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Songwriting Tip: How to Keep Your Publisher, Manger, Agent, Producer & Label Happy

  
  
  
  

How to Keep Your Publisher, Manger, Agent, Producer and Label Happy

By Molly-Ann Leikin, Song Marketing Consultant

Molly-Ann Leikin, hit songwriter

You’ve heard of the running of the bulls in Pampola?  When you’re famous, that’s exactly how people will stampede, tripping over themselves and killing their young, desperate to give you whatever you want.  They’ll take all of your calls before you even make them, answer your texts instantly, come to your parties, early, with cases of Cristal, and help your kids with their pre-school entrance essays.

Until then, while you’re still on your way up, and determined to catch someone’s life-changing ear, the job of making the population of your business entourage happy is all on you.  Period.

The good news:  your Publisher, Manager, Agent, Publicist, Label (PMAPL) can only make money when you do.  The bad news:  with sixteen hours in a work day, the bulk of their time is spent on The Guarantee.  If they represent artists who are making 18-wheelers stashed with cash right now, chances are good they won’t drop everything to put their team on your standby gig at Starbucks, North Eastern Outer Mongolia.  Know that.  Deal with it.  Don’t call and leave hate messages or deliver dead fish wrapped in the L.A. Times to their offices.  (Please note:  no fish, no newspapers.  That goes for all other dead protein, and periodicals, too.)

There are millions of talented people out there vying for your PMAPL’s time.  At this point, the person on the other side of the desk has all the power in your life.  Period.  Here’s how to keep your career moving forward, and eventually turn that all around in your favor. 

l. Set the ground rules with your PMAPL as to who will contact whom, and when.  Try to get a timeline commitment up front, so you don’t have to send the noodge mail, “R U shining me on or did U really die?”  Instead, suggest setting up a call once a month.  That’s fair and reasonable.        

2. Respect those ground rules.  When PMAPL’s start getting the “Where’s My Money” messages,  they will quickly lose interest and reassign your project to the back burner or the shredder altogether, preferring to work with professionals who respect other people’s time and priorities.

3. Don’t dump your drama on your PMAPL.  “Dude, my pick-up was booted, had to blow off my probation officer again, plus the kidlet is starting to look exactly like Arnold Schwartzenneger.”  You wouldn’t want anyone to lay that on you, right?  So only do and say what you would want to hear if you were on the PMAPL’s side of the desk.  Keep everything professional.

4.  Don’t try to get your PMAPL’s attention with ostentatious gifts.  You can’t afford the Bentleys they want.  At least not yet.  When you can, they’ll steal the needed funds, in plain sight, from your royalties.    

5. Remember that your PMAPL’s are your business partners.  They can only make money when you do.  Let them do their jobs for you.  Yours is to write/sing/perform, and attend every industry function, shaking hands, smiling, gathering business cards, asking when it would be convenient for you to call. 

6. Hang this on your fridge.

  © 2014 Molly-Ann Leikin  www.songmd.com  songmd@songmd.com

Molly-Ann Leikin (rhymes with bacon) created the Songwriting Consultation industry.  In the past five years, 6 of her clients have won Grammys.  Eleven more are Grammy nominees.  The author of “How To Write a Hit Song, Fifth Edition” and “How to Be a Hit Songwriter”, Molly is an Emmy nominee, has 15 gold and platinum records, taught songwriting at UCLA, and works by private consultation only.  She practices yoga, takes long, brisk walks and flosses, daily.   

Contact Molly for your Hit Song Marketing Consultation/Evaluation at songmd@songmd.com

 

For more information on the 19th Annual USA Songwriting Competition, go to: http://www.songwriting.net 

Songwriting Tip : MAKE Your Song a Hit

  
  
  
  

MAKE Your Song a Hit

 by Dave KusekSongwriter, songwriting

 

It’s one thing to write a hit song, but getting people to hear it is another story. There are thousands of “hit-worthy” songs out there that most people never even hear. It’s unfortunate, but you can start changing that trend by taking a more proactive role in the marketing of your song. This is an active business. Chance are you won’t randomly get found and thrust into the spotlight. You need to MAKE your song a hit. You’ll have to start small, but starting at all will put you ahead of the pack.

 

Make your song a Hit

 

Marketing the Process

The process of songwriting is one of the best opportunities to connect with an audience. Of course, if you’re writing songs with hopes they are used by another artist, this strategy may not be useful to you. Keep in mind though that unless you have a publisher with connections on your side, your song may never get to that high profile recording artist. Try your best to get that connection, but don’t make waiting a habit. Sitting on an unreleased song forever isn’t going to get you very far.

 

People love the process. Try posting “rough-drafts” of your song on YouTube or make Vine clips for Instagram or Twitter with short lyrical sections.

 

People love a story. I’m sure you’ve listened to lyrics and found yourself speculating about their meaning or what drove the songwriter to put those thoughts and emotions into song. Try writing blogs about the inspirations you’re feeling as you write. Stories give you the opportunity to connect with people on a level that goes beyond music. Maybe you experienced a profound event or a death. Maybe you have a passion for hiking and were inspired by that feeling of accomplishment you get at the top of a mountain. Whatever it is, people can connect with those stories. Tell yours. We want to hear it.

 

Stories that go beyond music also allow you to shine in a much less crowded space. In the music industry you’re just another songwriter in the crowd, but in the world of hiking you can be the star. Take this concept a step further and use those stories to get coverage for your song outside the music space. Eileen Quinn draws her inspiration from sailing and, as a result, was able to get coverage from sailing magazines and blogs.

 

These updates throughout the entire process keep you in the front of your fans minds.

 

Start Networking

 

Songwriters can sometimes feel isolated from the rest of the music industry. Recording and touring artists have to be out there interacting with people. You don’t have to stay behind the scenes - this year, make it a goal to get out there and meet people. Remember that this is a personal business. Emails aren’t going to cut it. Call people up, invite them to your show, meet them for coffee.

 

You don’t have to go on a full-blown tour, but try playing some smaller, singer-songwriter type gigs in more intimate environments where people can really connect with your song. Connect and collaborate with local bands. Maybe they’d be interested in covering one of your songs. Or, even better, maybe they know someone who could get your music in front of a publisher.

 

Try to get connections to people outside the traditional music industry. YouTube personalities, bloggers, and amateur photographers are just some of the options available to you. Many people who run YouTube channels are always looking for new music to use in the background of their videos. These people are tastemakers - their following really trusts their opinion - and just having your music there is enough to get their followers to check you out.

 

The key with everything is to start small. It takes time to get the opportunities that will really make your career. But writing a great song and just waiting for your big break won’t make a hit. Get out there, be proactive, and start taking the first steps towards the songwriting career you deserve.

 

About Dave Kusek:

If you’re ready to take a more active role in your own songwriting career, check out the New Artist Model online course. Sign up for the mailing list and get access to 5 free lessons.

 

 For more information on the 19th Annual USA Songwriting Competition, go to:http://www.songwriting.net

Songwriting: It’s Like Riding a Bicycle

  
  
  
  

Songwriting: It’s Like Riding a Bicycle

Bicycle in your mindRemember when you learned to ride your first bicycle? It wasn’t easy. You fell down a lot, but you kept trying. At first you needed someone to hold on, keeping you steady. Then you used training wheels to help you stay upright as you pedaled. Then, finally, you were able to ride on your own. You had found that complicated thing called balance. After that, it was a breeze! The process of writing songs is a lot like riding a bike. It’s all about finding a balance!

=> Balance Melody, Chords, Lyrics – Writing a song that listeners will love involves finding a good balance between melody, lyrics, and chords. If you have a busy lyric with a lot of words and images then writing a melody that’s easy for listeners to follow might make it easier for them to understand and remember the song. It gives your song a chance to make a greater impact. When there’s too much going on, listeners miss important moments and they may just tune out.

The Singer-Songwriter genre, for example, is often lyric heavy and you’ll notice that, while the melodies make use of interesting phrase lengths and phrase starts, there are plenty of repeated melody patterns — lines repeated in sets of two, three, or four, organizing the melody so listeners can take it in easily while focusing on the lyrics. An extreme example of balance between lyrics and melody can be heard in the Rap genre. Lyric content and lyric rhythm have taken over, while the melody notes have become almost a monotone. 

On the other hand, if you have a complicated melody with a lot of rhythmic interest and interval jumps, try keeping your lyric straightforward and easy to follow, maybe use more repetition in your chorus lyric than you normally would.

A good rule of thumb: As the attention-grabbing quality of one of your song elements goes up – lyrics, melody, or chords – think about lowering the others. This doesn’t mean the other elements should become simple and predictable. Instead, try organizing them in patterns or using more repetition so listeners can focus on the more complicated things.

=> Study the balance in your genre – Each genre has a balance of melody, lyrics, and chords giving it a characteristic sound. For instance, the Pop genre tends to have plenty of melodic interest while keeping lyrics focused on an emotion, asking listeners to FEEL the lyrics rather than think about them. The Country genre, on the other hand, relies on lyric stories with plenty of physical detail. Listeners need to pay attention to the lyric in order to get the full impact. As a result, melodies tend to be a little less complex than in the Pop field. This doesn’t mean you can write a boring melody! You’ll still need to keep your listeners interested. But you might want to use fewer melodic twists than you would in the Pop genre.

=> Balance craft and inspiration – Balance is also an essential part of your approach to songwriting as a whole. Finding a balance between inspiration and song craft can help you express your deepest thoughts and feelings and in a way that listeners can understand and respond to.

Inspiration is the heart of your songwriting. It’s what guides you, tells you what’s important, and delivers that brilliant line out of the blue. But inspiration can be a very personal thing and it may not always be there when you need it. Sometimes it can even deliver inspired lines for a different song! But, if you balance it with a good amount of song craft, you can get the most from your inspiration, communicating effectively and surrounding those inspired gems with lines that support them.

=> It takes time to find your balance – Just like riding a bicycle, it takes practice to learn what good songwriting balance feels like. When you learn a new melody or lyric writing technique, don’t expect to immediately fold it into your songs and smoothly ride off into the sunset. There’ll be some wobbles and falls. You might scrape your knees a few times. But, just like you did when you were a kid, get back up on your bike and try again. Once you get the feel, you’ll be flying down the sidewalk with the wind in your hair in no time!

=> Get some training wheels – The best songwriting “training wheels” are hit songs. These songs already have good balance, the kind that listeners are comfortable with. This week, learn how to play and sing one recent hit song that you like. (You can find the current radio charts at BDSradio.com.) Notice the balance between lyrics, melody, and chords. How is the melody organized? Which melody lines are repeated and how many times? When do the lyrics simply repeat and when do they demand attention? Try writing a song with a similar type of balance.

Best of all, like riding a bike, once you learn what balance feels like you never forget!

by Robin Frederick

Robin Frederick has written more than 500 songs for television, records, theater, and audio products. She is a former Director of A&R for Rhino Records, Executive Producer of 60 albums, and the author of “Shortcuts to Hit Songwriting” and “Shortcuts to Songwriting for Film & TV” available at Amazon.com. Visit Robin's websites for more songwriting tips and inspiration: www.RobinFrederick.com  and www.MySongCoach.com.

For more information on the 19th Annual USA Songwriting Competition, go to:http://www.songwriting.net

12th Annual Songwriters Showcase During SXSW

  
  
  
  

 

 

USA Songwriting Competition hosted a Songwriters Showcase during SXSW in Austin, TX on March 14, 2014. It marks the 12th Annual Songwriters Showcase in which USA Songwriting Competition started way back in 2003 at then Borders Books and Music. The annual showcases has showcased up-and-coming songwriters. Notable past songwriters included: Kate Voegele (2005 USA Songwriting Competition 1st Prize winner, Billboard Top 10 Artist) who was signed to Interscope Records, Ari Gold (2007 Overall Grand Prize Winner), who hit Top 10 on the Billboard Charts after winning the Songwriting Competition and Jordan Zevon (2009 Overall Grand Prize Winner). 

Our 2014 edition included songwriters at Mozart's Coffee Roasters in Austin, Texas, such as:

Jackie Venson

Jackie Venson, songwriter

 

Andrea Pais

Andrea Pais, songwriter


Leni Stern (Honorable Mention Winner)

Leni Stern, songwriter

 

D.B. Rielly (Honorable Mention Winner)

D.B. Rielly, songwriter

 

Tony DeSare (First Prize Winner, Jazz)

Tony DeSare, songwriter


  

 

For more information on entering the 19th Annual USA Songwriting Competition, visit: 
http://www.songwriting.net/enter

USA Songwriting Competition Winner Hits #1 on Charts, Goes Platinum

  
  
  
  

USA Songwriting Competition Winner Hits #1 On Billboard Charts

American Authors, USA Songwriting Competition Top Winner hits #1 on Billboard Charts
American Authors, the winner of the 18th Annual USA Songwriting Competition, is making huge waves this week with their new hit single 'Best Day Of My Life'. It has been gaining momentum, hitting #1 on the Billboard US Adult Pop Songs Charts, making it their first official #1 single. They beat the likes of mega-hit music acts such as One Direction, A Great Big World & Christina Aguilera, Lorde and Bastille. The song also hit #16 this week with a bullet on the Billboard Hot 100 Charts.

On top of this, the song was certified Platinum today, meaning it sold a total of 1 million copies. They are the first USA Songwriting Competition winner to ever hit #1 and certified Platinum [by Recording Industry Association of America (RIAA)]. 


From Unknown To Stardom
They entered the USA Songwriting Competition as unsigned independent band and came out winning the USA Songwriting Competition, getting signed and hitting the charts. They hace also appeared on hit TV shows such as "Tonight Show with Jay Leno", "Conan O'Brien" and "Late Late Show with Craig Ferguson".

American Authors also appeared on "The Ellen Show" performing this song last month.

The song is also featured in the hit movie "The Secret Life of Walter Mitty" and featured on the hit TV show "The Voice" more than once with the top 5 finalists singing this currect hit song.

The song is written by Zac Barnett, Dave Rublin, Matt Sanchez, James Adam Shelley, Aaron Accetta and Shep Goodman. American Authors is an American indie rock band based in Brooklyn, New York, and who are signed to The Island Def Jam Music Group.

The band of brothers met at the Berklee College of music, and up until 2012 were known as The Blue Pages. Under this moniker, the group released two extended players, Anthropology and Rich With Love, both of which were met with enough interest to keep the band relevant.

They won overall grand prize and first prize (Rock/Alternative) with their song ‘Believer’. This song appears as the first track in their full length album "Oh, What a Life", released this week on March 3rd.

 

About USA Songwriting Competition
USA Songwriting Competition has a long history of having winners getting recording and publishing contracts, have their songs placed on the charts as well as having their songs placed on film and television. The top two winners of 2011: Nenna Yvonne and Alexander Cardinale were signed to Interscope Records after their win. The 2007 winner hit Top 10 on the Billboard charts with his winning song. The 2005 Winner of the Country category had his winning song cut by Country Superstar Faith Hill. The 2005 winner of the Pop category was signed by Interscope Records; she went on to hit Top 10 on the Billboard 200 Album charts. Our 2008 winner appeared on David Letterman TV show and was signed to a record label.

For more information on entering the 19th Annual USA Songwriting Competition, visit:
http://www.songwriting.net/enter

Songwriting Tip: Grammar Matters

  
  
  
  

Songwriting Tip: Grammar Matters

 by Harriet Schock

Harriet Schock, hit songwriter

Yes, I meant that both ways. I’m writing on matters of grammar and I’m also writing in case grammar matters. So for a songwriter, when does it matter? Well, I suppose that depends upon your target audience. If you’re a novelist, it always matters. That’s why book writers have editors. Today, even a great storyteller may make the usual grammatical errors, especially if he went to school in the last decade or so. But even if a person has been taught in the best English class there is, he may make the usual mistakes. His brain is simply Teflon where the rules of grammar are concerned.

 

So who is the target audience for your songs? Does it matter to your listeners if you make sense? If communication is desirable, then grammar is very helpful because it actually helps a person be clear. And if you’re performing in a club, you’d better not lose the listener because your communication wandered off into the woods. Grammar can help keep you in sync with your listener.

Now I’m not talking about “proper speech” that would prohibit you from being colloquial. Technically it’s “whom are you kidding?” But no one in his right mind would say that in a song. It’s not the way people talk. One of my biggest hits had the word “ain’t” in the title and used a double negative. I did it on purpose. So I’m not being a purist. I’m just trying to make the point, for instance, that if you said “I lay here and drink my coffee” some people would be confused, because “lay” is the past tense of “lie.” So how could you be lying here yesterday and drinking your coffee today? So technically, it’s “I lie here and drink my coffee” or “I lay here and drank my coffee.” The whole lie/lay thing is confusing to people but it’s simply a matter of whether it’s something you do (lie) or something you do to an object or person (lay). You lay the book on the table. You lie on the bed.  Eventually the dictionary will simply put “lay” as a synonym with “lie” because usage dictates meaning. (That’s how we’re losing the difference between “imply” and “infer.”) But at the moment they don’t mean the same thing so if your target audience knows the difference between “lay” and “lie,” you’ve just lost some points by using it wrong. I know, I know “Lay lady lay” was wrong, but Dylan couldn’t very well say “Lie, lady lie.” To add to the confusion, “lie” has two meanings.

There are many examples of these grammatical pitfalls. For instance, if you’re making a lyric sheet for someone to look at, remember that “The book is on its side”—not “it’s side.” There are whole websites and discussion groups devoted to the fact that there is no apostrophe in the “possessive its.” Auto correct can get you in trouble when you’re texting because that thing wants to put apostrophes in everything. And while we’re talking about apostrophes, don’t use them to create a plural. It’s not “Come hear these singer’s.” The plural of “singer” is “singers” for heaven’s sakes. And don’t say “I have sang”—it’s “I have sung,” just like “I have drunk,” not “I have drank.” Bad grammar may not affect how well you sing, but it’s enough to drive a literate person to drink. And who knows? You might just have some literate folks in your target audience. 

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit for Helen Reddy, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored two other Jaglom films and is starring in the current movie “Just 45 Minutes from Broadway.“ Harriet is in the process of writing the songs for “Last of the Bad Girls,” a musical with book by Diane Ladd. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. Harriet teaches songwriting privately, in classes and a popular online course by private email. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. For her performance schedule, list of credits and samples of her work or information on he rbook (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to:www.harrietschock.com

For more information on the 19th Annual USA Songwriting Competition, go to:http://www.songwriting.net

Oscars Songwriting 2014: Who Will Win Best Original Song Race?

  
  
  
  

Oscars 2014: Who Will Win Best Original Song Race?

Competition this year is between four nominated songs: "Happy," "Let It Go," "The Moon Song" and "Ordinary Love." The 86th Academy Awards will take place March 2, 2014, at the Dolby Theatre in Hollywood, Los Angeles.

The Academy Award for Best Original Song is one of the awards given annually to people working in the motion picture industry by the Academy of Motion Picture Arts and Sciences (AMPAS). It is presented to the songwriters who have composed the best original song written specifically for a film. The performers of a song are not credited with the Academy Award unless they contributed either to music, lyrics or both in their own right.

 

1) "Let It Go" from Frozen
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Performed by Broadway sensation Idina Menzel

 

2) "Ordinary Love" from Mandela: Long Walk to Freedom
Music by Paul Hewson (Bono), Dave Evans, Adam Clayton and Larry Mullen; Lyric by Paul Hewson (Bono). 
Performed by U2

 

3) "Happy" from Despicable Me 2
Music and Lyrics by Pharrell Williams
Performed by Pharrell Williams
Pharrell Williams is on a roll. He was featured in two of last year’s biggest songs, just swept the Grammys with four wins.

4) "The Moon Song" from Her
Music by Karen O; Lyric by Karen O and Spike Jonze
Performed by Karen O

 

 

Surprising Songs That Did Not Make Past Oscars

Songs that were published prior to a film's production having nothing to do with the film, such as "Unchained Melody" in the 1990 film Ghost and "I Will Always Love You" in the 1992 film The Bodyguard, cannot qualify (although "Unchained Melody" was nominated when first released for the 1955 film Unchained). In addition, songs that rely on sampled or reworked material, such as "Gangsta's Paradise" in the 1995 film Dangerous Minds, are also ineligible.

 

For more information on the 19th Annual USA Songwriting Competition, go to http://www.songwriting.net

Songwriting Tip: Obscurity vs Clarity

  
  
  
  

Obscurity vs Clarity

By Harriet Schock

Harriet Schock, Hit songwriter

I believe that there’s an invisible line that goes from the mouth of the singer to the ears and heart of the listener and if that line is broken by a lyric that makes no sense, the listener’s attention leaves.

Of course, there are many examples of songs that make no sense and have been hits, but when you cite these as examples, I would ask: 1) Was the melody and harmony so killer that people loved it in spite of the lack of clarity? 2) Was it sung by someone so famous that anything they put out will become a hit? 3) Was the audience chemically altered so that each song and bite was better than the one before, no matter what they were hearing or eating?

I have taught songwriting since 1986 and occasionally I’ll have a student who announces he wants to write an obscure song. And granted sometimes songs in films can be a bit generic so that the story takes place on the screen, not in the lyric. But even there the lyrics need to make sense.  I find that thetwo most common reasons for someone’s wanting to write an obscure, ambiguous lyric are: 1) His craft is limited and he thinks he’s being clear when he’s not or 2) He’s not willing for the real story to come out for personal reasons.

There’s a vast difference between writing on two levels and being ambiguous. I believe songs should make sense when you first hear them. Then upon second and third listening, deeper meaning can be discovered. Ambiguity generally leaves the listener wondering what you actually meant.

All of this has been about the lyric. But needless to say, the melody and harmony (chords) are vitally important. They are the wavelengths that carry the lyric along that invisible line I mentioned earlier. Obscurity breaks the line, but a weak melody completely dissolves it.

As performers we can tell when we have a strong melody, compelling harmony and a lyric that moves the listener. That’s when the audience is very quiet and attentive. Sometimes they cry, and we like that too.

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit for Helen Reddy, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored two other Jaglom films and is starring in the current movie “Just 45 Minutes from Broadway.“ Harriet is in the process of writing the songs for “Last of the Bad Girls,” a musical with book by Diane Ladd. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. Harriet teaches songwriting privately, in classes and a popular online course by private email. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. For her performance schedule, list of credits and samples of her work or information on herbook (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com.

For more information on the 19th Annual USA Songwriting Competition, go to: http://www.songwriting.net

Songwriting Tip: The Backyard Connection

  
  
  
  

The Backyard Connection

by Mark Cawley

Back Yard Musicians Songwriters

If you've been writing songs for awhile you have to have heard someone preach about the value of networking and getting connected.

Pretty much a given, you can create in a vacuum but you can't grow there.You may be all alone in your room and in your head when you create but to get that song (and you as a writer) in front of people it takes more people. More people means connecting and more connecting. Takes a village to raise a hit. Where to start?

Scour the village!

What does that look like for a beginning writer or a writer living outside of a major music center? It takes some digging on your part. For instance, I coach songwriters from all over the US and beyond these days and many live in places like Indiana, just to pick one. I urge them to look for a local resource first. If you write lyrics but don't play an instrument see if you can connect with someone who's a good player. If you're a songwriter but don't have production skills look for someone around you who's making magic in the basement. Grow together.

One of my favorite ways to connect in these cases is to, in the words of John Hiatt "pull my pony up and hitch my wagon to your star". Is there someone you've heard in a local club? Online? At church? Who's a diamond in the rough? Connect with them. So many writers made a career of working with an unsigned artist and as the artist gained attention, as good ones tend to do, the songwriter’s name was attached. I'm not just suggesting you pitch your songs to this budding artist but suggest you offer to co-write. Get them invested in the song and as they rise so will you. Not every artist we know and love came from LA, New York or London. Some of them came from small towns and for the sake of my point, the pride of Seymour, Indiana, John Mellencamp.

 

I Was Born In A Small Town

I know John a bit from my days of playing in Indiana and most of the people connected to him in the beginning were all local players. The guys I saw in the local bars where the same ones I saw years later at the LA Forum. Some of his earliest hits were co-written with a local lyricist named George Green. John worked with what he had around him.

Sure the odds go up if you move to one of the cities I mentioned and put yourself out there but in the meantime make the most of what's right in your backyard. Might seem like a small connection but it just might be the one to hitch your pony to. Oh yeah, one more Hoosier...John Hiatt.

 

Got Nothing Against the big Town

In defense of the writers and artists that make the big leap to a major market, most of the ones I know worked hard at making and keeping connections. One of my favorite illustrations would be the number of them that offered to sing demos for songwriters, sometimes cheap, hoping that as the writers song gets heard someone will discover the singer. In my first few years in Nashville it was common for me to call some of these folks like Gretchen Wilson, Brett James, Clay Davidson, Ruby Amanfu and Neil Thrasher to sing a demo for me. Worked out pretty well for me and for them.

No matter how you get your break, you never stop connecting on any level in this business you chose.

 Mark Cawley, songwriter

Mark Cawley

Nashville, Tennessee

1/15/14

Photo: Google Images

About: 

Mark Cawley's songs have appeared on more than 15 million records. Over a career based in LA, London, and Nashville his songs have been recorded by an incredibly diverse range of artists. From Tina Turner, Joe Cocker, Wynonna, Diana Ross and Chaka Khan to The Spice Girls, Tom Scott, Kathy Mattea, Paul Carrack, Will Downing and Pop Idol winners in the UK. He has had #1 records in the UK and throughout Europe as well as cuts in Country, Jazz & R & B. His groundbreaking website Song Journey created with Hall of Fame writer Kye Fleming was the first to mentor writers from around the world one-on-one online. He is currently writing and publishing as well as helping writers and artists worldwide with a one-on-one co-active coaching service, iDoCoach.

For more information on the 19th Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

 

 

 

Songwriting Tip: The Dos and Don’ts of Co-Writing

  
  
  
  

The Dos and Don’ts of Co-Writing

by Cliff Goldmacher

 

The top winning song of the 2013 USA Songwriting Competition was written by six different songwriters. Collaboration on writing songs have been around for years. Cliff talks about the dos and don’ts of co-writing. 

Songwriting

Looking back over twenty years to my first songwriting efforts, I remember my creative process as so personal and fragile that I was dead certain I would never open it up to another songwriter. This would have seemed like co-painting or more like co-dating...just not going to happen. However, two things DID happen. One, I moved to Nashville, Tennessee, the co-writing capital of the world, and, two, I wrote a lot more songs which stopped me from thinking of each of my song children as untouchable and precious. Ultimately, I simply wanted to create more and better songs and co-writing became a big part of the process. Over the years, I’ve experienced (sometimes the hard way) a few of the big “dos” and “don’ts” of co-writing and thought I’d cover a few.

 

Dos

  1. Decide in advance if you’re going to bring ideas or start “cold”

There are advantages to both approaches. If you’re new to the co-writing process or possibly a little nervous about how your upcoming session will go, preparing in advance with anything from a list of song titles to lyrical and/or musical hooks can go a long way towards a smooth-running session. However, as a more experienced writer, I go into sessions with younger artists without preparing ideas because I anticipate that our initial discussions and time spent getting to know each other will provide the material for our collaboration. All this to say, there is no “right” way to do this.

 

  1. Show up on time and ready to work

I know we’re all artists and we’re all supposed to be flaky, creative types but you’re now writing to hopefully generate income from your music so it’s also a business. Treat it that way. You wouldn’t show up late for work or cancel because you didn’t feel like going so don’t do it with your co-writing sessions either. Showing respect for the process and your collaborator goes a long way towards setting the tone for a productive co-write.

 

  1. Make a plan on how you’ll both promote the song

The reality of the music business is that collaboration doesn’t end with the finished song. There will be subsequent discussions about demo costs, pitch opportunities and any one of a number of other details. What this really means is that in order to make yourself an “attractive” co-writer, you should remember to bring as much to the table as possible. This could mean bringing an industry connection or pitch opportunity or even having a recording studio where you and your co-writer can do the demo for free. It’s helpful to remember that the actual co-write is easy/fun part and it’s all the other parts of the process that ultimately make for a successful collaboration. Truly successful collaborations often extend beyond just writing the song.

 

  1. Discuss percentages for each co-writer

After writing close to a thousand songs, my assumption is that all my “from-scratch” collaborations are even splits. This means 50/50 if there are two of us, 33/33/33 if there are three of us, etc. I consider it bad karma (and frankly exhausting) to count words or try and figure out who created what when the song is done and then try to adjust percentages. Just know that some days you’ll contribute more and some days your co-writer(s) will and that it all evens out in the end. If the song is brought to you mostly (or even partially) finished, then be clear on what the split will be in advance so there isn’t a misunderstanding later on. It’s simply better to just deal with this stuff. Also, it’s considered bad form when discussing your collaborations later to state that you “really wrote most of it” or any variation thereof. The bottom line is that without your collaborator the song wouldn’t be the same song that it is no matter what was directly or indirectly contributed.

 

Don’ts

Putting the business aside again for a moment, the collaborative process, at its root, is about trust and chemistry. The following “don’ts” are suggestions about how to avoid damaging or compromising that trust.

 

  1. Don’t ever criticize a co-writer’s suggestion

This is the ultimate vibe killer. There is vulnerability in trusting someone with your ideas and it only takes one “that sounds stupid” or “that’s a bad idea” to kill the goodwill that should be part of the process. This is not to say that you won’t hear (and suggest) dumb things in the process of a co-write. It happens all the time but it’s enough for you to simply say you’d rather keep looking for another idea or try something else at that point in the song. There’s no percentage in saying someone’s idea is “bad” or “wrong.” First of all, this is art and it’s subjective but more importantly (and I’ve seen this more times than I can count) you could crush an admittedly weak idea that was only going to be a stepping stone towards a truly great one. Be patient with your collaborator and yourself and you’ll be amazed at the results.

 

  1. Don’t insist on one of your ideas if your co-writer doesn’t seem interested in it

You may be in the middle of a co-write and come up with a snippet of lyric or melody that you absolutely love but for some reason your co-writer just doesn’t get it. My suggestion is to make your best case for it and if your co-writer doesn’t like it, let it go. It’s that simple. There are too many ways to write a song to derail the process over a simple disagreement. The key to collaboration is making sure you’re both on board with an idea before moving forward. That being said, if you feel your collaborator consistently doesn’t like ideas that you feel are strong, there’s no rule that says you have to keep writing with this person.

 

  1. Don’t edit too harshly early on in the session

There’s real value in keeping a co-write moving along. Squeezing too hard on a single line or section of the song too early in the process can take all the creative energy out of a session. Better to either keep in a “good enough” line with the understanding you’ll come back to it when you begin to review what you’ve written or take a break if the line just isn’t coming. There will always be time for editing but I’d suggest not going too deep on that front at the expense of getting the shape and form of the song together first.

 

 

  1. Don’t push too hard to collaborate with a more established/successful songwriter

As songwriters, we all know who the hot/marquis writers are. We hear their songs on the radio, meet them at music conferences and, in some cases, came up with them from when they were “nobody.” The unwritten rule I’ve observed is that it’s better to be asked to co-write by a more established/successful writer than it is to ask them to co-write yourself. If your personality is such that you just can’t wait for that to happen, my recommendation is that you should ask once, politely and don’t take it personally if the writer isn’t interested or doesn’t have time. It’s abundantly clear what you, as the less experienced/successful writer, stand to gain from the collaboration but it’s up to the more successful writer to decide if your talent, motivation and, yes, connections warrant them taking the time to collaborate with you. It’s simply the law of the jungle. Hopefully, you’ll be in a position to write with a less experienced/successful writer yourself one day and you’ll treat that writer exactly as you’d hope to be treated yourself.

 

Conclusion

This is, of course, not an exhaustive list of co-writing rules but simply a few guidelines to help those new to the game to understand it a bit better. The best kinds of co-writes are the ones where both collaborators feel like they’ve written something better than either could have written alone.

Good luck!

Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. Go to http://www.educatedsongwriter.com/webinar/ for the latest schedule. Cliff’s company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos. You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.  Facebook: www.facebook.com/EducatedSongwriter  Twitter: edusongwriter

 For more information on the 19th Annual USA Songwriting Competition, visit: http://www.songwriting.net


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