NOBODY CARES !
I can't tell you how many letters I get full of complaints as to how "nobody cares" about songs, writers, art, creativity, so on. Most writers feel they have great songs and just can't get a break and just don't understand why they are not getting cuts.
Let's just take a small aspect for consideration today, one I think is often ignored by those pitching. As usual, I expect you to see this from a business angle, as well as an artistic one, because we are trying to make songwriting our career choice, i.e., a lifetime income.
Let's imagine that you are trying to sell your house that you built yourself. It's the coolest house in the world! It has solar powered electricity, a 5 car garage, a unit downstairs to rent to others, and just all sorts of features that you think are important. You start approaching Real Estate agents to list your house.
Do you call someone who lists only huge office buildings? Do you call someone who sells land only? Do you hand your house over to someone whose business success you know nothing about? Just how are you going to go about selling your great house? If you are a total idiot, you grab the phone book and don't discern between commercial and residential agencies, and try to list your house with a commercial building agent. They acknowledge your foolishness by pointing out that right there in the phone book where you got their number, it says what they do, you just didn't bother to read it.
Do you argue with them, that even though their specialty and success is in commercial real estate, your single family home is so terrific, they MUST list it?? Do you think, even if they did, that is a good move on your part? To have a representative who has no expertise in what you are trying to do? I think you get the point.
Now, let's assume you have done a bit of homework and found an agent who handles your type of house, and they sign a contract to represent you. They tell you that even though you think solar energy is great, the bank won't give a good loan on non-traditional energy supplies, and most people DON'T want a rental unit as part of their home, and for a two room house, a five car garage is excessive. However, all this considered, they will still try to represent you.
Now, do you think that when buyers come to this agent, and ask to be shown a four bedroom home with no rental unit and traditional energy sources, that this agent should take them right to your house, and try to convince them they really want yours? If this agent does, they won't get much return business, that's for sure. A buyer who knows what they want only gets frustrated when they are mislead, and soon stop trusting the person they are trying to buy from.
Ok, time to apply. 1. When you approach a publisher (manager, label, agent, etc.), first consider THEIR needs. What is it exactly they do? Can you drop a bit of history into your intro letter, to show them you are acquainted with their needs, and can offer something that might help them? I mean REALLY help, specifically with what they deal with.
If you write to someone to ask them to invest their reputation/time/money/energy on your work, don't you think it's at least POLITE, (if not wise), to know what they have done and are doing? Why send someone compositions for Film Scores if they ONLY handle Single Song Contracts? Find out all you can about whom you are pitching. (Yes, it's a pain in the neck, but you are asking this company for something. Why should they care about your work if you don't care about theirs?)
2. Assess your house against the market... i.e., if you have a song, make sure you know where the demand for that exact work is. Don't try to shop a song that isn't a viable, competitive, and appropriate pitch for whatever genre it represents. That also means researching WHO is cutting your type song THAT DOESN'T WRITE THEIR OWN.
I just received a letter a couple of days ago that said, "This would be a GREAT Tom Waits song." Yes, right, but Tom writes his own (I wrote back). Ah! (came the second email) It would also be great for Bob Dylan." Do you see? It does no good to write for an artist who writes their own material, and especially when they are one-of-a-kind artists. If you are pitching a great act who cuts outside material, listen to the last two albums that artist has done. You'd be surprised how often your "perfect song" for "X" doesn't fit. But it's VITAL that you know EXACTLY what the artist is currently doing.
3. With the Internet at your fingertips, there's not much excuse for not researching now. Failing that, there are TONS of resource books in the Library and at your Songwriter Associations. Do your homework, and save yourself and the few willing ears out there a lot of time and wasted effort.
One more little hint. I do keep an eye on those who appreciate my own efforts to help. They return the kindness by feeding the stream with their participation. They sign up for and respond to our Newsletter. They say "thanks" when they are given an opportunity, whether they make the cuts or not. They are sensitive to how little time I have, and never waste it.
Yet, by this participation, they realize that their name is visible, their response is another exposure for them as individual people. Some are quite likeable, as well! Although I make my business judgements based on BUSINESS decisions, I can't help but answer one of these "special" person's emails first, or put their tape in the "next" box, instead of the anonymus boxes that await attention when there is time. It is because they are giving the extra, and the return, even in small ways, happens.
I do not mention this to have you all start courting everyone in the business, but to show you that your participation can also create a wider possibility of opportunity. I once kept my employment in a lay-off because I was the only one who filled up the copy paper in the copy machine, even though it wasn't my job. I hate doing that as much as anybody, but I hate finding the machine empty even worse. That extra "give" kept my job when it came down to me and one other person. The Music Industry is no different.
Just my opinion.
Janet Fisher
Goodnight Kiss Music (BMI)
Scene Stealer Music (ASCAP)
"How Am I Writing?
Call (831) 479-9993"
http://www.goodnightkiss.com/
Saturday, December 1, 2007
Sunday, April 1, 2007
ENRICHMENT OF A MUSIC LIFE
I promise you that you started writing songs because music touched you somehow in your life... it relieved your pain, expressed your joy, put words or feelings to a rebellious moment. That song or piece of music had something in it that enriched your life (even if only for a short while) and made you feel better somehow. It emotionally reached you, and made you want to share what YOU had inside, and hence, you started writing. You had something to express, and I bet it was emotionally founded.
Hopefully, as we write, we are guided by that same emotion that first inspired us, and keep it as the core, while we use tools like rhyme and structure to refine and make sure it's written as best it can be, so others clearly understand the message, and still feel that emotion. We all know that. Hopefully, as our work touches others' lives, it is enriching their life experience, as well.
I AM SAYING TAKE IT ONE STEP FURTHER. Do you belong to Songwriting Organizations, Associations, or spend a bit of your time in any musician "group" situation, i.e., band, choir, symphony, studio, etc? Are they ENRICHING your musical life? And you, theirs?
Ok, I know this is a bit of "the dawning of the Age of Aquarius" stuff....but, none-the-less, in my life it is an absolute truth. I plan to always have music in my life, personally and professionally. I want a happy life, so the music part has to fit that, also.
I refuse to spend considerable time with negative, egotistical, short-sighted peers (we all have to spend SOME time with them, but not much by choice in my case), who are only interested in pushing for cuts. (Let me clarify, a professional writer needs cuts, and it takes a lot of pushing to get one. But most writers, who let this become the criteria for writing, become somewhat bitterly disillusioned with the maintenance of that). The writers and co-writers I love are as happy occasionally wallowing in a Great Song by someone else as they are wallowing in one of their own.
I also believe that it's really fun to mix your love for music or performing in a different "medium," just for the flavor. If you normally sing rock lead, try for a small part in a local musical or play, to stretch your performance skills. If you happen to land the part, push your limits (it's not even your venue, have some fun!). If you normally write lyrics, try writing a simple sing-a-long with "questions and answers" or a short round, then go and present/teach them to a Seniors function. Even for one day. Even only one time.
Do you get to sing in the church (insert religious or social affiliation here) you attend? All electric? Cut the power and create an entertaining 3 song vocal medley. All accoustic? Try writing an entertaining song using only drums for accompaniment. Stretch. Live. Try. It's a music life.
Your Songwriter Associations should provide support, as well as critiques. Does anyone ever point out the good parts of your song, as well as what they don't like? Or do you get any feedback at all? Do you walk away from meetings and events feeling better about what you've learned or experienced? Or worse?
If Organizations are charging you dues, they should provide classes by people with working credits, offer ideas and some opportunities (like subscriptions to legitimate Trade Publications for you to access.) They should be growing on (or beyond), the level that you are progressing, when possible.
By the same token, you should be contributing in some way besides "dues". Bringing in ideas, and exceptional material, being aware of their political issues, volunteering some time. Lots of organizations would be OVERJOYED to trade you a membership for a small amount of volunteer time. Through shows and events, they should also somehow enrich the quality of your music LIFE, as well as help you plan a path for your songs or career.
Even more importantly in ongoing relationships with your co-writers, your producer, publisher, etc, the giving should be greater than the demands. You should ALL bring ideas to the table. You should share more than "business" talk. Bring in a GREAT classic song you can all enjoy, or an idea that has a fun element to the work side (maybe a piece of performance art with a song for a change of venue if you are a band), something to extend the scope of your music into your life. Listen to each others' experience-stories. Share the emotions. This is what I mean by music enrichment on a life-level.
It's NOT just where you can get your song cut, ok? It's living music.
One more note, for those writing county, which sort of applies to the above. My friend, Phil (who gets a lot of cuts in Nashville with the Majors), has a philosophy that says, "The difference between doing business in Los Angeles and in Nashville is... in Los Angeles, we do business and then we might become friends... in Nashville, we become friends and then we might do business..."
At least if you don't get to the business, you still have an extra friend.
Just my opinion.
Janet Fisher
(C) 2007 all rights reserved, no reprints without written permission.Janet Fisher is a longtime professional songwriter and publisher for Film and TV, author of the pop book, MUSIC HORROR STORIES, owner Goodnight Kiss Music (BMI), and a former 20-year member of the Los Angeles board of the Songwriters Guild Of America, where she lectures on songwriting and intellectual property rights. Nothing on this page is legal advice, just one person's opinion.See more great articles at http://www.goodnightkiss.com/
Hopefully, as we write, we are guided by that same emotion that first inspired us, and keep it as the core, while we use tools like rhyme and structure to refine and make sure it's written as best it can be, so others clearly understand the message, and still feel that emotion. We all know that. Hopefully, as our work touches others' lives, it is enriching their life experience, as well.
I AM SAYING TAKE IT ONE STEP FURTHER. Do you belong to Songwriting Organizations, Associations, or spend a bit of your time in any musician "group" situation, i.e., band, choir, symphony, studio, etc? Are they ENRICHING your musical life? And you, theirs?
Ok, I know this is a bit of "the dawning of the Age of Aquarius" stuff....but, none-the-less, in my life it is an absolute truth. I plan to always have music in my life, personally and professionally. I want a happy life, so the music part has to fit that, also.
I refuse to spend considerable time with negative, egotistical, short-sighted peers (we all have to spend SOME time with them, but not much by choice in my case), who are only interested in pushing for cuts. (Let me clarify, a professional writer needs cuts, and it takes a lot of pushing to get one. But most writers, who let this become the criteria for writing, become somewhat bitterly disillusioned with the maintenance of that). The writers and co-writers I love are as happy occasionally wallowing in a Great Song by someone else as they are wallowing in one of their own.
I also believe that it's really fun to mix your love for music or performing in a different "medium," just for the flavor. If you normally sing rock lead, try for a small part in a local musical or play, to stretch your performance skills. If you happen to land the part, push your limits (it's not even your venue, have some fun!). If you normally write lyrics, try writing a simple sing-a-long with "questions and answers" or a short round, then go and present/teach them to a Seniors function. Even for one day. Even only one time.
Do you get to sing in the church (insert religious or social affiliation here) you attend? All electric? Cut the power and create an entertaining 3 song vocal medley. All accoustic? Try writing an entertaining song using only drums for accompaniment. Stretch. Live. Try. It's a music life.
Your Songwriter Associations should provide support, as well as critiques. Does anyone ever point out the good parts of your song, as well as what they don't like? Or do you get any feedback at all? Do you walk away from meetings and events feeling better about what you've learned or experienced? Or worse?
If Organizations are charging you dues, they should provide classes by people with working credits, offer ideas and some opportunities (like subscriptions to legitimate Trade Publications for you to access.) They should be growing on (or beyond), the level that you are progressing, when possible.
By the same token, you should be contributing in some way besides "dues". Bringing in ideas, and exceptional material, being aware of their political issues, volunteering some time. Lots of organizations would be OVERJOYED to trade you a membership for a small amount of volunteer time. Through shows and events, they should also somehow enrich the quality of your music LIFE, as well as help you plan a path for your songs or career.
Even more importantly in ongoing relationships with your co-writers, your producer, publisher, etc, the giving should be greater than the demands. You should ALL bring ideas to the table. You should share more than "business" talk. Bring in a GREAT classic song you can all enjoy, or an idea that has a fun element to the work side (maybe a piece of performance art with a song for a change of venue if you are a band), something to extend the scope of your music into your life. Listen to each others' experience-stories. Share the emotions. This is what I mean by music enrichment on a life-level.
It's NOT just where you can get your song cut, ok? It's living music.
One more note, for those writing county, which sort of applies to the above. My friend, Phil (who gets a lot of cuts in Nashville with the Majors), has a philosophy that says, "The difference between doing business in Los Angeles and in Nashville is... in Los Angeles, we do business and then we might become friends... in Nashville, we become friends and then we might do business..."
At least if you don't get to the business, you still have an extra friend.
Just my opinion.
Janet Fisher
(C) 2007 all rights reserved, no reprints without written permission.Janet Fisher is a longtime professional songwriter and publisher for Film and TV, author of the pop book, MUSIC HORROR STORIES, owner Goodnight Kiss Music (BMI), and a former 20-year member of the Los Angeles board of the Songwriters Guild Of America, where she lectures on songwriting and intellectual property rights. Nothing on this page is legal advice, just one person's opinion.See more great articles at http://www.goodnightkiss.com/
Don't Dream It, DO It!
DEFINE THE DREAM
What is it you are actually trying to do? Be the world's best writer? Become a megastar performer? Lead the church choir? Own a record label that records other acts? You would not believe how many writer/artists come to me, saying they just want to do "something" in the Music Industry. Sorry, you have to specialize a bit more than that!
Sit down with paper and pen. Define EXACTLY what it is in your heart that you dream of. (Hint, the bigger the dream, the harder to achieve...but as long as you are prepared to give what it takes, you'll find a place in the scheme of things.) By the way, I have to do this, because I get sidetracked by wanting to do too many things. I constantly have to reassess projects and schedules...just part of business in a busy, busy world.
RESEARCH THE DREAM Let's say you decided that you want to be a great writer, who is successfully cut on the charts, and makes a lot of money. Do you know what the real charts are? Who's on them currently? What labels are consistently charted? The styles of the top ten successes in the last two years? Do you know what the actual elements of a great standard song are? Can you name the top sellers of all time in your genre? The top sellers of the current year? And do you know why they attained success? Do you hone your skills and knowledge whenever you have a chance? Can you make the presentation of your art a commercial reality? Not just WILL you, CAN you?
PRACTICE THE DREAM Go do 150 sit ups without practice. Go write a great song without practice. You have to practice (i.e., actually write) everyday, just like you would with any improvement program. If the newest song you are showing is old, you are not competing as a writer.
REWRITE THE DREAM If something doesn't go the exact direction you thought it should have, rewrite the situation. If it's the song that has flaws, rewrite it until they are gone. If it's the voice, get some training. If it's the gig, create one that works for you. (When I was playing gigs in KCMO, I went to the Plaza, to nice places that DIDN'T have entertainment. I'd offer the owner a free evening of music, if he liked it, I'd work X amount of weekends for X amount per night. I almost always got the gig, partly because I was prepared, partly because few can resist something for nothing and not sense some obligatory return. (Most wanted entertainment, but had no idea they could afford it. For me, it was a way to go.)
If you find that you thought you wanted the big dream, but then you realize that your dream didn't include all the nonsense that goes along with one of those in exchange for your "other dream(s)," (perhaps your family or job?), it is TOTALLY all right to adapt your dreams to accommodate each other. Unfortunately, some dreams require 24 hour dedication to maintain. (Ask any professional who is a megastar in their field.)
PURSUE THE DREAM
Don't give up. That's the first thing ANYONE successful who is giving advice says, so it MUST be true. (OK, it's pretty logical that if you DO give up, your odds will go way down...) What I'm really saying is leave no stone unturned. Take advantage of all opportunities, work, work, work at it.
LIVE THE DREAM Remember that each time you sing, play, write, perform, discuss, pitch, etc., you are creating a reality that supports your dream. Don't forget to applaud the little steps, as well as the big. You write a birthday song for your sister-in-law, and it makes her cry with your kindness. Your song is used in a campaign for adoption, and though it didn't earn a dime, it was perfect, and said so much to so many. A peer complimented your writing at a recent song pitch. You were the hit of the community musical. GOOD FOR YOU! It all matters. All these things make us more professional, and give us the reasons for doing the work. They are as important as the royalties, and enrich our life of music. Don't overlook them.
APPRECIATE YOUR DREAM
Did you know that most of your little steps are someone else's big dream? Some people would give a great deal to have the opportunity to perform ONE karaoke song in front of an audience...or have anyone use a song for any reason....or play a great guitar lick...or own a computer...or you name it. Appreciate the skills and opportunities God has blessed you with that you might even have a dream.
Just my opinion.
Janet Fisher
(C) 2007 all rights reserved, no reprints without written permission.
Janet Fisher is a longtime professional songwriter and publisher for Film and TV, author of the pop book, MUSIC HORROR STORIES, owner Goodnight Kiss Music (BMI), and a member of the Los Angeles board of the Songwriters Guild Of America, where she lectures on songwriting and intellectual property rights. Nothing on this page is legal advice, just one person's opinion.
See more great articles at www.goodnightkiss.com
What is it you are actually trying to do? Be the world's best writer? Become a megastar performer? Lead the church choir? Own a record label that records other acts? You would not believe how many writer/artists come to me, saying they just want to do "something" in the Music Industry. Sorry, you have to specialize a bit more than that!
Sit down with paper and pen. Define EXACTLY what it is in your heart that you dream of. (Hint, the bigger the dream, the harder to achieve...but as long as you are prepared to give what it takes, you'll find a place in the scheme of things.) By the way, I have to do this, because I get sidetracked by wanting to do too many things. I constantly have to reassess projects and schedules...just part of business in a busy, busy world.
RESEARCH THE DREAM Let's say you decided that you want to be a great writer, who is successfully cut on the charts, and makes a lot of money. Do you know what the real charts are? Who's on them currently? What labels are consistently charted? The styles of the top ten successes in the last two years? Do you know what the actual elements of a great standard song are? Can you name the top sellers of all time in your genre? The top sellers of the current year? And do you know why they attained success? Do you hone your skills and knowledge whenever you have a chance? Can you make the presentation of your art a commercial reality? Not just WILL you, CAN you?
PRACTICE THE DREAM Go do 150 sit ups without practice. Go write a great song without practice. You have to practice (i.e., actually write) everyday, just like you would with any improvement program. If the newest song you are showing is old, you are not competing as a writer.
REWRITE THE DREAM If something doesn't go the exact direction you thought it should have, rewrite the situation. If it's the song that has flaws, rewrite it until they are gone. If it's the voice, get some training. If it's the gig, create one that works for you. (When I was playing gigs in KCMO, I went to the Plaza, to nice places that DIDN'T have entertainment. I'd offer the owner a free evening of music, if he liked it, I'd work X amount of weekends for X amount per night. I almost always got the gig, partly because I was prepared, partly because few can resist something for nothing and not sense some obligatory return. (Most wanted entertainment, but had no idea they could afford it. For me, it was a way to go.)
If you find that you thought you wanted the big dream, but then you realize that your dream didn't include all the nonsense that goes along with one of those in exchange for your "other dream(s)," (perhaps your family or job?), it is TOTALLY all right to adapt your dreams to accommodate each other. Unfortunately, some dreams require 24 hour dedication to maintain. (Ask any professional who is a megastar in their field.)
PURSUE THE DREAM
Don't give up. That's the first thing ANYONE successful who is giving advice says, so it MUST be true. (OK, it's pretty logical that if you DO give up, your odds will go way down...) What I'm really saying is leave no stone unturned. Take advantage of all opportunities, work, work, work at it.
LIVE THE DREAM Remember that each time you sing, play, write, perform, discuss, pitch, etc., you are creating a reality that supports your dream. Don't forget to applaud the little steps, as well as the big. You write a birthday song for your sister-in-law, and it makes her cry with your kindness. Your song is used in a campaign for adoption, and though it didn't earn a dime, it was perfect, and said so much to so many. A peer complimented your writing at a recent song pitch. You were the hit of the community musical. GOOD FOR YOU! It all matters. All these things make us more professional, and give us the reasons for doing the work. They are as important as the royalties, and enrich our life of music. Don't overlook them.
APPRECIATE YOUR DREAM
Did you know that most of your little steps are someone else's big dream? Some people would give a great deal to have the opportunity to perform ONE karaoke song in front of an audience...or have anyone use a song for any reason....or play a great guitar lick...or own a computer...or you name it. Appreciate the skills and opportunities God has blessed you with that you might even have a dream.
Just my opinion.
Janet Fisher
(C) 2007 all rights reserved, no reprints without written permission.
Janet Fisher is a longtime professional songwriter and publisher for Film and TV, author of the pop book, MUSIC HORROR STORIES, owner Goodnight Kiss Music (BMI), and a member of the Los Angeles board of the Songwriters Guild Of America, where she lectures on songwriting and intellectual property rights. Nothing on this page is legal advice, just one person's opinion.
See more great articles at www.goodnightkiss.com
Subscribe to:
Posts (Atom)
