Career Songwriter

I really enjoy reading your blogs. i have been working on my songwriting craft for a number of years and have developed a really good sound and flow. i have everything now apart from someone to listen to my stuff. i’m really unsure with where to go to next and who to trust out there. i know that i have a talent and something to share. any thoughts would be appreciated.

-Scott

This question was posted as a response to my blog ‘From Amateur to Professional,’ and I felt it deserved another blog to do it justice. I’ll try to outline some of my own thoughts and opinions, and I hope it helps spark some ideas of your own.

As artists and writers, our main goal after honing our music is getting that music heard. It’s a wonderful thing that anyone with a tune and an internet connection can reach volumes of people once only reachable through heavy marketing campaigns and major label budgets. But with so much music at our fingertips these days, it’s also difficult to rise out of the pack and be heard. The old model of touring and being discovered, signed, and vaulted into stardom is almost a thing of the past. Artists are retaining more control while making more money by staying independent of labels. As long as we can create a product our fans will buy, the rest is up to our own ingenuity and ambition. For the remainder of this post, please refer to www.songwritingtechniques.net.

In the effort of making a living with songwriting, I find it easy to slip into the habit of thinking that unless I’m endorsing perforated strings of royalty checks, I’m not writing great tunes. Commercial success certainly can be an indicator of great writing, but it’s also a result of other elements like networking and being on the pulse of the current sound of artists in our genre. When I signed my first publishing deal in Nashville, I hadn’t yet learned what that meant. Over the years as I looked back on my development as a writer, I recognized a few patterns I had gone through that are so typical of developing songwriters and artists. Initially, I was signed based on the merit of the songs I was already creating. My publisher believed there was something unique about my musical style and my lyrical voice that he could market. His comments to me were always “honey, just keep doing what you’re doing.” For awhile, I did. But the more I began focusing outward on other writers’ and artists’ songs getting attention around me, the more I wanted that attention too. After all, I didn’t know for sure if what I was creating would be successful in the major market. That very lack of belief was what convinced me to skip the process of developing my own style further and instead just recreate what were already hits. The problem was, my publisher already had writers to fulfill that need, and the songs I wrote were just near copies. After much frustration, a hundred thousand unrecouped and several years of a good contract later, I finally came back to what I was doing in the first place.
For the remainder of this article, please visit www.songwritingtechniques.net

Songwriting Conference and Workshop Highlights

During the summer months I usually take time away from writing to teach at various conferences and workshops around the country and abroad. Conferences such as those offered by Berklee College, NSAI, and other such opportunities are great ways to immerse yourself in the industry when you haven’t the time or resources to do so throughout the rest of the year. Many enlist music industry professionals to talk candidly about a certain side of the industry, or invite artists or songwriters to shed some light on how to break in. Others are focused on songwriting or vocalizing, concentrated 5-14 day experiences to step up your game in those areas. I’d like to tell you about a few of the conferences I taught recently, should you be interested in finding more about them. There are many opportunities out there, so I suggest pinpointing what you’re looking for and how much time and money you can commit before making any reservations.
For two weeks in July, the Grammy Foundation holds a camp for high school students, aptly named “Grammy Camp.” The camp is open to any student exhibiting exceptional skill in music and interested in pursuing a career in the industry. Held at the University of Southern California, students enroll in a specific stream: singer/songwriter, music production, music engineering, concert promotion, music journalism, or the study of their principal instrument: bass, drums, electric guitar, keyboard, saxophone, trumpet, or trombone in the scope of private study and ensembles. The camp culminates in a performance at the beautiful El Rey theater in Los Angeles by each singer/songwriter of an original song worked up with an ensemble. Select students also have the opportunity to record at the legendary Capitol Records.

Another camp I’d like to mention is Seth Rigg’s Speech Level Singing conference in Los Angeles. Prior to the conference I was only vaguely aware of Seth and his techniques. Over the last several decades Mr. Riggs has worked with some of the biggest names in contemporary music, and so naturally I was curious what makes his techniques so popular, revolutionary and even controversial to the world of singing. During our hands-on judging sessions (of which I was on staff to critique the original songs) I witnessed vocalist improve their pitch dramatically by applying simple feedback from certified instructors. I heard breaks diminish and ranges improve in literally 30 seconds of instruction. I realize I’m making it sound ridiculously simple, but I am ridiculously impressed by the simplicity of the techniques and how easily students are able to apply them from certified instructors. Should you be a singer/songwriter looking to improve your voice, you might check out more information on SLS and see if it’s right for you.

This past week I taught at Berklee College of Music’s Summer Songwriting Workshops. Held in mid-August each year, the workshops attract between 100 and 200 songwriters of all ages looking to improve their craft, play their songs for faculty and staff, and connect with other musicians. Leading the workshops are Chair of the Songwriting Department, Jack Perricone, Professor of Lyric Writing Pat Pattison, other faculty members Jon Aldrich, Henry Gaffney, Mark Simos, Susan Cattaneo, Sarah Brindell, songwriter Dana Calitri, and myself. The workshops are held on Berklee’s Back Bay Campus, from Wednesday through Saturday with a short closing ceremony Saturday afternoon. For anyone interested in boosting their creativity and songwriting chops while expanding your understanding of the industry, this is a great opportunity. Information is available on Berklee College’s website.

If conferences or workshops seem like a luxury to you, you might consider giving yourself a songwriting vacation – a holiday to write, that is. These conferences and many more (see NSAI.com) operate for the purpose of regenerating the creative fire within, connecting songwriters with experts in their craft, and facilitating professional relationships. Some workshops last for a day, some for 2 weeks, and can be a rejuvenating step in advancing our hobby or career. Teaching at them is a rare and special opportunity that I consider a privilege and a pleasure. I am glad to be able to learn from my students, and spread what I know to grow my own career and of those around me.

Happy writing,
Andrea Stolpe

‘Publish’ is a word we often throw around without really clarifying what it means. We might say ‘I’d like to get this song published’, but really what we mean is that we’d like to get the song recorded by an artist selling records, or placed in TV or Film or other media situation. As a songwriter, if we’re ‘published’ it can mean that the songwriter has a contract with a company whose job is to market his/her songs to the people who have a need for those songs – basically artists or other companies looking to use the music for various media purposes. Or, ‘published’ can also refer to just one song, a single-song-contract between a writer and a company interested in getting that one song placed in a film or TV show, or recorded by an artist.

Being ‘published’ may seem like a goal, but it’s actually just a means to an end. Whether we’re backed by a publishing company or not, we still need to bust our butts to continue to push our own music. It is in the publisher’s interest to push our music down the various avenues they have access to, but it’s our job as the writers to manage our careers in the direction we want. Sometimes acting as our own publisher is the best decision we can make for ourselves. If we’re making connections by attending industry functions, getting to know other artists and writers in our area, and working to circulate our own music by playing clubs, house concerts, benefits, our best-friend’s brother’s son’s Bar Mitzvah, and so on, we are doing the business of a label and publisher. The end result is that our songs are out there in the mix, floating upon the ears of those who need the music we create.

When I first started, I got my songs into the hands of other songwriters by handing them a cassette tape. Back then Myspace wasn’t around, and people didn’t rely on MP3’s sent over email instead of a tangible CD or cassette. I hung out in music stores, I met anyone I could at restaurants and clubs who performed or wrote music, handing out my business card and a few tunes everywhere I went. As a result of those initial meetings, my network grew and soon I was co-writing with friends of friends, with some unsigned writers and some signed writers. My goal was to get hired at a publishing company. Since I had no direct contacts with the Faith Hills and Tim McGraws of the world, I believed I needed a publisher to bridge that sizable gap. It’s true that a publisher can get you through some doors previously unapproachable to you. But, it’s also true that with determination and creativity, and a shining personality, you can begin to connect the dots yourself. Don’t let a publishing deal or a label deal hold you back from the true goal – getting your songs to the artists who want to record them and the listeners who want to enjoy them. Assess the contacts you have and start there, building up. Even if you have practically no contacts, start by taking a course in songwriting online, or taking a few vocal or guitar lessons at your local community college. Get involved in your greater metropolitan songwriting community. Get in the mindset that you have something valuable to offer, and you’ll be amazed how those who need your gift emerge from your corner of the world.

I often write about the significance of networking, merely because it is the lifeline of a songwriting career. Most of us will need to establish and expand our networks as the business grows and changes, and so this process continues throughout the life of our career.

We all know about Myspace for artists to showcase their music and attract fans, but what about the songwriter who doesn’t perform? What kinds of networking opportunities are available for those trying to reach a broader audience or who don’t play an instrument or have a specific ‘sound’ like a band or singer/songwriter might have?

I think the first step in answering this question is defining what we want to accomplish with our songs. There are so many opportunities to create and perform music, but not all are going to bring us the fulfillment we’re looking for. You might have the dream of writing a song that will stand the test of time, becoming a household tune. You might aspire to encourage others with your positive music, bridge cultural or social gaps, transform the way we see ourselves or our theologies, philosophies, etc. Or, you may simply want to entertain.

Perhaps a better question then is, ‘who’ do we want to benefit from this dream of ours? If we can clearly define the audience who will appreciate our music, we can more clearly define the road to reaching that audience. The short-term steps will be more effective, and the long-terms payoffs more satisfying.

Sometimes understanding ‘who’ we want to influence starts with our own introspection, but sometimes it starts with looking at the songs we’re already writing and the people they’re already affecting. Each of us has to consider that our unique voices can’t be everything to everybody. I have a unique sound that is a combination of my voice, my influences, my knowledge about the craft, my life experiences that direct my lyrics, etc. Though I may love all kinds of music, the music I create is not appealing to all kinds of people. It serves me well to understand the genre my music fits within. That understanding allows me to isolate the opportunities that are going to afford me the most success and satisfaction.

As a songwriter in the Nashville music market, I had to learn what characterizes the songs artists there are looking for. Then, I had to begin to understand what it is about my music that is unique, but also where my musical voice and that particular market intersect. The more I am able to offer something that no one else can offer while staying relevant, the more success I have.

As you’re thinking about your own musical style, you might think back to times where your songs have been played well or especially appreciated by audiences. Aside from your mom, who has been particularly inspired by your songs? What were the circumstances? If you haven’t yet had the chance to play your songs for many people, this would be a great time to start. It takes years to grow into our own skin as writers and artists, and lots of failed attempts too. If you’re just beginning to write regularly, start recording rough demos of your songs and gauging reactions from listeners. Your own reactions are telling too, as those areas we’re not confident in speak more loudly when there is someone else in the room.

There are a few activities every songwriter can do to generate interest in their writing and inspire forward movement along the path to writing more skillfully.
The first is getting involved with a songwriting community. It may not seem like much, but in my opinion it is one of the most powerful steps you can make. You can receive and give feedback, you can find co-writers, you can expand your knowledge of the industry from the experiences of others, and you can become more aware of opportunities in your own city for musicians and songwriters. You might find a guitar player or pianist who can help you record a good version of your song. You might meet a vocalist you like who can sing that song. You’ll learn about song camps in Nashville and other places, how you might expect to pitch your songs when the time is right, and advice about song competitions, TAXI, and other organizations like ASCAP and BMI. It’s the information and the relationships that are important here, and they are the doorway to the informed decisions you’ll be making later as a writer in the competitive market.

For ideas on how to find workshops or communities in your area, I recommend two websites. The first is the Nashville Songwriters Association, International.,
www.nashvillesongwriters.com. The second is Just Plain Folks, at www.jpfolks.com. Tour these sites and understand what they do. Whether or not you decide to become a member, it is the consistent participation in these groups that will gain you those first steps in moving your hobby or career forward. Another great site to check out is The Muse’s Muse at www.musesmuse.com. This site has some excellent resources for writers, from articles to co-writing opportunities.

As you get more familiar with the way the industry works and meet other writers, you’ll begin to understand new ways you can market your own talents and skills. Becoming immersed in the community is the first step to opening up doors to opportunities you didn’t even know existed. Each of us arrives at our destination by a different route, so your path will be like no one else’s. Just keep writing and gathering knowledge, always comparing your information with what you hear and see around you. Have fun along the way, and roll with the punches. There are some things we can control – like our craft and our relationships. Keep focusing on what gives you the energy to try again and again, and you’ll surely look back in amazement at how far you’ve come.

I don’t know about you, but I spent years recoiling from this question for fear of what I’d say or wouldn’t say that would pigeonhole my music forever. You’ve probably listened to a lot of styles of music, and like me, you’ve found remnants of each floating around in your melodies, harmonies, and rhythms. You may have been told your voice or guitar stylings are reminiscent of another artist, dumping you into a specific genre you may or may not be completely characterized by. Or, you may be limited by your instrumental abilities so that your songs consistently fall short of the commercial sound where you intend them to fly. These are all issues we deal with as songwriters trying to compartmentalize what we do in order to put ourselves out there as shows, CDs and MP3’s.

Before I sat down and took a look at the thin red line that ran through my lyrics and musical inklings, I would describe my music as pop/rock. The conversation would usually end right there. Either the person I was talking to liked the genre, or didn’t. Once in awhile I’d get the chance to name a few commercial artists I sound like, but the mixture fell flat when one or more of those artists was unknown or disliked by whomever I was talking to. Needless to say, it wasn’t a very good way to illicit interest in my music. Why would someone want to buy my songs when they can go listen to the real Alison Krauss, Jonatha Brooke, or Sting who they know and love?

I had to learn how to talk about my music in a way that connected with people. It wasn’t that I fit into a genre that was particularly important. What was important was that people could begin to imagine how my music could be useful to them. What am I intending on causing with my music? What issues do I consistently write about? Do my songs make you laugh, tear up, get in touch with old memories, yearn to live more passionately, or bounce down the freeway on your way home from work? How can I summarize the purpose that is consistent throughout my songwriting style so that people are interested in learning more about me and my music?

An artist friend of mine describes her style as ‘Music that soothes the wounds of modern life.’ Knowing how she describes her music in just that simple phrase, a first time listener can approach her music with that foundation. We all have wounds, and we all have our idea of what it means to soothe those wounds. Before she even plays a note I can feel what she’s about. She won’t be a copy of some other artist out there, but a unique voice that is easy to characterize and remember. Furthermore, I can immediately think of other people and situations in which her music would be a good fit. All because of 8 pivotal words.

Imagine yourself in conversation with someone you’d like to expose your music to. What would you say?

If you’re finding this question difficult to answer, grab a notebook and pencil and start journaling about your songs. Read over a few lyrics or titles of yours. Start to talk about the songs in conversational language as if you were telling them as a story to your best friend. What are the far-reaching themes that continue to emerge?

Another exercise might be to grab one or two friends who know your music. Ask them to help you list adjectives or verbs that capture the essence of your music and lyrics. Notice any common threads and start thinking about how you might include them in your own ‘8-word pitch.’ Don’t be confused by songs that land outside this circle of common themes. It’s not so much ‘what’ you write about that may matter in these instances, but ‘how’ you have approached it. Go back to the list of words and think about what experience you’re causing with your music. Everyone wants to experience something, and the more clearly you understand how your music is perceived the more confident you will be that people need what you do.

Andrea

It’s true that no two songwriter’s careers are alike. Most of us start with no contacts, little experience, and a lot of inspiration. Gradually we expand our network of contacts that will play key roles in opening doors to that publishing deal, artist deal, recording facility, producer, co-writer, event booker, agent, manager, or that one fan that becomes an unexpected loudspeaker to the world.

Many budding writers wonder what it’s like to work day to day as a songwriter, and the picture is as varied as those who live it. There are a few foundational activities, however, that every one of us finds ourselves immersed in on a regular basis.

Staying afloat in the commercial industry requires that we get out of the house once in awhile. Growing our network of fans and industry contacts is the gasoline we need to keep rolling. When we hole up in our bedroom writing songs all month, we overlook the troublesome reality that no one will hear those songs without a team of believers. This is such an important element of being a career songwriter. Without a network of people who believe in our art, we stand very little chance of influencing a larger circle. The tricky part is wading through the marshes of industry players and audiences who do not take a particular interest in what we do in order to find the ones who do. But when we’re committed to letting as many people know about our art as possible, we see the effects resonate like waves on a lake.

Being a naturally introverted person, I have to make an intentional effort to continue to build my network. So instead of relying on my feelings, I schedule time in my calendar during which I’ll make phone calls, go out to shows, take CDs to non-music functions and tell a few people about my music, or play a show with a friend. I try to expand my network by meeting just 2 new people each month that could play an important role in my next big break. Just 2 people – that’s all it takes. Gradually those two people turn into 4, and 8, and 16, and before I know it, I’m getting emails from someone I’ve never met who heard my music and enjoyed it. Two weeks later I find out my new acquaintance’s uncle is the best friend of a publisher I’ve been wanting to meet, or a writer I’ve been wanting to collaborate with. You just never know.

As I’m building my network of believers, I do a lot of prioritizing and planning. Without my calendar, I’m likely to lose track of where I put my time. Every morning I glance at my to-do list and prioritize those things that are in sync with my vision for my career. It’s easy to want to take every opportunity that comes along because after all, it’s an opportunity. We may never get another opportunity again – or at least that’s how we’ve been conditioned to think as career musicians. When I slip into survival mode, my vision gets put on hold. It’s absolutely imperative that I keep a close watch on the small steps I take towards those bigger goals.

Many of the distractions that masquerade as my career are identifiable by their fruits. They almost all keep me from writing. So when I look back and see that I haven’t written a song in a month, or I’ve got 5 unfinished ideas lying around and haven’t been able to set aside time to finish them, I know I’ve got to regroup. This is a real problem for artists, especially when touring. Setting aside time to write is absolutely essential to being a writer. It sounds ridiculously simple, but it’s amazing how often we overlook that very simple equation. Taking consistent time to write = songs worth recording.

As a staff writer for a publishing company, I wrote about two songs a week. Sometimes more, sometimes less. I also co-wrote a few times a week, collaborating with other writers in appointments set up by either me or my publisher. If my collaborator and I were already friends, we might get together at 10am and begin writing an idea that sprung from our morning conversation, or from the notebooks we carried with scratches of ideas. If the collaborator was someone I had just met, I’d ask to meet for coffee first so we could get to know eachother a bit better. Some writers are comfortable just delving into the song. I need a little time to acclimate myself to the new relationship before my strengths as a writer can really shine. I learned this through the experience of many years of co-writing, and I encourage other writers to do the same. Learn how your strengths as a writer flourish the most, and in what situations. Do you prefer to write from a title, to discuss many different story ideas with your collaborator, or to finish a song in a short 2 hour session and come back to it later instead of laboring over each word? Do you collaborate better when you come in prepared with an idea already percolating? Do you need some time to generate ideas along before regrouping with your collaborator to discuss the best approach? Understanding how you approach the process will help you find what you’re looking for in great collaborations.

Staying inspired is sometimes a challenging task for any prolific writer. As a career songwriter, we often need to write even when not inspired. I often use tools such as Destination Writing to coerce ideas out onto paper, using my 10-step process for writing songs as described in my book, Popular Lyric Writing: 10 Steps to Effective Storytelling. Other times I’ll bring a title, an unfinished verse, or even a short melodic and harmonic progression to a co-writer to help get inspiration. I read books, I watch movies, I go to coffee shops and listen to conversations (I admit it’s true) and write down interesting phrases that could make for great song ideas. I sit out on sidewalks and watch people, I travel, and I listen to music I love. I allow myself the permission to write a mediocre song. That last thought is incredibly important for a career writer. We understand that if we create our art with desperation, as if each expression is the last great thought we’ll ever have, then we’re bound for failure.

I almost always finish every idea I start. When even I’m not certain if what I’m writing is better or worse than the last song I wrote, it’s an exercise in becoming a more consistent writer. Finally, taking time to realize what makes my voice as a writer unique, and how I most effectively express that voice is a valuable enterprise and I wouldn’t be where I am today without it. Taking a look at the typical patterns within the songs I write, gathering feedback from trusted fans and collaborators, and even matching phrases of my life with the song material that sprung from them help me to summarize what I do well, and what kind of artist would be most interested in recording my songs.

Being a career songwriter is a precious gift, and one that comes with tremendous satisfaction. Getting into the studio to record my latest songs with some of my favorite musicians is one of the highlights of the process. On the contrary, pitching my songs through networking contacts is a nuisance I’d rather not have to pursue. But, both are necessary in sustaining a career. Without pitching my material, I can’t influence the world. Great results come at the expense of time and energy, and are a small price to pay for the fulfillment of positively affecting the lives of others through my art.

I hope you find satisfaction in the day to day activities on the road to expanding your circle of influence with your music. When you receive that email from someone who has been profoundly and positively affected by your music, you’ll recognize how your unique road has been leading you in the right direction all along.

Andrea Stolpe

The path to becoming a professional songwriter is never as clean-cut as we’d like it to be. If only there were ads in the classifieds “writer needed for top pop act,” with a phone number and an address to send a resume, it would be more obvious to know where to start. For me, the transition from hobbyist to professional writer was a bit like wandering through the woods and then suddenly stepping out into the clearing. I didn’t know how far down the path I had tread until I found myself already at my destination.

The trouble with success like anything in life, is that it’s not typically a steady upwards curve. There are months or years when even professional songwriters don’t get paid for their craft, being in-between deals or waiting for royalties to trickle in, and so in the most realistic sense, professional is a just a matter of experience and a way of doing business.

So what are some of the activities or elements that transition a hobby songwriter to a professional? I’ll give you my two cents, and you can add your own as you look back into the woods from your own clearing.

The first activity that makes the change is writing. It seems obvious, but it’s amazing how easy it can be to get distracted or just plain too busy, and stop writing regularly to develop our craft. Writing songs can certainly be a gift, and with that gift each of us brings a certain style and inspiration. But like any other skill, it takes dedication to learn to direct our inspiration to consistently achieve the results we want. That’s the important word here, consistency. Professional writers don’t just write one great song every 6 months. They write 10 good ones every 3 months, and if we’re lucky, 2 or 3 of those stand out as great songs.

I can’t stress enough the importance of writing, even when you don’t feel inspired. If you’re going for a publishing deal, for example, the company expects you to continuously put out more material. That’s how you stay relevant and current to the industry. Even as an artist writing for yourself or for others, if the last song you wrote and recorded was 6 months ago, you could be 6 months behind the trend…not to mention everyone you’ve played the song for has begun to forget you’re still around. Fans need to be reminded too. With so much new music coming out that is so accessible, we can’t go into hiding for too long before we’re simply out of mind as well as out of sight.

All the other activities, from networking to performing, getting to know names in the industry, gaining studio and recording experience, co-writing, following leads to meetings with industry gate-keepers, and so on are secondary. Learning how to carry ourselves in a meeting such as how many songs to play and how to accept criticism and compliments are certainly important, but without the activity of writing, we hardly get the chance to practice those skills.

There are hundreds of thousands of people who write songs and fancy themselves songwriters. What makes the difference between a hobbyist and a professional is how aware the write is of his/her own shortcomings and potentials. It’s not how many songs we get recorded or how much money we make (artists as famous for not being recognized and appreciated until they’re dead). It’s how much we enjoy the craft that enables us to survive just about anything along the way.

If you’re writing a few times a week and would like to step up your game in other areas of the business, I encourage you to follow some of the steps I’ve outlined in my previous blogs entitled ‘While You Are Writing.’ If you have specific questions about a crossroads you’ve reached in your career, please feel free to submit your comments in response to this blog. I’d be glad to take a stab at brainstorming with you for your next big career step.

Sincerely,
Andrea Stolpe

Songwriting like any other art brings with it a fair share of critics. After all, anyone can listen to a song and form an emotional opinion. In fact, music is an art that anyone can make, whether novice or experienced. Anyone can call themselves a songwriter by writing a few tunes, effective or ineffective in creating a good experience for the listener. In addition, hindsight can make some of the most memorable songs seem simple to have written. The melodic ideas are short strings of connected tones, the harmonic progressions basic root, four, five, with an occasional six minor, and the lyric phrase after phrase of everyday language we hear ourselves using in conversations and love letters. What could be so difficult about that?

Songwriting isn’t often thought of as an art to be mastered, like classical piano or upright bass. Truly remarkable artists begin with an undeniable gift, but that gift doesn’t truly shine until it is invested into with time, focus, and dedication. But in popular songwriting today, I find that the focus is nearly entirely on the gift, rather than the development of that gift. What results is a viewpoint that either a songwriter ‘has the gift’ or ‘doesn’t have the gift’, and furthermore, that each utterance from the songwriter with the gift is art worth listening to.

I write songs for two reasons: for the pleasure of writing, and for the pleasure of those listening. Sometimes I’m fortunate enough to achieve both those elements at once. But sometimes the process is slow and frustrating, and the real pleasure only comes from knowing my craft and process well enough that those listening find pleasure in my end result. Sometimes the song was pleasurable to write, but the experience of the listener fades in comparison. The truth still stands that in order to excel in my art, I need to practice my craft. Regardless of the ‘gifting’ I may or may not have started with, I take all the credit for developing it into the useful tool it is today.

As I said before, anyone can write a song, and anyone can critique a song. But that doesn’t mean we should listen to just anyone. As a songwriter reading this yourself, I strongly urge you to do the same. As a songwriter writing about songwriting, I realize that I’m a critic right now, so I urge you to sift my words as well for those ideas that ring true, and those that do not. The most valuable lesson I’ve learned as a writer over the years is that another writers’ process is not my own. Their process may serve as signposts for my own, but the more I practice my art, the more I learn to hear and trust my own instincts.

Songwriting is an art that for some comes very naturally, and for others takes a lot of practice. But until you’ve given yourself adequate time to find out how far you can develop your gift, don’t stop writing. Consider critique or feedback in context of those giving it. Some people care very much about lyrics, some don’t. Some people swear that a great melodic hook is the key to a hit song. Some think it’s all about the guitar riff, the tempo, the vocals, etc. Some have spent years in Nashville and believe that the storyline should be clear and the title apparent. Some come from a heavy metal background and believe that lyrics should be open for interpretation from the listener. The list goes on and on, but for each opinion, there is a musical context from which these preferences were formed. Allow yourself the grace to find out where your own preferences lie, and how they direct your process.

To truly call yourself a songwriter, you must write. You’ll know you’re making progress when you intentionally apply tools of the craft to achieve desired effects. You’ll know you’re excelling when the tools of the craft become instinctual, integrated into the very process you’re developing.

Many critics in my humble opinion don’t understand the level of dedication and time required to truly excel as a songwriter. To create something with intention and to do it over and over again takes immense skill that can be directed, but only truly developed through practice. If you’re in the early stages of developing your own process, I hope you find the courage to continue amidst colorful critique, both helpful and destructive. Anyone can write a song, but not anyone can create valuable listening experiences over and over again.

Musicians aren’t exactly famous for their ability to handle relationships well. The stereotype is that our art comes first, and that there is always a part of ourselves we withhold from our loved ones as we’re devoted to another muse. That may be true for some, but perhaps it’s impossible to distinguish whether it’s a product of our personalities and choices rather than the fact that we have a musical gene weaving through our DNA.

Recently a fellow songwriter shared with me a difficult situation with his wife resulting from a seemingly insignificant performance of a popular song. The song brought up some sensitive issues, and in doing so, created a rift within the most important relationship in his life. As songwriters and artists, it’s only natural we sing and write about issues close to home. By the very act of connecting with our audience, we focus on what provokes thought and causes emotion. We can even bring to life an experience that was not our own, and write it with such sensitivity, such detail, that it becomes real once more in the span of that 3 and half minutes.

I’ve personally performed songs I’ve written where after the performance, several audience members came to me with concern for my well-being. No, I wasn’t suicidal, but rather digging deep into the difficulties of what matters most to us in life- our relationships. Some songs are just more powerful written from first person perspective. In this case, taking a side-line view of divorce using he/she said language just wouldn’t cut it. I had to expose every fiber in my body to the sting, the hurt, the desperation and the shame of what it would feel like to find myself at the end of that rope. We’ve all been in similar situations or felt empathy for others in those situations, so I’m not about to pretend that I’m safely on the sidelines of every song I write. I’m saying that in order to write songs that matter, sometimes I’ve got to reveal my own vulnerability by personalizing the issues that affect us all.

I hope that those listening to my songs feel comforted and less alone. The few that decide all my song lyrics foreshadow the dissolving of my closest relationships are missing the point. For those close to me, a good sit-down discussion about where the song came from and why I chose to write it can be a great idea. I don’t know about you, but often my songs reveal to me things I’ve been tossing around in my head before I know I’ve been tossing them around. In a sense, I guess you could say I journal to pitch and rhythm. My songs are an extension of how I look at the world and how I think the world looks at me. Sometimes that’s messy, and sometimes it’s beautiful, but it’s always honest. And that’s all I owe myself or anybody else.