July 5, 2012 How I’m Building a Career as a Songwriter
You know what I would have loved? I would have loved to have been part of the Brill Building history between the 1940s and the 1960s – where some of America’s most popular songs were written. If you don’t know the history, check it out on Wikipedia.
Just a taste:
By 1962 the Brill Building contained 165 music businesses: A musician could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building.
Or you know what also would be have great? Jingle writing between the 1940s and 1980s. What a sweet time to be a songwriter or a studio musician. Writing songs, recording them, hearing yourself on the radio, collecting big royalty checks – man, that would have been cool.
But, alas, that era was very short-lived and we were not lucky enough to be a part of it. So what do we do?
I’m not satisfied to just throw my hat in and say that it’s too hard to work as a songwriter. There are people out there doing it, and if they can do it so can I.
When I get an idea in my head I go for it. I set goals, I identify unique strategies, and I build tools to help me move forward. Here’s what I’ve come up with to help me with my songwriting career.
The Goal and Strategy
Let me be clear: I don’t want to be a singer-songwriter. I want to be a songwriter. I want other people to perform my songs. I know full well that I have limited skills as an entertainer, and I know my place.
My goal is to have recording artists cover my songs on their albums, secure film and television placements for my songs, and to work professionally as a songwriter. A difficult goal, to be sure.
People don’t know what you want unless you tell them. So that’s what I figured I’d do. I decided I would show people my music, tell them what I want, ask them to help me, and see what happens.
The Tools
Songwriter.fm
I know about how to build a website, so I started there. I searched for the right URL to purchase and, to my complete surprise, I was lucky enough to secure Songwriter.fm. I can’t believe that URL had not already been taken by a Silicon Valley start up, but I’m glad to have it.
I build a site there using WordPress and a $30 theme from ThemeForest.com. The theme has a nice structure featuring a portfolio, a contact form and a blog. I added an “About” page, found some photos to use and set it all up. The website took me about a day to put together.
In the portfolio section I put all of the songs I want to showcase. For many of them I included a free mp3 download, lyrics, chords and even sheet music. I used Soundcloud players for the recordings – and made sure I used the HTML5 players so that they would work on iPads, iPods and iPhones.
Autoresponder Email List
Next I set up an email list through Mailchimp.com.
I want people to listen to my music, but I can’t expect to just put it on a website and have people listen through it one by one. People are busy.
So I set up an “autoresponder” email list that would help. Everyone on the email list gets one of my songs – complete with a little description, photo, lyrics, chords and sheet music – once a week.
Everyone on the list gets the songs in the same order, one at a time, once a week. It’s a playlist of songs, but doled out in a way that’s not overwhelming to listeners busy schedules. People may not sit on Songwriter.fm and listen to every one of my songs in an afternoon – but, sure, they’ll listen to one of my songs once a week.
In each email I make sure to reiterate my goal. If the reader likes it – consider covering it on your next album. Would it fit in a film or commercial you’re putting together? Great, hit reply. Know anyone that could help place this song? Pass it on.
The strategy won’t work most of the time. But I don’t need it to work most of the time. I just need it to work one time.
Soundcloud, YouTube, Twitter, Facebook, blogging, RSS feeds
Sure, I’m not an entertainer. Hell, I’m not even a singer. But unless I sing my songs and get them out in the world – no one’s going to ever know about them.
So guess who’s singing now?
I put my tunes on Soundcloud. I set up a Facebook page. I make videos for YouTube.
When I find a song I like, or a record a new demo of a work-in-progress, I put it up on the Songwriter.fm blog. The blog posts feed to Twitter and Facebook through Twitterfeed.com.
Getting Involved in the Community
The best way to get a gig as a songwriter is to know other people who are gigging as songwriters. I know I need to get involved in the community.
I sang a few weeks ago at the Sunday night singer-songwriter open mic at the Bitter End in NYC. Boy, that made me nervous. For a guy who’s used to performing 8 shows a week on Broadway you’d think I’d be cooler about it, but I was shaking in my boots.
I tried to think of resources that might be helpful to other songwriters. When American Songwriter magazine comes out I like to make a Spotify playlist of all the music mentioned in the issue, then post a link to the playlist on the Songwriter.fm blog.
I put my songwriting friends new songs up on the Songwriter.fm blog – and those posts, too, get sent out through Twitter and Facebook.
Making Quality Recordings
The recordings I have of most of my songs are demo quality. Creating radio quality recordings is much easier today than it was 20 years ago – so much easier that it’s become expected. I know that most of my demos aren’t going to cut it.
So I’ve started reaching out to producers in Chicago, Nashville and New York (to start). I’m hiring them to arrange, produce and record my songs in their studios. I leave the song treatment completely up to them. I tell them only this: Our goal here is to get a film or TV placement. Make me a recording of this song that I can pitch to FTV.
I give them a lump sum upfront and, if the song is placed in FTV, I promise them a higher-than-average percentage of the gross income on the master side. My hope is that it gives the producers a higher-than-average incentive to pitch their recording to their FTV contacts as well.
Submitting Recordings to Placement Services
I’ve submitted music to PumpAudio, YouLicense and similar services. I find the process incredibly tedious and (especially with PumpAudio) painfully slow. It feels a lot like throwing a penny into a well and hoping to one day get your wish.
I have not joined Taxi, and I suspect I never will. Their claims are just too good to be true, and there is too much noise about their service being a complete scam. It’s too expensive of a service to take a chance on. It’s like throwing $300 into the well instead of a penny.
There are better placement services out there, but it will take me some time to garner their attention. I’m hoping that the portfolio I’ve built at Songwriter.fm will help me pitch to them when the time comes.
Submitting to Songwriting Competitions
This is a tough one, because it costs money. Most competitions cost between $15 and $35 to submit a song. It’s difficult to know which songs might work in which competition, so it’s tempting to submit multiple songs to each competition.
This part of the strategy seems like an expensive crap shoot to me. The quality of a song is a really subjective thing, and if I win one of these things it might just be because the gods smiled on me that day. Who knows?
But if I do win…well, that would be great. There’s always a chance – so I do it (sparingly).
A few months ago I submitted a song to the Song of the Year competition. I received the Suggested Artist Award, which I understand puts me in the top 5% of the contest.
But, I ask rhetorically: who cares? Unless you win the top prize on one of these competitions it doesn’t mean much.
Writing for Musical Theatre
Consider this:
The movie Titanic, since it’s release in 1997, has grossed $658 million in box office results. Very impressive.
The musical Mamma Mia, since it’s opening in Toronto in 2000, has grossed over $2 billion worldwide. Much more impressive.
I’m not saying that I can write the next Mamma Mia or Wicked, all I’m saying is that it’s worth trying. I’d settle for 0.1% of the financial success of Mamma Mia ($2 million, for those of you adding it up in your heads).
I’ve worked in musical theatre a long time. I’ve studied the form and tradition. I’ve conducted shows on Broadway. I write music – why not write a musical?
I have two in the works right now. Why not? The best way to fail at writing a musical would be never to try at all.
Next Steps
Songwriting & composition is what I’ve always wanted to do. Nothing compares to the elevated feeling that accompanies creation, and for me that feeling is strongest when I write music.
Becoming a professional songwriter seems like an impossible challenge, but I think with the plan and tools that I’ve described above will help me start the journey.
I hope you’ll visit Songwriter.fm and let me know what you think. If you are a performer or recording artist I hope you’ll check out my songs. If you are a songwriter I hope you’ll get in touch with me.
Reader Comments (13)
Read your article. Good luck.
One thing. You are wrong about TAXI. Been a member for years and have landed quite a few deals through them. If your songs are genuinely good you can get placements through them.
BTW
I have nothing to gain by recommending them, as I am signed to Universal as a songwriter. Just thought I'd let you know.
Good luck.
Bob Porembski
www.facebook.com/porembskimusic
"found some photos to use and set it all up"
how much did you pay for the photos ? noticed you paid 30 bucks for the wordpress theme... but photos ? how much ?
Hey David,
Great work! It's good to see you being proactive with all this stuff.
Quick suggestion, I'd add a headline to you front page that defines exactly what your site is and what it's for. I think as is, it looks like you could be trying to promote yourself as a performer. Something so everyone immediately knows you're a songwriter looking for artists to record your work rather than a performing artist.
My only comment would be re songwriter competition. A friend and I entered one of the major ones last year. We had to submit our songs via Soundcloud which anyone who uses it knows tells you how many plays each of your tracks receive. Some of her tracks were never played! Never again!
As a pro in the music business who might fit your description of someone you might want to hear your songs, I have to say that almost everything you say you are doing will likely add up to a complete waist of time.
I get hundreds of “autoresponder” email type emails a week, they all get marked 'spam' and go right to trash ... The last thing anyone in this business has ever wanted is unsolicited submissions... No one has the time or interest to deal with stuff being shotgunned at them - Most of us have learned that material that comes in that way is 99% awful so we are willing to risk losing the 1% that might be killer in favor of those writers we know personally and have committed our resources (financial and otherwise) to trying to help.
Automated anything is so clinical in such a personal business as creativity. This is a 'skin game,' person to person relationship building business. Talent is essential - but a lot of people have some talent ... so the missing element in an automated world is personality, human to human interaction, understanding the personalities of those you hope will use your songs, knowing exactly what they want when they want it ... and delivering the goods. You can't do that from behind a computer.
To break into the big time, you still have to be where the big time is happening.
I've discovered through the years that the formula for success is 10% talent (which has to be awesome) and 90% personal, political and business oriented.
All that said, you have one HUGE advantage 99% of every other beginning writer doesn't have ... You are actively engaged in the Broadway scene... That is a fortress that is almost impenetrable and you are inside.... Play it for all its worth ... find a respected mentor ... develop your skills .. keep working toward getting that break... do whatever it takes to get as many people to know who you are as possible ... personality, personality, personality... and talent.
A couple of other thoughts ...
1.There is some concern that putting your material out there under a Creative Commons license... even if it is the non commercial type ... might restrict you from getting paid for those CC works in the future... I'm specifically thinking about performance income which could be important.
2. Learn to edit. Be sure that everything you make 'public' is killer from one standpoint or another. The few things I've heard on your web site don't entice me to want to hear more. It takes a lot of personal discipline to pick one of your 'babies' over the other. Every pro that listens to music for a living is jaded beyond belief ... We think we've heard it all but keep listening because we know we haven't because we also know that somewhere out there is the next new 'spark' of creativity that makes it a joy to be in this business.
Entire careers can be built on the first 30 seconds of what is heard by the 'right' person.
@Tom Sears - Great feedback. You're right, that home page can be better formatted. I'll work on - I appreciate your help immensely.
@Carol - Ouch!
@TonsoTunez - The email list is not what you're picturing, because, believe me, I get your point. The email list has been a very effective way for me, an unknown songwriter, to get my music out into the world. My downloads and plays at Soundcloud have increased dramatically since starting the email list. On nearly every email I encourage my people to hit reply and send me an email. I have weekly conversations with a lot of people on the list.
Email lists are like anything else - it all depends on if you use them correctly.
Regarding the 10%-90% rule, I just wrote 1,600 words on just the beginnings of my marketing plan for songwriting. What would I have to do to convince you that I understand this rule?
Broadway - I was the Associate Conductor for two Broadway shows this past season. You might enjoy my series referenced here - I think you'll find that it was 10% talent and 90% personal, political business oriented.:
http://www.hypebot.com/hypebot/2011/04/introduction-how-i-became-a-broadway-musician.html
http://www.musicthinktank.com/blog/introduction-how-i-became-a-broadway-musician.html
I learned a lot in the trenches of New York musical theatre. I know a lot of people here. Writing something good is on my shoulders, but when I do I'll know what to do with it.
Creative Commons - You make a very valid argument, but at this point in my career I'm most interested in breaking down the barriers between my music and other people. I'm not convinced that CC copyrights exclude performance income, although I'm certainly no IP attorney. Either way, I'd consider myself very lucky to have the problems you describe.
I've had a similar experience with Pump Audio. After submitting my first disc it took weeks for it to to be "greenlit". Then it was a couple months getting no responses before I spoke with another Pump Audio member who had an friend at the company. He explained to me that anything he submits goes to the top of the pile and is normally licensed within a month or 2.
It should be noted that this person is a veteran guitarist who still tours with Van Morrison and Chip Taylor and is producing for mid-level acts like Guy Davis on the side. So we are talking about quality content, but it still leaves some folks at a great disadvantage to be thrown into the mix with only high hopes and crossed fingers while others are given a straight shot to the top of the pile.
I thought your outline above was great and hopefully everyone can learn a little from your approach to the dog eat dog world of music business. I know I'll be implementing somethings here into my site.
Nice work and good advice too. One thing to note as well is the value in online networking. Musicians are starting to use LinkedIn A LOT and site's such as the one I'm working with, Music2Deal (http://music2deal.com) offer an open network (as long as you're in the industry) of people with whom you can connect, make deals, and be heard.
Great post!! I think the part about the importance of community you mention is really important -- that's been key for me (though I'm in the singer-songwriter realm, not the sell-my-songs realm). The trouble I've had along the way is reconciling the monetary investment -- fees for TAXI, SonicBids and the like, as well as songwriting competitions, etc., which isn't even including the recording costs, promotion, etc. -- with the prospects of financial success. Not to say I haven't done plenty of that investment myself, although I've drawn the line in certain areas when I just thought the odds were weighed far too heavily against me or it didn't play into my vanity enough to make it worthwhile (ha ha). The key, of course, is the passion you have for what you're doing...and as long as you're not going broke in the meantime and have a way to pay the bills, whatever path you choose will be the right one. I certainly know people who have succeeded going down this path, and others who have just frittered away thousands of dollars. The passion needs to be there to make it worth it.
The biggest challenge facing musicians who want to make a living today is the amount of music that fans have access to. A musician needs to do something really special and creative in order to make it in music. Musicians really need to compete for fans because we have such a choice but, sadly, there are those in the major record labels/RIAA/BPI who do not want to compete. They want to rely on their monopolies of bygone days and this is why we are seeing a rise in independent musicians, because they are coming up with creative new ways of making and distributing music.
It is my opinion that we are living in a golden age of music.Songwriting
Thank you for this! Seriously! I've been writing for three years now and i want to make songwriting as a career. This is definitely a gift. I've been trying to find information on how to get noticed by labels. Im a college student and im expected to graduate May 2014 as an Arts and Performance major. I'm currently looking for internships but it is not easy.
I love the idea of the website portfolio integrated with soundcloud. This would be particularly good for instrumental or library music as well.
Keep a list of prospective song titles on your wall. Whenever you hear a good word or an evocative phrase, add it to your list to use when you're trying to come up with new material.isten to as many of other peoples' songs as you can. Focus especially on those songwriters whose works are considered classics, and don't neglect the best of what's happening now. Always be thinking about what makes a classic song so good while you're listening to it. Try to pick up on arranging tricks and song structures, and remember them; even make a note of any you particularly like. This isn't stealing -- it's studying. Film makers have been doing it for years and make no secret of the fact.