What If There's No Such Thing As Writer's Block?!
Recently I was asked to contribute some thoughts to a Nashville Songwriters Association International (NSAI) session on the subject of Writer's Block.
Here's what I wrote:
My suspicion about so-called "Writer's Block" is that it actually should be called "Fear of Writing Badly." The moment you're willing to write something, anything, just to get the pen, the musical instrument or the voice moving, then voila! Your block is miraculously gone.
The problem is that we can become so harshly judgemental about what we write that it seems preferable not to write at all, thus sparing ourselves the embarrassment of writing really bad material. In response to that I say, "dare to suck!" (Pardon my vernacular.) Try writing about the fact that you have nothing interesting to write about — at least it'll get the juices flowing.
Let's say you have no real drama going on at the moment, i.e. "song fodder." On the surface, your day-to-day existence lacks the obvious peaks and valleys of romantic turmoil, life-or-death situations, and compelling stories to tell. Now what?
My advice is to delve deeper into your own experience. Make a list of the people, places and things you're truly passionate about right now. Family? Politics? A disastrous relationship from high school that you never really sorted out? We all have unique riches to share, but we tend to discount their universal appeal. My experience is that if you tell the truth about your life, it will resonate with others. Just don't edit yourself while you blurt it all out. That's like driving with one foot on the brakes.
The other cure I recommend for foot-dragging is deadlines. Commit yourself to participating in a class, an open mic, a collaboration... whatever gets you out of your head and back into the actual process. Find supportive colleagues you can bounce your thoughts off of, interview someone with a great story to tell, or just have a low-pressure jam session with other writers.
By taking personal responsibility, you remove the victim mentality of Writer's Block and can free yourself to actually reveal who you are in your writing.
And look at it this way: for every 10 songs you write, at least one of them is bound to be a gem!
The Significance of "Stuff" in Your Songs
Earl writes:
Here's the question I have: What are some good ways to portray objects or items as though they have a personality? For example, this old car, this old house, this pair of pants, or these keys. Thanks for sharing your expertise.
Very interesting question! It gives me an idea for a workshop exercise in Personification: take an inanimate object and imbue it with personality. Love it!
A great example of this technique is Mary Chapin Carpenter's "This Shirt." Check out the lyric here:
http://www.cowboylyrics.com/lyrics/carpenter-mary-chapin/this-shirt-5238.html
(As a side note, Chapin — as she was known then — and I went to school together in 11th and 12th grades, and I remember those lame high school dances she refers to!) At any rate, her song perfectly illustrates the power of personification.
Notice how over the course of the lyric the shirt gains meaning, reflecting the emotional reality of the "speaker." She wore her heart on its sleeve, used it as a pillow and a blanket, and lent it to a lover who hurt her. Finally it serves as a "grand old relic," gently reminding her of her rich past.
An object on its own doesn't have much impact, but the lyricist can add the significance with each association. You mentioned keys, for example. By themselves, they're only bits of metal. But the keys in our pockets have the power to allow entry: in a song they provide a metaphorical opportunity to demonstrate intimacy, or the lack thereof. Perhaps this particular bit of personification has become a cliché, but look around your life right now. What objects embody your true emotional state? That's where the great lyrics arise from: a deep awareness of your personal truth.
Is there something you can see from where you sit right now that sums up what you're going through? A dusty photograph of an old friend, an invitation you've tossed aside, a withered houseplant, a tangled bedsheet? Listen for the stories each object is telling you, and don't be afraid to reveal yourself in letting those stories unfold. This intimate sharing of self-knowledge is what draws us closer together as humans. It's why we want to listen to our favorite songs over and over.
Pretty soon you'll be walking around seeing meaning in significance in every corner of your world, and your writing just might blossom!
You Got the Feedback... Now What!?
Gary, who is associated with some great-sounding programs for songwriters (click here) emailed this question:
"I've just written (and rewritten) a song called "We Don't Need To Be Lonely Tonight," which was recently critiqued by a SongU.com instructor with an amazing track record — I really respect this person's opinions. Anyway, he repeatedly said that the melody/progression was very strong. He also said he liked the lyrics, and found nothing to criticize, but he obviously thought the melody was the song's real strength, and I agree. The song is a soft-rock sort of song, a genre that isn't hot these days, though I tried it with a mellow Latin groove and it worked very well that way too. I do not have a collaborator. Might it make sense to bring in a lyricist collaborator? If so, what should I consider, and can you suggest how to proceed?"
My reply:
Your question goes to the heart of an issue we've all come across: how to respond to feedback on our material. Since your critique came from a well-respected source, that already gives it more credence and requires fewer "grains of salt" than usual.
What you have here is a case of mixed feedback: a passionate "yes" on the music, and "nothing to criticize" on the lyric. In addition, you feel that the genre is less commercial than other choices you might make. My songwriting teacher used to say, "If 10 people say it's a horse, you might as well saddle it up and ride it on outta here!"
In keeping with that thought, have others given you similar feedback when you've played it at gigs, showcases, songwriting organizations, or for friends or family? If so, it might be a horse!
It may be a "close-but-no-cigar song," and with some work you might be able to make it truly great. It's almost impossible to take a mediocre song and make it fantastic, but it sounds like you're more than halfway there already!
Your instincts, which are telling you to find a collaborator and shift the genre, both seem like good moves. Whatever you do, don't let the lyricist hear the earlier version! It's so easy to get stuck that way. Just play the melody with a guitar or keyboard, or do "la la la's" with a good singer. And of course, make sure you love the lyricist's work first.
And genre-wise, go for the most commercially viable style that's in keeping with the "soul" of the music. Let the spark of inspiration that initially drove you to write the song shine through all the way.
It must be a thrill to get such a positive review of your song from a great writer. I encourage you to do whatever it takes to send this one over the top!
Do Collaborators Need to Make It Legal?
Annie asks, "When is it time to sign a collaboration agreement?"
Here's what I had to say on the subject:
Interesting question! I've rarely signed a collaboration agreement, and then only because a writer's publisher demanded it of every co-writer, for instance. Another time I signed such an agreement was when a split was uneven (40%, 40%, 20%), which was agreed-to up front.
For me, a co-writing session is an act of pure trust, and I expect everyone involved to act accordingly. I only write with people I know or have been referred to, or who have given me some other reason to make this leap of faith. It's a gut feeling, and it's rarely wrong.
According to what I've read, collaborations are split evenly among writers unless otherwise specified, and that's the issue that usually causes trouble. Other conflicts might arise when one partner adds something that the other doesn't like, like a lyric on top of a pre-existing track or melody. In that case, the 2 parties can "take back" their contributions easily enough, because they were created separately. If people's communication skills are good, this can be relatively painless.
If the writers create something jointly, as opposed to separately, the work is legally considered as one piece, and can't be broken up without some further agreement between the parties. This is when the trust becomes essential, as do the communication skills! I found a good article on the subject here:
http://www.musesmuse.com/columnistsgreylogs/archives/00000850.html
Personally, when I'm psyched to co-write a song with someone, I don't want to get tangled up in legalities. Perhaps I'm too casual about all this, but whipping out the agreement would feel like signing a pre-nup before even going on the first date! After hundreds of collaborations, the trust thing has served me well, but others have not been so lucky.
But if you like to be airtight legally, or have doubts about someone in particular, by all means have a simple agreement available before you work together. Here's one from John Braheny's site:
http://www.johnbraheny.com/bus/colcont.html
He's very well-respected, and I love his book, "The Craft and Business of Songwriting," so I'm sure it's thorough.
Best of luck with it, and co-write up a storm!
Living It VS. Writing It
Here's a question from Raymond Paul:
"I have heard from actors and writers that in order to portray or craft really well, having the experience of living it is of utmost importance. Based on say the last 50 years of songwriting one would of had to do one hell of a lot of drinking, fighting, loving and losing in order to bring forth a hit song during those times. Personally I disagree with that postulate. What's your opinion?
I have had minor success this year in that I have had an honorable mention and a runner up for 2 songs I entered in the Song of the Year Contest. Small, I know, but gratifying just the same."
And my response:
Great question! I don't know about the drinking and fighting, but I would argue that the loving is essential if you want to write great songs. See, it's my opinion that every song is a love song, if you take the larger view of what love is.
For me, love is passionate intensity. You have to really feel, sense, and experience something — anything — in order to write its truth. And since the flip side of love is loss, you can't really have one without the other. The glue that holds all of us together is our shared experience of love and loss, and songs are one way we let each other know we're not alone.
Personally, my best songs have all sprung from a nugget of pure love, whether it's love of friend, family, earth, humanity... or the romantic love most associated with pop songs. Even the more politically or socially conscious songs I've attempted have come from a deep caring about where this planet is headed. Sometimes it's lighter: you just want to express your love for dancing, drinking or fighting!
When you're not living the wild life, it's easy to feel intimidated by those who top the charts by taking that path. But I'm sure you've travelled your own unique path, and have had many experiences that are song-worthy. By digging courageously into your heart of hearts, you'll uncover many truths that could be the seeds of hits, if you craft them well. For every "I'm the Only Hell My Mama Ever Raised" there's a song like "I Hope You Dance." Honor your truth, polish your skills, and great songs will emerge if you keep on doing it.
Obviously you're doing something right if you keep coming so close to the mark in these contests! Keep putting it out there, listening to the feedback, and moving forward.
Does a 3/4 Time Signature Spell Commercial Doom?
John asks an interesting question:
"I was told when I pitched a song written in 3/4 time, 'You can't place a song in 3/4 time; recast it in 4/4 or 2/4.'
3/4 time is alluring and evocative — just consider The Tennessee Waltz. Do you agree with this advice? If so, why?"
Here's what I had to say on the subject:
Cool question! In my opinion, there is some truth to the idea that 3/4 isn't as "commercially viable" as 4/4, otherwise known as "common time." Why is that? Well, it's called "common time" for a reason. It's everywhere we go! That rhythm, either 4/4 or 2/4, is in our heartbeat, our breathing, our head-bop and our walk. Not to mention that it's in about 90% of our popular music.
The problem with 3/4 is that it gets wearing after a few minutes. Most albums and radio stations feature very few songs with this time signature, and they tend to spread them out. I recently recorded a demo in 3/4, and the drum programmer had a real struggle finding cool drum patterns for it! On the other hand, there are zillions of classic patterns, grooves, loops, styles and tempos that work with 4/4 or 2/4.
Of course, amazing songs have been written in 3/4 and 6/8: "You Make Me Feel Like a Natural Woman," "Breakaway," "Amazing Grace," "Lucy in the Sky" (the verses, anyway)... hmmm, I'm running out! They are exceptional exceptions to the rule.
You might try a re-write if you're convinced your song will benefit from the change. But then again, if your song is absolutely begging for 3/4, and we've all written a few that were, I say go for it. Just don't be surprised if that limits its appeal for some folks.
As Shakespeare (almost) said, "To thine own song be true!"
Maybe It IS "Who You Know," After All!
Here's a thought I had as I coached a few clients recently:
People are always asking me "how can I get my song cut/in a film/on TV etc." Starting back when the Victrola was new, this has been the million-dollar question. The cynics of the world, seeing so many lame songs become hits, pummel us with the old adage that "it's not what you know, it's who you know." Well, I'm here to say that it's partially true.
First, let's assume you have one or more truly great songs that you're intending to "break in" with. (Right now I won't get into the subject of what happens when you don't have a great song as your "calling card.")
If you ever want to have an impact beyond your immediate friends and family, it's essential to go out there and meet like-minded souls. Lots of them. You create relationships with living, breathing, wonderful humans. Ones who love what you do, and want to do it with you. Ones who are on your wavelength. Ones who share your passions and your higher purpose. And if they're already successful, so much the better. But they don't have to be. You can eat your way up the musical food chain together!
Personally I hate the terms "networking" and "connections" because they're so rooted in naked ambition, lacking any sense of the personal touch. Our deep humanity is the reason we love music in the first place, and want to make a contribution through the medium of song, n'est-ce pas? It's best to keep that in mind when reaching out to anyone in the music world.
Anyway, looking back at the songs I've gotten cut, 99% of them came about because I hit it off with somebody, and stayed in touch with them. I went to a party, a gig, a conference, an event — or I followed up on it when someone said, "Gee, you really should meet fill-in-the-blank!" I shake a lot of hands, give out my card, visit websites, listen to songs I've been sent... I participate. I show up. Sure, a few cuts have come out of over-the-transom mailings, but most of the time it was in fact "who I knew."
Here are a few examples from my life:
• "Melt Away," in the Denzel Washington film "Déjà Vu" (The film has made over $170 million worldwide.)
About a year ago, my longtime collaborator Jeff Franzel suggested we co-write with Peter Gordon, an acquaintance of his. Jeff had known Peter's father from way back when, but Jeff and Peter had never made music together. I trust Jeff's judgement, so I said "sure!" (Notice the "Six Degrees of Separation" thing already going on here.)
Eventually Peter got an assignment from a friend of his, who was Jerry Bruckheimer's music supervisor on "Déjà Vu." We submitted one tune for the "restaurant scene," got some feedback on it, wrote a second song entirely... and got pretty much nowhere with either.
Then we got a call that they now needed a very specific type of song (style, tempo etc.) for the same scene. Oh, and they needed it, like, yesterday! We jammed into action, and submitted a brand-new song within a few days. This third attempt was the one that made it into the film. Notice that we would have been shooting in the dark without that last specific and timely bit of information from someone on the "inside."
• "Don't Rush Me," recorded by Taylor Dayne. (#2 Pop, #3 AC, #6 Dance, Multi-platinum album)
In 1980-something I was in a music lawyer's office, and she said she thought I should meet a successful club DJ she knew. I followed through on her suggestion, and met him at a recording studio in Long Island. Hanging out in the studio that day I also bumped into a 19-year-old engineer who at the time was basically living on the couch at the studio. He had a British accent (oh so charming!) and a palpable passion for music. We exchanged numbers, because he told me he had a hot artist he wanted to work with, and they needed some original songs.
Flash forward a while. I was now good friends with the producer, and he had signed the artist, Taylor, to a production deal. I was running my new songs past him, and he had strong opinions about which ones were or weren't right for her project. Finally he got a "singles deal" for her on Arista, and her first release, "Tell It To My Heart" was an instant smash. They needed to follow up ASAP with an album.
Suddenly all that time I'd spent developing the relationship and running the songs past the producer started yielding some results! Sure enough, my song "Don't Rush Me" appeared on the debut album, and became my biggest hit to date. The producer also cut other songs I'd written with Taylor and other artists.
By the way, the club DJ got out of the music business altogether, having found religion. But calling him, thanks to my lawyer's advice, set the whole thing in motion!
Self-Promotion in the Modern World
Here's a note from Ken, one of my former students:
"I'm finally finishing off an album. Yeah! I was wondering if you had any thoughts on self-promotion. CDBaby and MySpace are good I know, but I wondered if there are others or better ones?"
Here's what I wrote back:
As for self-promotion, in this day and age of Internet Overload you should be able to generate some serious viral word-of-mouth if people love the music. If I were you, I'd do some heavy research on the subject, in the bookstore, online, etc. I know there are some good books and websites dedicated to this subject.
Pick your strongest "single" and use that as your way "in the door." Get feedback on what song that might be from your circle of friends, if you don't already know. You might even want to shoot a video for that song and get it on YouTube! Know any amateur film students or animators?
If you're performing live you can get mailing lists going, or apply to appear at any of zillions of showcases in New York or farther afield. After my 2 album releases I did lots of gigs, "house concerts" (which are really fun), and tours in the US and Europe. You might not be committed to doing that sort of thing, but it does help spread the word.
There are also plenty of reputable contests and newsletters. A good newletter and contest are run by Brian Austin Whitney at Just Plain Folks. Check it out here:
http://www.jpfolks.com
Depending on the specific niche that your music falls into, you can discover many other resources that serve your particular audience.
Also, would any of your material be good for film or TV? There are lists available of music supervisors if the songs and production are of high quality, suitable for broadcast. Of course it can be a long process to form the relationships necessary to actually get a song placed, but if you own the songwriting and publishing rights there are many lower-budget projects that don't want to deal with the huge music publishers and need easily-licensed songs that are available ASAP.
Another possibility is the ASCAP Expo, each April in LA. I've participated in it for the last 2 years, and met some cool people involved in many aspects of songwriting and artist development and promotion. Really top-name writers, producers and artists are on the panels, too. Check it out on the ascap.com website. (Also ASCAP just had their annual "I Create Music Expo" in LA. I went there as a mentor for One-On-One sessions, and the whole event was great! Check it out on http://ascap.com. Ahh, but more about that in a later post!) BMI and other music business organizations offer other opportunities as well.
The main thing is to commit yourself to following through. If you sincerely believe your music makes a contribution to people, then don't hold back! I believe that audiences are on the lookout for quality performances and songwriting, regardless of whether it comes from major labels or do-it-yourself artists. Set aside some time every day, every week, to getting your music out there. As Woody Allen said, 95 percent of life is just showing up.
After we met in person and went over some of Ken's songs, I added this:
However you decide to proceed with your songs, the next batch will ideally benefit from the feedback and "stand on the shoulders" of your work on these.
Getting them "out there" is a process unto itself, worthy of a whole other 10-week workshop at least! The main thing is to "show up" and create relationships galore.
Almost every single cut I've gotten was through knowing someone, or knowing someone who knew someone. And the only way to get to know anyone is to put yourself in the room, on the web, at the events.
When you have great songs it makes things MUCH easier, of course! Even one great song can create a buzz and make folks want to work with you further. There's no one way to achieve success, it's a matter of day after day taking the small steps towards it.
I force myself to make a few calls, write a few emails, create a few deadlines every day, and have built up a support system of people who like what I do. People don't generally want to pull YOU up by the bootstraps. They have to see some benefit for themselves because they think you'll help THEM achieve success. So the question become what do YOU have to offer THEM? What is your strongest contribution to the world, musically speaking?
There are incredible resources out there: books, magazines, the web, myspace, ASCAP, BMI, etc. I have a list of them in my eBook, too. The first thing might be to get a MySpace page (as a band, as opposed to as an individual), and start out with even 1 or 2 of your best songs. You can even sell them on there now!
ADDENDUM: Since I Ken and I had this exchange, he's completed his album, and is now selling it on iTunes, MySpace, CDBaby, and many other outlets!
Close-But-No-Cigar Songs
Brad writes:
"I was wondering if you have any advice about re-writing a song that you really like, but has gotten lukewarm feedback. Many songwriting experts seem to say to forget about it and move on to the next song, but I don't believe that a song with potential cannot be pushed over the top with a little more work. I think I have such a song, but when I try to re-write it, I only can hear what was already written, as it is entrenched in my brain. Any ideas?"
My response:
Thanks for your great question.
Like you, I often get entrenched (great word!) in my songs after I've heard them hundreds of times. They seem to harden like concrete after the initial mixing stage that is the writing process. That's fine if the song in question is really great, but this stuck-ness can be an obstacle to rewriting if you are getting signals that the song isn't 100% wonderful.
Regarding feedback, one of my songwriting teachers had an expression: "If 10 people say it's a horse, you might as well saddle it up and ride it outta here." In other words, if you're getting the same lackluster responses from several different sources, there may be some validity to the criticism. Are their responses ringing true to you on some level? If you can remove your attachment to the song and weigh the feedback, separating the critical wheat from the chaff, it may help to point you in a better direction.
But before you re-write (again), check in with your "heart of hearts" and make sure the song itself still has a strong "spark."
Thankfully, I've have had the experience of writing a few hits, in addition to hundreds of close-but-no-cigar songs. From that perspective, I can say with some certainty that, from pretty much the moment of birth, a hit feels really different. A hit possesses a strong, palpable spark of inspiration — the kind that keeps you up at night and runs up and down your spine like an electric current. People who hear it feel that spark and the song touches them in that place inside where we all share the same humanity. It's a magical thing, but you know it when it happens!
When I brought my first song that felt like that to a songwriting class, the other writers in the room were similarly blown away. They all said what I'd been feeling since it popped out: "Now THAT one is a hit." This was after 8 years of writing — a lot. That song, "Too Turned On," was soon recorded and released by a dance artist, Alisha, went to #6 on the Billboard charts, and still receives lots of radio play 21 years later. So, in that case, the feedback was accurate, and reflected my own internal response to it. It felt like that song came "through me." I never felt like I forced it.
Contrast that with the experience you're having with this song. If you honestly feel like your lyric has the spark but your music doesn't, then do everything in your power to do a music-ectomy. In other words, toss out what you have and start from scratch. If it doesn't work out, you still have that music to go back to, right?
So, how can you separate yourself from a song that's really entrenched? Here are three suggestions:
• Find a collaborator who writes music, and give them only your lyric.
• Try re-writing the music on an instrument you don't ordinarily play.
• Take the lyric and a recording device and experiment for ages a capella.
I've used all of these methods to escape my ruts. The beauty of collaborators is that they NEVER write exactly the way you do. Instant rut-escape! And the beauty of writing on an instrument that you don't ordinarily play is that sounds, new fingerings, etc. can open up your mind. And finally, if you reduce the song down to its essence, in this case the lyric, and proceed a capella, you might find yourself back in touch with that magical spark that brings all great songs to fruition.
A Handy Lyrical Checklist
Laura asks:
"Are there certain skills you look for when writing great lyrics all should know?"
Here's what I wrote back, along with a Lyrical Checklist that might be helpful for those of you who enjoy such things!
Sure, there are qualities that make certain lyrics stand out. I'll attach a little checklist I made up recently, which describes some of the elements that I think add to a great lyric.
Obviously the real key to writing great lyrics is to look inside yourself and find out what you, in particular, have to say. What do you feel strongly about? What has your unique experience on the planet taught you? How can you use the conventions of song form and lyrical devices to make your message more powerful?
Another thing you can do is look up the lyrics of successful songs that you enjoy on the web. Google works well for this. You just write the title like this: "Stairway to Heaven lyrics" in quotation marks, and you should get many hits. Then you can print them out and really study what makes them tick. Do they take a strong point of view? Do they offer an interesting perspective? Do they use rhyme, metaphor, imagery, in a compelling way? Is there a story that draws you in and then delivers an impactful payoff? I do this a lot to get re-inspired.
Here's the checklist:
LYRICAL CHECKLIST
SONG DYNAMICS
• Do the very first lines pull the listener in, pique curiosity, hint at thrills to come?
• Is there a mounting sense of excitement and inevitability, leading to the payoff of a central concept/hook/title line?
• Is the hook/chorus simple and catchy, delivering a resounding payoff that answers the central question the song poses?
• Do successive verses (in a Verse/Chorus structure) come down somewhat in energy after the chorus, in order to build up towards another chorus?
• If there is a Bridge, does it depart from the prior sections in tone, line length, rhyme scheme, meter, etc., thereby providing some variety and lift towards the end of the song?
LYRICAL CONTENT
• Do the song's lyrics successfully evoke a brave new world, an environment unto itself?
• Is a strong, passionate point of view immediately evident and palpable?
• Do we immediately know who's speaking and who's listening in the context of the song?
• Are the concepts and images specific, clear and evocative, rather than vague or intellectual? ("Show me, don't tell me," as they say.)
• Is the song tapping into a strong, palpable emotional and/or universal experience?
• Does the song answer the questions Who, What, When, Where and Why?
• Is there a consistent tone and mood being set, and does it suit the subject matter being addressed?
• If there is an obvious tone shift, is it justified by the content, for example a change in who's speaking and who's listening?
• Is the writer's personality shining through, thus giving the song a unique flavor?
USE OF LITERARY DEVICES
• Does the song demonstrate the writer's facility with rhyme, meter, imagery, alliteration, assonance, metaphor, similies, symbolism, onomatopoeia, personification, humor and other lyrical devices?
• Are these devices used effectively, adding to the power and depth of the song?
• Is there enough repetition, especially in the chorus or hook, to provide emphasis and catchiness?
• Is there a variety of rhyme schemes, avoiding the "boxy-ness" and predictability of typical 'a-a-b-b-' or 'a-b-a-b' patterns?
SINGABILITY
• Does the song "sing" — i.e. fall easily off the tongue?
• Are consonant-filled words used judiciously, with an awareness of their tendency to twist the tongue?
• Does the song use feminine rhymes (ending on an unaccented syllable) to rhyme with feminine (i.e. together/weather) and masculine to rhyme with masculine (i.e. today/stay)?
RHYTHMICAL CONTENT
• Do the various lines and sections exhibit an awareness of rhythm and scansion?
• Is the lyrical density different in different sections, forcing the melodies to also be varied?
• Are patterns repeated in successive Verses, making it easier to put them to the same melodies?
SONG STRUCTURE
• Does the writer exhibit clear knowledge of song structure, i.e. AAA, AABA and VERSE/CHORUS?
• Are there striking contrasts between song sections in line lengths, rhyme schemes, metrical patterning etc.?
• Are Pre-Choruses and Bridges used appropriately?
• Is the song's length as short as it can be to still deliver the maximum punch? (Remember: "Don't bore us, get to the chorus!")
Writing Alone... After Collaborating Forever
Jan has this question:
"I have been writing with other people for so many years, that when I sit down to write by myself I feel like there is someone or something missing. How do I just write and complete a song by myself?"
Here's my response:
Because this is an issue I run up against often, I find myself digging back into my best moments as a solo songwriter for guidance. I've had about 100+ collaborators in the past 23 years since I started co-writing. One of my hits was written alone... and that’s about it!
First off, I'd ask you to honestly evaluate what your strong suits and weak suits are, and consciously work to improve those weak spots. Do you write great melodies, tell great stories, come up with cool chord progressions, hooks or instrumental riffs? (Or not.) Are your lyrics fresh and emotionally pungent, or do your play it safe and keep your distance? Do your songs all start to sound the same after a while?
Do you need to study your instrument(s), read a lyric-writing book, take music theory, or otherwise improve your skills?
Whatever the answers to those questions are, note that being self-critical while in the process of writing is like slamming the brakes on just when the flow is getting started. That sounds like it's happening for you. For me, what works is immersing myself in the puddle (or the waterfall) of my own emotional truth, then channeling whatever comes out NON-STOP. In other words, don't let that lonesome non-collaborative feeling stop you. It might just be the voice of terror: you're getting too close to the bone!
The best songs I've written alone were coming from very real places in my gut. So take risks, soak up inspiration from great songs (without ever ripping them off, mind you), let the emotion of it all roll you over. Plus, remember these words: "Dare to suck." In other words, let yourself fail and flail and write really badly! For every 10 songs I write, maybe one is worth being recorded by someone. Those other 10 are so necessary to the process, though, even if just to teach me (again) what doesn't work.
When Should a Songwriter Contact Managers?
Here's Susan's question:
"What is the best way to contact management for artists for whom you think your songs are best suited?"
Here's what I wrote back:
In my experience, the lion's share of the work needs to be done before that moment when you actually send the song out.
First of all you have to have written songs that sound like they'll be hit singles, because the only time artists or managers seem to look beyond their inner circle for material is when they're lacking in those obvious one-listen, hit-you-over-the-head, radio-ready type songs. Often a record label's constant refrain is "we don't hear a single," and that's where the outside songwriter can come in and save the day. If you have songs that are truly that strong, and are demo'd so well that they are interchangeable with what's on the radio (or in a movie, or on TV etc.), then you probably have a shot!
My other question would be this: have you made sure that the acts you're approaching are open to cutting outside songs? These days it seems like 90% of successful acts either write or co-write their material, often with the producer. So some research into each particular project is always a good idea.
So let's say you've got the songs, and have your eyes on particular acts. Now what?
Well, in my experience you usually have to "know someone on the inside." Are you out there participating in the music business? Are you a member of the various national and local songwriters' and performers' organizations? Do you attend industry events, showcases and awards ceremonies? Do you have a presence in the social scene that surrounds the types of music you write and enjoy? Do you know a lawyer, publisher, collaborator or producer who can provide an introduction to you and/or your material?
It's been true for me that most of my successes have come about because I spent years cultivating relationships with actual warm-blooded people who respect me and like my songs. Then they spread the word, and I gradually worked my way up the musical food chain. It's not the silver bullet theory, but rather a series of small events. Like Woody Allen said, 95% of life is just showing up. If you're showing up anywhere and everywhere with your great songs, and then "working the room," you're much more likely to get them to successful artists, managers, etc.
Of course the other way to go is to look up names and addresses in a directory and try to do it that way. I call this the Shotgun Approach, as opposed to the Magnet Approach, above. I've never had much success that way, but I know folks who have! You need to have the right personality and lots of perseverence for that path. Just keep hammering away until someone opens the door a crack. Still, the songs have to be there, and the artist has to be appropriate, and open to outside songs.
I've also found that cultivating relationships with record producers can be extremely fruitful for songwriters. A producer's job in life is to turn out album after album, so they usually have a constant need for new, outstanding hit-single-type songs.
These days with the Internet there are a zillion possibilities for getting your songs around, too. In the old days you had to make physical copies and mail them off, hoping that someone would actually open the package. Nowadays you can shoot off an MP3 with lyrics in the body of an email and find out 4 minutes later what someone thinks of your song.
Mass Appeal Vs. Soul Inspiration
Calvin wonders:
"What do you do with songs you are 'inspired' to write, yet don't think or 'know' the industry or masses would appreciate?"
Here's my reply:
I write lots of songs that aren't very commercially obvious. Usually in the rush of inspiration I'm convinced they've got "hit" written all over them, and it's only with a few weeks or months of perpective that I can see that they're more "soul songs" than "mass appeal." It's just the nature of art. Some ideas burning to be expressed, and you can't stand in the way. It's best to let it flow, as often as possible. And soon the more commercially viable ones will emerge. Try not to judge them while you're creating them. It jams up the spigot.
If your goal is to write for the industry, then by all means listen to what's on the charts, buy the songs or albums in the genres that appeal to you, attend the shows, meet the people... basically strive to do all the things that hit writers do and learn from their successes. And know that even the huge hit writers out there also create songs that are off the beaten track.
Great songs come from a nugget of truth that exists in you. Your own slant on the world is what will provide the seed for your best songs. If you dig down and really experience your life and your mind and your heart to the fullest, and put those experiences into song form over and over, you'll access the universal humanity inside yourself, and eventually express it in ways that others can relate to.
It's important to honor those moments of inspiration move your, speak to you, and then let those less obvious songs emerge fully. Who knows, you might really tap into something that blows the world away. Think of your favorite songs. I'm sure most of them arose from a blinding flash of inspiration!
Just the other I was at a writing session, and my collaborator wanted to play a song he'd just completed. His lyricist, who used to be one of my students back in 1990, wrote a lyric about her Mom, who's older and in poor health. When I heard the song I could feel the tears forming in my eyes, as could our 3rd collaborator in the room. It was a very personal song, but also universal. I bet something will happen with it, because it's so true, and it fit well in the country genre.
Where Are Those Fresh Chord Progressions Hiding?
Shane asks this great question:
"Fresh chord progressions are needed for fresh melodies. Do you know of a publication that tells you: Try "these" chords for a verse. From there you could go "here" for a chorus or "here" for a bridge. I have bought many chord books, but none are simple enough for me to use them the way I want to."
Here's my response:
I agree that fresh chords can spark fresh melodies, but I have yet to find a book or publication that lays out a list of which chords or progresssions to use when. My experience is that learning to play a LOT of songs in your preferred genres can be very helpful in seeing what works, and/or what's selling these days.
Finding out the chords to the hits is very easy, because you can go on any search engine. On Google for example, just type in the title, plus the word 'Chords' afterwards. If you look for the Bob Dylan song "Subterranian Homesick Blues Chords" for example, you get the chord progression, typed in above the lyrics, here:
http://www.azchords.com/d/dylanbob-tabs-5069/subterraneanhomesickblues-tabs-177185.html
I do this many times a week to find out what the chord changes are for successful songs. Of course there are so many genres and niches in popular music, there's no way you could tell songwriters exactly what will work in advance. There are certain conventions, but so much depends on the particular lyrics and melodies of the song itself. I found this site, which does have some articles on the subject which you might find helpful:
http://www.howmusicreallyworks.com/Pages_Introduction/Introduction.html
That is part of a larger site:
http://completechords.com
Hopefully you play guitar or piano well enough that this won't seem like absolute nonsense!
My guitar teacher recommends this music theory book, written for the beginner:
http://www.amazon.com/Harmony-Theory-Comprehensive-Musicians-Essential/dp/0793579910
Keep playing, keep "pokin' and hopin'," and I'm sure your chords will improve over time!
Has It All Been Said and Done (and Written?)
Blaine asks this question:
"What can a songwriter do to write something unique? Everything seems to have been written..."
Here's what I wrote back:
I've often wondered myself if "it's all been said and done," or written and sung as the case may be.
First, tell me this: when you fall in love, does that rush of emotion hit you the same way it does me? When you feel hurt, or inspired, or mad as hell, is your experience exactly like anyone else's? Your best friend, your hometown, your point of view... they all seem unique and precious to you, don't they? The same goes for your musical background, your relationship to the language, and your sense of rhythm and harmony.
In short, we each look at the world through our own prism, our own filter. Personally I wouldn't trade mine for the world!
So when you sit down to write a song, don't edit out the aspects of it that express YOU. Dig into those particular angles, those quirks, those perspectives that reflect your truth and your identity. Relish the thought of baring your soul, which is admittedly scarier and more difficult than grabbing for the nearest cliché. I firmly believe that the Universal is present in the Particulars of your personal experience. It's a paradox, but it works wonders.
Great songs might share underlying concepts, but it's the way those ideas are colored, shaped and delivered that makes them worth a listen. It's like cooking: we all share a common set of ingredients, but we each cook them up differently. (Unless you're eating at McDonald's, I guess.)
If you want to test this, write 3 pages non-stop, non-judgementally, spontaneously, sparked by something you truly care about. Don't even question whether what you're writing would "make a good song." Just express your passion without reserve, for 10 or 15 minutes. Don't cross anything out, just go for it. Silence your critical left-brain voice for a while, so you can really discover what you have to say.
Later on, go back and circle any words, phrases, ideas or images that strike you as particularly real or true. Maybe there's the seed of a song in there. Maybe not, but keep spilling yourself onto the page, (or into your recording device) until you find that magical something that's aching, yearning to come out. That's where the gold lies.
This exercise is one I use to break out of "blocks" myself. It really works!
On Demo Quality and Creating Relationships
Pamela had 2 great questions on these subjects:
"Do songs being sent in to a publisher for evaluation (for possibly a single/song contract) need to be professionally recorded? Meaning, a high quality production? I am told that uptempo songs should. It seems strange to me to spend all this money on a professional demo and then be told by the publisher a new one needs to be made. That's double money going out for one song."
Her second question is:
"How do you get a referral to a publisher in the first place? If you're an outside writer, with no success yet, but, own hundreds of original songs with over half of them being potential hits? Do you think just telling a publisher that, they would be interested in at least listening to a few of your songs?"
Here's what I wrote back:
My personal experience tells me that it's best to narrow your material down to the very best, most commercial, "one-listen" radio-ready songs, then demo them to the hilt. Unless you know a business person extremely well and they have better-than-average "ears," don't expect them to extrapolate out from a rough or minimal demo. In a perfect world, sure, People Behind Desks can imagine a full production from a guitar/vocal or piano/vocal demo... but that's not generally how it works in the real world.
It is very expensive, but if you're committed to your craft, you'll be able to use even one amazing demo of a great song as your calling card in the business. Everyone — publishers, producers, other writers, managers — will know from that one demo that you have talent and take yourself seriously. Then they'll take you seriously as well.
This is truly a business based on "who you know." That's not necessarily a bad thing, it's just reality. If you have communication skills along with your songwriting talents, over time you'll be able to develop personal relationships with publishers, lawyers, collaborators etc. That's how I've gotten almost every song cut: by knowing someone who needs a good song. You have to make a long-term, consistent effort to get out there and meet successful people in your genre(s) of music. Join the organizations, attend the conferences, go to the gigs and showcases. Participate, don't isolate. The music business is a small world of passionate, successful people, surrounded by a lot of hacks. You have to prove you're not one of the latter!
Personally, if I've demo'd a song in a style that is currently "on the radio," I don't usually have to demo it again. But I try to make sure that the demo is done up right, with top quality singers, players and engineers. This often means recording it in NY, Nashville or LA, or digging up great people elsewhere. I spend $800 - $1500 a song. A good reason to be sure the song holds up as a piano/vocal or guitar/vocal first, right!?
"Putting It Out There" — When Is The Right Time?
One of my coaching clients asked:
"How can I put some of my stuff out there to companies, so I can write for others?"
Here's what I wrote back:
"Putting it out there" seems to proceed best from the writer's initiative, once they have superior songs and great recordings of them. Forming relationships is a long-term activity, and it's really the way most things get done. Luckily you're a friendly person with some real talent!
Also, people want to work or co-write with folks who have some "buzz," something that's actively "out there" in the world. Admittedly, this sounds like a "which came first, putting the song out there, or the buzz" situation. But ya gotta start somewhere! Remember, no one really wants to pull someone ELSE up by the bootstraps. They're all looking for someone who can pull THEM up. So your job is to create some buzz, first by having great songs, and secondly by participating actively in the music world.
There's nothing more valuable in this business than having people say positive things behind your back!
When your songs are ready, there are zillions of venues available for putting them out there, and you're wise to get them in good shape before doing so. Many people form first impressions that cling stubbornly afterwards, so it's best to polish your diamonds before presenting them. Then you can truly form mutually rewarding relationships with like-minded souls.
Giving Thanks (Even If You Haven't Had a Hit Yet)
In the spirit of Thanksgiving, I was chatting with a songwriting friend who has never had a "hit" before, and gave her a few words of advice, to wit: Gratitude is the Attitude.
So many of us (myself included) fall prey to the feeling that the Result, i.e. recognition, hits, Grammies, gold records, etc., is more important than the Process, i.e. writing, recording, performing, and creating relationships with colleagues.
The problem is, the amount of time spent luxuriating in the Result is pretty miniscule compared to the amount of time engaged in the Process of getting to that moment. It can take years, even decades, to achieve "success" in music, or any serious field of endeavor for that matter. So the name of the game is to actively enjoy being immersed in, and thankful for, each moment that you get to do the thing you love. In other words, make the process into the result!
Besides, the view from the top looks a whole lot better if you enjoy the trek up the mountain.
To make this less hypothetical, I'll give an example. I just spent 5 studio sessions working on a song with a new producer and singer. They were such cool people, and incredibly talented. At the final mix, I felt like I was bonded to them so strongly, and I'd really miss them. We had a sweet goodbye, all smiles, and walked out with slammin' mixes in our hands.
Now, what will ever happen with that particular song? Maybe someday I'll walk down a red carpet to receive an award for it, or maybe it will end up gathering dust on a few select shelves. At least I know I really enjoyed the process of getting to know these people and making our vision for the song a reality. Fun was had, and strong partnerships were formed. What could be better? (Okay a hit single would also be great.)
In other words, "Be here now and the hits might come then!"
COOL LINKS
Thanks for visiting! Here are a few songwriter-friendly sites around the web that Alex personally recommends.
Songs Of Love Foundation
An incredible opportunity for songwriters to contribute their talents to lifting the spirits of children with life threatening illnesses. Founder John Beltzer had a vision that each seriously ill child should receive a personalized one-of-a-kind song that celebrates their lives, with their name as the title. Over 7000 songs have been delivered and many miracles have resulted, for the children and their loved ones, as well as the songwriters.
HowMuchJoy.com
This site by Suzanne Falter-Barns will kick your creativity into high gear and bring your dreams closer to fruition. Suzanne coaches people to discover and live out their "soul purpose" in a spirit of joy and enlightenment. Her books, workshops and public speaking events are wildly effective, in whatever your field of creative endeavor.
The Muses' Muse
An incredible compendium of resources for songwriters, lovingly assembled by Jodi Krangle.
Addicted To Songwriting
A resource for songwriting information, articles, news, tips and more.
CDBaby.com
A reasonably priced place to put up a web page to sell your CDs online. CDBaby's founder, Derek Sivers, offers great service and can get your music listed with the major digital distributors, including iTunes. He also sends out valuable articles of interest to performing songwriters.
ASCAP
A performance rights organization for songwriters and publishers. Founded and presided over by songwriters, ASCAP collects your royalties for airplay on radio, TV, concerts and other public performances of your songs. It also provides workshops, panel discussions, showcases and numerous other opportunities to meet other like-minded souls. President Marilyn Bergman is a great source of inspiration for songwriters and music publishers, and works hard to secure and protect their rights in this age of rampant piracy and threats to the value of copyrights. Join the mailing list and explore the possibilities online and in many cities nationwide.
BMI
The other major performance rights organization in the U.S., providing songwriters and music publishers with numerous forums for improving their professional lives, as well as collecting and distributing public performance royalties. BMI also advocates for songwriters, protecting their rights in the marketplace. Workshops, panel discussions and many other opportunities abound.
Songwriters Hall of Fame/National Academy of Popular Music
This wonderful organization offers Quarterly New Writer Showcases, workshops, an annual New Writers CD compilation, open mics and seminars in NYC. Bob Leone, one of the first people I met in the music world back in 1981, spearheads many of these high quality programs and is an amazing resource for all things songwriter-related.
CSA is an educational non-profit organization dedicated to improving the art and craft of original music, combining arts, education and community outreach since 1979. It has grown to become one of the oldest and best known songwriters associations in the country. CSA sponsors monthly programs, with nationally known guest speakers, song critique sessions, and interactive workshops. Their newsletter, Connecticut Songsmith, has been published monthly by Bill Pere since 1980. The CSA also engages in community outreach efforts and other worthy causes.
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