Making your way through the maze of a musical career is a complicated endeavor to say the least.  It’s doubly so given that you’ll have to make not only the musical decisions but also the critical business decisions along the way.  I heard an expression a few years ago that really stuck with me as it outlines the reality of the choices we have to make time and time again.  That expression is simply “good, fast, cheap - pick any two.”

Essentially, what’s being said here is that if you’re willing to invest the money, you can move more quickly towards the end goal of musical success - good and fast but not cheap - but what it also says that I find more encouraging is that if you don’t have the money, you can still achieve “good” by slowing down and being resourceful - good and cheap but not fast.  That leaves the one combination that we need to guard against - fast and cheap but not good.

In this article, we’ll look at all three of these scenarios and see how they play out daily in the music industry.

Good & Fast (Not Cheap)

“Good, fast and not cheap” is best illustrated in the approach taken by the big record labels and publishing companies.  When making albums for their artists, labels use the best studios, the most talented session musicians and employ whole marketing and promotion departments to spread the word about their artists.  This has the effect of bringing their music to the eyes and ears of the public in relatively short order but it comes at a huge price.  A price that the artists, themselves, often spend years paying back before they see any real financial success of their own.

When it comes to the major publishers, they invest significant capital in high-quality demos for their writers and hire song pluggers whose sole purpose is to get the songs in their catalog recorded. The end result is that these companies get their songs recorded much more often than the independent writers out there trying to go it alone.  But, again, songwriters who are signed to these companies - like the artists above - have to wait until many of these expenses are recouped before they see any income from their songwriting successes.

Good & Cheap (Not Fast)

Fortunately, for the majority of us, there is a more accessible option. While “good, cheap but not fast” requires patience (an asset in very short supply for most of us eager to have musical success), the dividends can be rewarding on both a spiritual and financial level.  Independent artists who finance their projects themselves, call in favors, wait for off-hours in studios or even take the significant time necessary to learn to the art of recording often end up with beautiful sounding projects at a fraction of the cost of their major label counterparts.  The trade off is the time (lots of it) it takes to put a project like this together and the additional hours of work (more than you can imagine) required to get the news out about their release.  The rewards are great, however.  Ownership of the master recording and creative freedom are just two of the many rewards waiting for those who are willing to make the effort.  Go to www.HeatherRigdon.com to hear what some friends and I were able to do on a shoestring budget over a period of about five years.

As songwriters, we face a similar struggle.  Without the budgets for full-band recordings of every song we write, we’re forced to be creative in order to put together a catalog of high-quality demos of our songs that we can then pitch ourselves.  Whether we have to barter for studio time and session musicians, learn to become experienced engineers/producers/session musicians in our own right or simply create great-sounding guitar/vocals or piano/vocals instead of going the full-band route, the goal is the same.  That goal - quality recordings for less money - can lead to a catalog of songs where significant upside awaits.  For example, by acting as your own publisher and owning your own master recordings, you’ll be free to pitch your songs for placement in film and TV and receive double the income when you eventually do have success.  And, speaking of pitching your songs, there are countless resources to help get our songs out there for those of us willing to look.  One that comes to mind right away is www.SongQuarters.com.  The thing to remember, however, is that all of this takes time and that’s the tradeoff that most of us have to make.

Fast & Cheap (Not Good)

“Fast, cheap and not good” is where things can get a bit ugly.  As long as there have been established methods of how to get ahead in the music business, there have been people willing to cut corners in an attempt to get ahead more quickly.  Buying a bunch of recording equipment before you know how to use it in an attempt to save money on your album project generally results in a sub-par recording that will do much more harm than good to your sound and reputation as an artist.

Similarly, choosing the lowest bidder who advertises full-band demos for songwriters often leaves you with a demo that is not only low quality but also instantly brands you as an amateur in the eyes of the industry professionals you play it for…an impression, by the way, that is very difficult to reverse once it’s been made. Also, spending less money on a demo that is unusable is the same thing as throwing that money away.  All this to say, when in doubt, take your time and do things correctly even if it means more time, money or both. As I’ve said before, as long as you’re not planning on having a career in music for this week only, it pays to take your time.  Fast and cheap is, without a doubt, the combination that has the most potential for disappointment or worse.  And, often, doing things this way actually leads to more money being spent which leads me to another one of my favorite expressions, “Cheap can be expensive.”

Conclusion

I understand that it’s a constant struggle to do what’s best for your music while trying to manage your patience and your budget.  That being said, simply paying attention to what you’re doing and keeping your eye on the big picture will serve you well as you continue to figure it all out.

Good luck!

Looking back on twenty-plus years of writing songs, it’s a lot easier for me to connect the dots now and see that the things I was doing years ago would eventually bear fruit. I can safely say that nothing ever moved as quickly as I thought it would and, yet, I’m constantly surprised at the ways that my long-forgotten efforts have come around to generate royalty income. All that to say, it would have saved me a lot of frustration knowing that getting up every day and working on my craft would end up paying off…on its own schedule, not mine.  Here are a few specific reasons to stay patient in the pursuit of success in your songwriting.

1. You’ll enjoy the process more

There is nothing more frustrating than waiting for something to happen that’s beyond your control.  For example, you’ve read a listing on a pitch sheet looking for songs for a “last-minute” opportunity and they have to have them right away.  The reality is that nothing actually happens “right away” and everything is “last minute.” So after submitting your song, instead of constantly scanning your emails and sleeping with your phone, simply put a note in your calendar to follow up with an email in a week or two (not before) and forget about it.  I know this is easier said than done but it will keep you sane.  By the way, the easiest way to forget about one thing is to be working on something else.

In other words, you should have as many irons in the fire as possible so that you’re not waiting on any one thing to happen.  By irons in the fire, I mean looking for other pitch opportunities, new co-writers and any one of a million things that you can be doing to have success in the music business. If you’re patient, your day to day will be a series of small steps and tasks that will keep you focused and productive without allowing you to linger on any one thing for too long.  Also, that way when something does come through you’ll be pleasantly surprised.

2. You’ll keep your perspective

Given that there is absolutely no such thing as a “quick buck” in the music industry, your best bet is to think about why you’re writing songs in the first place.  If it’s only for the money, you’re in for a rough road.  Even the most successful songwriters have put in years of unpaid work before the money began to flow.  If, on the other hand, you write because you can’t help it and you love the feeling of putting something uniquely your own into the world AND you also hope to be financially successful, then your day to day will be the pursuit of something meaningful to you that also has the potential to generate income. If you’re patient, you have a much better chance of keeping that perspective while you’re pursuing your dream of success.

3. You’ll build better industry relationships

We all know that relationships with industry insiders (publishers, managers, record label execs, etc.) are highly prized for the connections and potential opportunities they bring.  However, just like any relationship, it’s extremely difficult to build something of substance quickly.  If you’re patient and don’t try to force feed your music to every person in the industry at every opportunity, you stand a much better chance of developing the kinds of contacts that move you ahead in your career.  These relationships take years to develop (not five minutes at the bar of the hotel at an industry conference).  What if instead of launching into a ten-minute, spoken-word bio the next time you meet someone in the music industry, you tried asking them what they’re working on?  Learn a little more about them and, in time, if you’re doing great work, they’ll get to know about you, too.

By not treating every interaction with someone in the industry as a do or die situation, you’ll feel less pressure to make something happen immediately and enjoy getting to know them. Then, in time, you’ll have someone receptive to your music when there’s an opportunity.  Here’s a small tip. It’s the administrative assistants and receptionists of today that will be the heads of film/TV departments tomorrow.  Don’t ignore these folks in your search for someone more powerful who can help you. Take your time, build your industry relationships slowly and organically and watch what happens.

4. It’s out of your hands anyway

While there is a lot you can (and should) do on your own behalf every day, the music business goes at it’s own speed no matter what you do.  Songs, even “undeniable” hits, routinely take years to find a home after they’ve been written. The journey from the creation of a song to a royalty generating copyright is as mysterious to me now as it was when I wrote my first song.  So, given that it’s out of your hands once you’ve written, demoed and pitched your song, why not be patient and keep filling the pipeline with new songs and pitches. Develop your craft, write as much as you can and one day you’ll look back to see you’ve got a catalog of great songs where some of the older ones are actually generating income.

I once heard a hit songwriter say that he wrote one of his hits in “three hours and twenty-five years.”  In other words, while the song took three hours to write, it was his twenty-five years of patiently refining his craft and developing his career that made it happen.

Conclusion

As long as you’re not planning on being a songwriter for this week only, take a deep breath, work on your songs and your career a little every day and enjoy the ride.  You’ll be amazed in a few years when you look back and see how far you’ve come.

Good luck!

Dos

1. Discuss percentages in advance

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 up front and then get on to the process of making music.  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.

2. 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.

3. 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.

4. 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.

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.

2. 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.

3. 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.

4. 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!

Where to begin? Well, that was the question I asked myself when I quit my job at thirty-three to pursue a full-time career in songwriting. I figured if there were only one way to do it, everyone would have followed that path and we’d all be living large.  The truth is it didn’t take long for me to find out it is called the “music business” for a reason. That’s “music” and “business.” It does all begin with the song as they say and if you want to be a successful songwriter, it’s funny how you have a much better chance by showing up with amazing songs. Although that is the most important part, it is not the only part of the equation. I learned that quickly. So it was time to roll up my sleeves and come up with a game plan in addition to writing songs.  In other words, it was time to work. I had to put in the hours when no one was watching, to practice my craft and think of how to best utilize my time.

Do The Work

Since I did not want to be an artist at the time, my goal was to be a professional songwriter. I wanted to find one artist to record all my songs and/or I needed to shop my songs for different artists to cover. Without a track record of success as a writer, I chose the following course. First, I made a CD of what I thought were my ten best songs (all self-penned) and used it as a calling card giving it to anyone who would listen. Also, I told them to pass it on.  I chose to not pursue a publishing deal because I felt I wanted to try and hustle up some momentum to put myself in a better position for a better deal if I chose to one day go that route. Publishing deals can be great for some and the right champion can be invaluable. But even with a publishing deal, a writer will still end up getting a good amount of work through their own connections and work ethic. Don’t wait around for someone else to do all the heavy lifting. Ever.

Co-Writing

Another avenue I chose was what is commonly known in our business as co-writing. Since I hadn’t earned the right to work with major established artists or songwriters yet, I decided to scout young upcoming talent and work with them. That way we would have more than one force getting the songs out into the world. My attitude has always been “just give me a chance to get in the room and good things will happen.” I think you have to believe that or why else would you be doing this? I also believe a lot of co-writing has to do with chemistry. Just because someone has a whole bunch of credits doesn’t mean you are going to click and write a masterpiece. You might write a better song with some guy or girl you met at a local open mic. Having said that, when you get the opportunity to write with a writer who has had a great career, pay attention. When I enter a co-write,  everyone is an equal partner in my eyes and ears but I’ll admit I am constantly learning and inspired by those more experienced than me. There’s usually a reason people are consistently successful.

Travel

Another aspect of my career has been international. I can sum this up simply. There is a whole wide world of opportunity and talent out there. Plus, I have  a major travel bug. I love different cultures and meeting new people. But how does one go about integrating into music scenes in other countries? Well, first off it’s an investment. And not just of your money (which is not to be dismissed lightly) but of your time. I slept on a lot of couches and started from the back of the line. You can’t just walk in flying your flag and expect to take over (the same can be said about arriving in any new city even here in The States, by the way). There is a way to be respectful yet confident. You would be surprised at how many great writers are up for giving a writer from another country a chance even though they are unknown. Once again, you have to back it up once you get your chance. I’ve seen too many people talk themselves into situations too early in their careers then not come through. Word gets around quickly about who can really write and who is all talk.

They’re Not All Hits

Another thing I’ve learned is that not every song we write is amazing. All great writers learn to deal with that. The really great writers learn which songs not to let out of the house!  Sometimes it takes writing through some average ideas to get to the gems. Keep writing for what moves you and makes you happy. It is easy to get caught up in what we think everyone wants to hear and what “sells.” As full-time writers, we have all trespassed across that line at some point - even if only momentarily - though some will try to make you believe otherwise. Of course if you can be happy and moved and still write accessible songs, that’s great. I find I’m in a better place and have more success when I’m not trying to write like somebody else.

Anyway, there is room out there for all of us. There is also a fine line between being organized and active and being annoying. Here’s a hint. If you think you are being annoying in a situation, you probably are! Trust your instincts, establish sincere relationships and, when given the opportunity, deliver the goods. If I can be lucky enough to make a career of this why not you? Though I will say, the harder I work, the luckier I get. Good luck!!!

Mistake #1: The song isn’t finished.

It would seem obvious but I can’t tell you how many times I’ve been paid (on the studio clock) for the privilege of watching a client’s creative process. I do understand why this happens. It’s incredibly exciting to feel like you’ve got a great song on your hands and the temptation is to get it recorded right away even if there’s a small tweak or two left to finish. I mean, how long can it take to re-write the second line of the bridge, right? Well, the reality is that when you’re in the studio and the clock is ticking, the environment is a lot more stressful than it is creative. Not the ideal place to make sure your lyric is perfect. Unless you’re planning on only being a songwriter for another week or so, be patient, take your time and know that waiting another week (or even another month) to make sure your song is done before you book the studio time is always a good policy. Remember, you’re going to be spending real money on this recording so be as certain as you can that your song is ready before you begin the process of recording.

Mistake #2: You haven’t made a rough recording.

Everyone’s writing process is different and vive la difference BUT the one essential part of making sure your song is finished is making a simple rough recording. When I say “simple” and “rough,” I mean one instrument (usually guitar or piano) and a vocal into anything from a hand-held recorder to your smart phone. Here’s why. Without listening back to your song from the perspective of an audience member, you’ll miss a critical part of the writing/editing process. It doesn’t matter if you’ve played the song live a hundred times, by sitting back with a lyric sheet and just listening to the song, you’ll notice little flaws and missteps that you might never have heard if you’d just played and sung the song to yourself. The rough recording gives you the necessary perspective for those last few adjustments. I’d recommend re-recording your rough every time you think you’ve got the song totally finished. There’s an added benefit as well. Once you’re absolutely satisfied with your final rough recording, you’ll then have something to provide the demo vocalist so they can learn your song and you’ll have a reference for the session musicians when they get to the studio.

Mistake #3: You think the demo will fix what isn’t quite working in your song.

Every once in a while you’ll finish a song and feel like it’s missing a certain something but it’s easy to convince yourself the song is fine and just needs the full demo treatment to give it what it lacks. My experience is that if you have reservations before you demo, the demo won’t solve that problem. Of course all songs sound better with a full band of great players on them BUT don’t invest that money to fix a problem that most likely needs to be addressed in the melody and lyric of the song itself. If you find yourself feeling like your song is missing something and you’re not sure what it is, play it for a trusted friend or put it away for a while and come back to it. Demoing to fix the problem is an expensive way to get unsatisfactory results.

Mistake #4: You think you’ll save money by recording/playing on the demo yourself.

I completely understand the mindset. I did it myself for years. The difference is that I was as passionate about becoming a recording engineer and session musician as I was about writing songs. If you’re only looking at recording and playing on your demos as a way to save money and not to become a professional engineer and session musician, then you’re better off hiring experts to do what you don’t do well. The key is to end up with a recording that marks you as a professional not one that saves you money but isn’t up to par. There’s no point in saving money on a demo that isn’t pitchable. Take your own ego out of the equation. No one else can write your song for you. That’s where you’re the expert but unless you’re also an expert at recording, playing and singing in the studio, it doesn’t make sense to do it yourself. When it comes to making a good impression with your demo, your recording has to measure up to the highest quality standards and that’s worth paying for. At the end of the day, if you’re trying to make money with your songs then remember it’s a business and you have to invest money in order to make it.

Mistake #5: You decide to record a full-band demo without having a VERY good reason.

It’s understood that professionally recorded, full band demos sound amazing BUT it’s also understood that they’re expensive. Sometimes, VERY expensive. Depending on why you’re demoing your song, a simple, professionally performed and recorded guitar/vocal or piano/vocal may very well be all you need. In my opinion, there are just a few reasons to record a full band demo. First, you’ve got a film/tv pitch opportunity and they’re looking for a full-band sound for a particular scene. A second reason would be that you’re planning on using your demo as an artist project for the singer doing the vocal. For excample, you may be working with a great, young singer and you’re planning on killing two birds with one stone by demoing the song you wrote but also putting together a series of recordings that showcase that singer as an artist. In that case, do it up. You’ll be well served by going all the way with these recordings. That being said, I would strongly suggest not recording a full band demo of your song just because you want to. Professionally performed and recorded demos are never inexpensive but you can get more bang for your buck doing simple, clean guitar/vocal demos of several songs in the place of a fully blown out demo of one song. Remember, you can always go back and add more instruments to a professionally recorded, stripped down demo later if the situation warrants.

By avoiding the above mistakes, you will be removing a good deal of angst from the demo process. It’s always a little stressful getting ready to put your money where your mouth is and the better the decisions you make in advance, the more able you’ll be to enjoy the recording process as you’re going through it.

Good luck!

And most of my hit songwriting friends don’t know – or can’t explain – either. You simply have to write a lot of songs to figure it out. No book, lecture or article is going to teach you what writing a lot of songs will teach you. It’s like riding a bike. You can’t explain balance without losing it and regaining it. You have to get on and fall off before you understand. Songwriting is experiential. So go ahead and write lots of bad songs. You will eventually bump up against brilliance.

Malcolm Gladwell talks about the 10,000 Hour Rule. People who are excellent at whatever they do, do it for at least 10,000 hours before they become excellent. So if it takes 4 hours to write a song, 10,000 hours equals 2500 songs. 2450 of them probably suck.

So along the road to not sucking, I offer you a few penetratingly obvious, yet frequently missed, observations:

1) There are no rules, but…

Most songs are between 2 and 4 minutes, have about a 12 second into, rhyme, get to the chorus in under a minute, are about love and relationships and have a big repeatable, sing-able chorus.

That said, this doesn’t explain some of the biggest songs ever: Stairway to Heaven (intro is 53 seconds, no big chorus, almost 8 minutes long), Hey Jude (7 minutes long, no real chorus), American Pie (over 8 minutes long), Hotel California (intro is 1 minute, chorus at 1:45).

So do what you want at your own peril or reward.

2) Fall in love with the sound of words.

Words work together in the following ways:

Rhymes (a word that has the same sound as another - “seven/heaven”)

Assonances ( a close rhyme - “sin/hymn”, “listen/isn’t”)

Alliteration (a word starting with the same sound – “practice/parochial”)

Meter (the rhythm of words – http://en.wikipedia.org/wiki/Meter_(poetry) )

Why does “Flowers floating in the breeze” sound better than “Chicken recipes cooked poorly”? The first phrase has alliteration, a common and pleasing rhythm (trochaic quadrameter) and the “s” in “flowers” dancing with the “z” in “breeze”. The other phrase is staccato, has no alliteration, and is, well, stupid.

3) Make it smaller.

When I wrote for Hayes Street Music, Don Schlitz’ company, his advice was to make it smaller when you are trying to express a large point. If a novel is binoculars used properly, a song is binoculars used backwards.

4) Don’t let the facts get in the way of the truth.

If a particular fact doesn’t help the song, change it. If you are writing a song about the woman who gave you your first broken heart, and you remember that she drove a yellow Honda Civic, don’t write a whole verse about the car just because you read in a book somewhere that you should include detail in your songs. Always keep your main point in mind. Forest, meet trees.

5) Recording

Phase One: Guitar/Vocal.

Do a simple guitar/vocal, either on your computer or handheld digital recorder, and listen back many times. Don’t waste time or money before you are confident that the song is as great as it can be. I have wasted valuable beer money on demos that I later changed because the song wasn’t right.

Phase Two: Studio.

Go to a studio with an experienced engineer and musicians, then trust them. These folks do demos everyday. I have a friend who’s written many hits tell me, “I go into the studio with racehorses…and I let em’ run!”

As you gain experience, you may want to start producing your own demos. I’ve gotten to the point where I think of every demo as a master recording - for two reasons: 1) Your arrangement just might be THE arrangement. Most of my cuts sound exactly like my demos. 2) You can pitch the song to film and tv and possibly make some money. Film and tv placement has become a powerful secondary market for songwriters. For some it’s a primary market. But that’s another song.

This is a guest article by Jeff Crerie, Ph.D.

As an impressionable young mullet-sporting lad, I was persuaded by my Dad to take golf lessons. His motto being, “You’ll never make it in business unless you learn to play golf!” (On that point he appears to have been spot on: I bailed on the gentleman’s game soon after, and have since become a songwriter and producer with a wildly underdeveloped sense of business savvy.)

My first (and only) experience on the links was a hands-on lesson with the resident golf pro to perfect my swing. I vaguely recall a series of necessary contortions before even getting a whack at the ball. Something like:

+ choose the correct club, and hold it just so with an interlocking grip

+ bend your left elbow, while straightening your right

+ turn this foot that way, and that foot this way

+ keep your eye on the ball

+ chin down, neck straight, slight bend to the knees, even your stance, now lower your right shoulder…

…oh, and by all means, STAY RELAXED!!

“Teeing off” they aptly called it. Unable to parse this seemingly contradictory advice, I was eager to toss any business aspirations into the nearest sand trap and relegate myself to a lifetime tilting at windmills. Miniature golf, anyone?

A few years back, after songwriting for more than a decade without any formal instruction (and decidedly mixed results), I embarked on a more proactive study of the craft. I wanted to know why some songs grab you by the scruff-o-the-neck, and others seem to leave no mark. Why are some songs emotionally satisfying, while others just plain boring? And what’s this so-called “dominant 7th chord” that everyone keeps crowing about!?

I attended a year-round songwriter’s circle (big thanks to Jai Josefs!) bought instructional CDs and books, and took enough classes at the local college to earn my lifetime student merit badge. I discovered, to my shock and amazement, that there’s a bevy of extremely talented people out there thinking, writing and teaching about songcraft. And furthermore, their advice didn’t limit the kinds of songs I could write, but rather gave me a spotlight to shine on my own work, allowing me see it from multiple new vantage points.

It soon dawned on me that some of the most important decisions made in writing a song happen before you play that first chord, before you pen that first lyric. Also, there’s something hard-wired into us that makes it gut-wrenchingly difficult to revise, edit, or even discard parts of a song that we’ve already spent precious time on. And our reluctance to revise, edit and sometimes totally scrap is what keeps the song from achieving its greatest impact. Aaack!!!

Suddenly, all these songwriting tips gave me flashbacks of that one torturous golf lesson. But the advice went more like this:

+ choose a memorable title, and position it prominently in the chorus

+ bend the verse lyrics so they point towards the chorus

+ tune your harmonic progression, because chords choices imply different emotions

+ keep your eye on the melody and melodic rhythm of the lead vocal, also how the phrases fall relative to the downbeat

+ create contrast in the song sections: intro, verse, pre-chorus, chorus, bridge, etc.

+ alternate (and possibly pattern) the use of internal and external details in the lyric

+ think like a film director: use actions and descriptions to evoke emotions rather than stating them outright

+ allow breathing space, harness the power of repetition, don’t confuse your listener, say something original…

…oh, and by all means, KEEP IT REAL!!

Seriously?

What I’m getting at: Early on, when you employ a bunch of new-to-you songwriting techniques, it’s gonna feel a lot like that first golf swing. You just might luck out and get a hole-in-one, or the ball could ricochet off a tree and plunk itself into the nearest pond. But if you keep coming back, keep writing, these concepts will eventually be second nature, a background as opposed to a foreground process.

After years of trying, I’ve found that my songs require a little less editing after that initial surge of inspiration. (Editing still being so vital to the process.) And it’s my sincere hope that if I keep plugging away, someday I’ll be like the world’s most admired songwriters.

I finally might be able to plant my feet and just SWING.

*****************

Jeff Crerie is an L.A.-based songwriter and producer, and founder of the little label-that-could UTMOSIS.

Learn more about Jeff from the artists who collaborate with him here.

1. Make a Rough Recording of Your Song

Sometimes all you need is a little perspective. Often when we’re writing a song, we’ll go around and around singing it to ourselves sometimes playing an instrument as we do it. This is a necessary and essential part of the writing process and although it’s helpful while we’re writing, it doesn’t provide us with the listener’s perspective. Whether it’s a song you’ve just been working on or one you’ve played live hundreds of times, if you’re not sure it’s finished, then do a rough recording. By a rough recording, I mean simply sing (and play if you’re also an instrumentalist) the song into your computer, hand-held recorder or even your cell phone and listen to the playback of the recording without playing your instrument or singing along. This simple act of putting yourself in the audience, so to speak, will give you perspective on what is and isn’t working in a way that is impossible while you’re actually singing the song yourself. I’d also suggest printing out a lyric sheet and keeping it in front of you to make notes on as you get ideas from listening to the rough. Finally, I’d recommend the process of making a rough recording, tweaking the song and then making a new rough recording, until you end up with a version of the song that you feel good about. This final rough recording can then do double duty as the version of the song you’ll provide the session musicians and singers so that they can learn your song for the demo session.

2. Play It For Your Songwriting Group

Still stuck? Sometimes it takes another set of experienced ears to hear the things you’ve been missing. Songwriting groups can be great for this. If you don’t have a songwriting group, not to worry. Most cities have songwriting organizations, open mics and even local coffee houses with live music where you can meet other songwriters. Once you’ve found a few other songwriters whose work you respect, you might suggest getting together once every week or two and showing each other what you’ve been working on. This is a great way to get suggestions on how to refine your material. I’d recommend making a pact to stay constructive. There’s never a point in being unduly negative. You’re all trusting each other with songs that are still in their vulnerable early and unfinished stages. Mean-spirited comments or unnecessarily harsh criticism can cause a potentially superb song to be abandoned on the spot. It’s important to remember that songwriting is still a subjective process and not every suggestion you get will feel right to you. That’s fine. If you get a single suggestion that makes your song better, then the process is working. By the way, if you’re looking for a songwriting organization in your area, the Nashville Songwriters Association International (NSAI) has chapters all over the country and even overseas. Click here to find a chapter near you.

3. Submit Your Rough Recording to a Critiquing Service

Songwriting organizations like the Nashville Songwriters Association, The Songwriters Guild of America and Taxi.com offer song critiques to their members. This can be a safe, entry-level way to try out new material on experienced industry ears without risking poisoning the well if the song comes back with a less than glowing set of comments. These same organizations also offer “Play for Publisher” or “Play for A&R” song screenings. I’d highly recommend waiting to submit to these events until you have a song (and, just as importantly, a recording) you feel confident is completely polished. You only have one chance to make a first impression with a publisher or record executive so I’d suggest taking your time, making sure your song is finished and that you have a totally professional demo before you head down that road. While a pro critique can yield some terrific insights, it’s important to remember that songwriting is a subjective process. In other words, take all comments (good and bad) with a grain of salt.

4. Bring in a Co-Writer

If you feel you’ve got an exceptional idea but truly can’t seem to figure out how to finish it, then maybe it’s time to bring in a co-writer. Many co-writes begin from scratch which is a great way to share the effort of creating a new song but, sometimes, co-writes happen when one writer brings a partially finished idea to another. For example, if it’s the melody that’s got you stuck, then I’d recommend working with a co-writer who has a melodic gift. If it’s the lyric, look for a strong lyricist. The key to co-writing is to find someone who’s strong where you aren’t (and vice versa) so, together, you can come up with something better than either one of you could have created on your own.

5. Put It Away (…maybe forever)

If you’ve tried everything and your song still just kind of lies there, then it’s time to put it away…maybe even forever. The key to staying productive as a songwriter is not getting too bogged down on any one song. Sometimes songs are meant to be started simply to get you to the next song. Don’t be afraid to leave a song behind and start on something new. Sometimes you’ll come back to it months or even years later and sometimes you won’t. The more songs you write the easier this will become. Promise. While songwriting can certainly be a challenge at times, it shouldn’t have to hurt. It’s up to you to decide whether a song needs one more good effort or an express trip to the circular file.

I’ll leave you with a final random thought. Often the days you’re dreading working on a song are the days when you make the biggest gains. Always give yourself the benefit of the doubt and sit down and try. If it isn’t happening pretty quickly, then let it go, but if it is, you’ll be doubly glad you made the effort.

Good luck!

This is a guest article by Kristy Jackson.

If you’re a songwriter, here’s my advice. Five words. Don’t Ever Underestimate Your Passion! It’s a thankless job for the most part but you never know when something you write might strike a chord…something you write might resonate with someone…something you write might change peoples’ lives and yours.

After 9/11, 2001, I wrote a song, “Little Did She Know (She’d Kissed A Hero).” It wasn’t for anyone. It was for me…my way of grieving. I wrote it on September 26th, right after all the cell phone calls from Flight 93 were aired. How many times had I kissed my husband goodbye for the day thinking it would be an ordinary day? Only on that day it would be for many couples anything but ordinary.

The short story is that my rough recording (one take keyboard/vocals) found its way to radio. By October 2001, it had been downloaded by two hundred radio stations and by November 1st it was the most requested song on the largest radio stations in New York, New Jersey, Pennsylvania and other major markets. It took on a life of its own. Turning down a deal from Sony, I donated all my airplay royalties, quit my teaching job and raised over $30,000 for 9/11 charities. Not bad for an indie. I pressed a single and it ended up selling in every state of the US and seventeen countries.

I still get emails to this day about how the song has impacted peoples’ lives and it’s played on every anniversary on major market radio stations. I received over five thousand emails about the song, people telling me where they were, who they were looking for, who they waited to hear from and how this tragedy impacted their lives. I answered each one personally. How could I not? It’s since become a book. The email that we put last was the one that prompted putting the book together. A precious wife lost her husband on 9/11 and evidently my song had brought her such comfort through that time that soon after she found out she was pregnant - and when she delivered her healthy little girl - she named her Kristy…after me!  I’ve never cried so hard in my life.

Here’s the bottom line. In the midst of tragedy, heartache, even overwhelming gratitude for your place in the world, don’t ever wonder what can one person do. Evidently, a lot more than you think. Just keep writing and keep the faith. God has given you a unique voice in this world. That’s who you are. It was given to you for a reason.