I'm no stranger to the pain of a broken heart
And here it comes again

Where are you, whoever you are?
I've been searching so long
And I wonder why is it so hard
To find a heart that's true?

Ships that should have been passing in the night
We were destined to collide
She cast me loose upon the sea, no land in sight
Drifting with the wind and the tide
In the end I washed up on the shore
But I can't do this any more
Am I crazy to dream that I might still find
A heart that beats as true as mine

So where are you, whoever you are?
I've been searching so long
And I wonder why is it so hard
To find a heart that's true?

I’m no stranger to a dream that won’t come true
But I keep looking for you

Hey Gary, thanks for your comments. I always really appreciate the time and care you put into commenting. I think you make a good point about the pace. There is a long gap between lines. This is not uncommon in this kind of emotionally charged song, I think, but I was aware of it when I recorded it and considered increasing the speed from 125 bpm to 130. I'll be interested to hear what others think. It's less noticeable in the second verse because by then the drums have kicked in. I left them out of the first verse, because I actually wanted to build from a slower feel. I might have overdone it 🙂

As for the storyline, there isn't really much of one. It's not really a story song. It's mostly just a guy emoting, with some context around it. In verse one, the singer describes the kind of guy he is and how and why he wouldn't treat a lover badly and, at the end, hints that someone has done that to him. In verse 2, he tells us more about that, albeit in a vague, metaphorical way. The choruses are just him wondering why he can never find someone who will treat him the way he tries to treat others - a heart that's true. There is no "you character." That's kind of the point of the hook. He's not addressing a known person, but expressing the belief that she must be out there somewhere. 

For once, I have to disagree with you about the "ands" and "buts." There is so much space for these, and they are there deliberately because they fit the rhythmic feel and make it easier to sing. I actually added one of them for that reason.

The last two lines are a coda, not a bridge. Lyrically, they hark back to the last two lines of the first verse, and it seemed appropriate to use the same melody. There is pretty distinct difference between the first part of the verse and the second, which is maybe a pre-chorus, so I thought injecting another variation might be overkill.

You're right about it taking a long time to get to the chorus. Even though it was the starting point for writing the song, I think the chorus is maybe the weakest part melodically, so maybe I'm doing the poor listener a favor LOL.

Thanks again, Gary. I really appreciate your feedback. 

Yes, it has that 'Scottish Ballad' 'feel' about it, where an emotive Lyrical Line calls for following by a pensive musical 'moment' to think on what's been said. 
My 'ands/buts' critique is mainly to ask Lyricists whether they have a reason for their inclusion, other than connecting Lines, which I contend is an argument for their omission. As long as you have reasons for them, Rhythmic flow, Prosody, or word-meaning it is the Song-Writer's judgment call. Clutter in the mouth of the singer is my main argument against, especially the slurring singers often do with 'and', failing to enunciate the 'a', leaving 'nd' to slur into the next word. I don't recall whether you do that. I may listen again to see. Your enunciation is very good by the way, another of my main complaints. A Lyric is a Communication, 'sent', but incomplete if not 'received'. Yours is a cut above.
The 'scramble' exercise I mentioned might rearrange your Lyric, thus, requiring a rethink of the Melody, but worth exploration.

"Where Are You (Whoever You Are)"
(Words & Music by Gavin Sinclair)
(Verse I)
It would break my heart to think I ever broke another (The 'Heart That's True' concept is implied using this as the opening Line.)
I know that feeling far too well
In my life, I guess, I've had my share of lovers
Well, not that many, truth to tell. (Your Rhyme-Scheme doesn't change, Lines 1 and 3, 2 and 4, in this 'scramble'.)

I would always take such care (But Rhyme-Scheme in these next four Lines goes awry. Lines 1 and 2, with 3 and 4 un-Rhymed.)
Of a soul when it was shared
'Cause I'm no stranger to the pain of a broken heart
And here it comes again (This Line implies that the Singer-Character is experiencing the loss of a 'heart' that turned out not to be 'true', but she doesn't materialize for me as being in the Song. The Singer-Character refers to her, 'We', 'She' but the other six Lines in Verse II are more of his self-talk, neither developing the 'heart' he did find, nor longing for the one I think is the more compelling, in the "Where are you..." Line.)

(Chorus)

I've been searching so long

And I wonder why is it so hard

To find a heart that's true.
Where Are You, Whoever You Are? (Placing this intriguing Line as the last of the Chorus, emphasizing it as the main idea, could inspire a more focused followup in the Lyric, the idea of his yearning to find this idealized lover.)

Ships that should have been passing in the night
We were destined to collide
She cast me loose upon the sea, no land in sight
Drifting with the wind and the tide (Developing the nautical theme here, Lines 5 & 6, but these Lines could be rewritten to focus on the one he's searching for, rather than the one left behind.)
In the end I washed up on the shore
But I can't do this any more
Am I crazy to dream that I might still find (Here the Singer-Character is closer to the 'Where are you...' concept.
A heart that beats as true as mine (This Line would lead back to the Chorus with its 'heart that's true' Line 3 (In my scramble).
(Rhyme-Scheme in those last four Lines of Verse II, 1 and 2, 3 and 4, unlike Verse I, 1 and 2, 3 and 4 un-Rhymed.)

I've been searching so long
And I wonder why is it so hard
To find a heart that's true.
Where Are You, Whoever You Are?
(The Coda Movement below is in the ideal position to serve the function of a Bridge, Verse/Chorus, Verse/Chorus, Bridge/Chorus.)

I’m no stranger to a dream that won’t come true
But I keep looking for you (And this final Line focuses on the idea of, "Where Are You, Whoever You Are". You might change it to 'I'll keep looking...')

Just ideas to stir the little gray cells! 

Well, I wasn't going for anything Scottish, but maybe that just creeps in every time 🙂

Yes, that would require a rethink of the melody. I might be able to implement some of your suggestions in other ways. Sometimes I have a tendency to think in terms of individual lines or couplets, zeroing in not just on the meaning but the sound, the feel or the way they say things. There are a few instances of that here. It's not a bad thing. Quite the opposite - it is possible to write lines that can be enjoyed in isolation and many people only actually remember a line or two from a song - but I will need to look and see if it holds together a a whole.

Thanks again, Gary.