-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.

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

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.

Major facilities are appealing in that they offer the gear and the service we’d like, but can place somewhat of a strain on our budget. Home studios are great if the system is working and we’re well versed in how to achieve the sound we need from production to engineering. But as anyone who has built a home studio knows, it often takes a huge time investment with a long learning curve to come to the point we’re recording our music without too much resistance from technology and the process.

In my most frustrated moments, I’ll admit I’ve wished technology had stopped growing with the introduction of the 4-track tape. Fortunately for me and many other artists and songwriters recording their material, my wishes don’t come true and we can get close to the sound of a major facility right in our basement or office, at least in terms of the equipment. The know-how of an experienced engineer/producer is unfortunately not duplicated quite as easily. I have a few opinions based on personal experience and the experience of colleagues that I’d like to share on choosing and building a recording process. However, as with everything you read, do your own research and learn from those around you as well as take into account your own experiences. My thoughts here are only guidelines, and so please use this information to strengthen your craft and business rather than limit it.

One mistake I have made myself and watch other songwriters make is going out and buying a recording system that requires more of an investment than the buyer is willing to make. I’m not only talking about money but rather time and energy into the art itself of recording. Recording, arranging, editing and mixing as well as production are arts that are as deeply complex as writing great songs time after time, and so it can be very wise to get real about your expectations. As many years as you’ve dedicated to becoming a better writer is how many years someone skilled in mix engineering has dedicated to being a good mixer. Now, that’s not to say you can’t be both a decent songwriter and producer, or songwriter and mix engineer. However, being great in more than one of these disciplines is unusual. Also, you are depriving yourself of the second or outside opinion which is part of the producer’s job description. Particularly with songs you have lived with and played for a long time, your objectivity in terms of quality control and emotional impact will most likely be limited. And if your approach to the recording arts is not as intuitive as your writing, there is a good chance you will experience the frustration of having sunk a hefty down-payment into a system that left you screaming into your pillow at night, unable to make music for lack of an understanding of the gear.

The degree to which you outfit your studio can depend a lot on budget as well. There is a wide range of hardwares and softwares out there that all offer the same basic service, but to varying degrees of financial investment. Technology is constantly changing, and what was cutting edge one year may be old news 6 months later. The important thing to remember is that trying to stay current with the latest gear may only leave your pockets empty and your studio constantly under renovation. Don’t let your gear determine what you want to create with your music, but let your music determine what you need from your gear. In the end, the best studio for you is one that allows you to create the music you want to create. For some, that’s a more serious personal studio, and for others, it’s just the bare bones.

Below are some options you might consider when researching a studio setup that’s right for you. I’ve listed some prices next to the options as ballpark figures.

Personal Studio Option 1 (about $1500)
-Apple iMac ($1000)
-Digidesign Mbox Mini ($250)
-Rode NT1-A ($250)

Personal Studio Option 2 (about $3,000)
-Apple MacBook ($1500)
-Firewire Hard Drive such as Gtech ($300)
-Digidesign Mbox 2 or M-Powered ($400)
-Shure SM58 ($150)
-Rode NT2000 ($600)
-Headphones ($50)

Serious Personal Studio (about $6,500)
-Apple MacBook Pro ($2000)
-Firewire Hard Drive such as Gtech ($300)
-Less “High Performance) Firewire Hard Drive for backup ($100)
-Digidesign 002 or 003 ($1200)
-API LunchBox w/API 512c x 2 ($2,000)
-Rode NT2000 ($600)
-Rode NT4 ($500)
-Headphones x 2 ($100)
-Pop Filter ($25)
-Mic Stand ($25)

As you can see above, some of the elements of a personal studio are:
-Computer (Mac or PC)
-Computer Performance (RAM, Hard Drive)
-Audio Interface (Motu, RME, Frontier Designs, M-audio, Presonus, Apogee)
-Optional Pre-Amp (API, Manley, Universal Audio, Focusrite)
-Microphones (Neumann, Shure/AKG, Rode, Peluso, Studio Projects, etc.)
-Accessories (Pop Filter, DI, Mic Stand, Headphones, etc.)

Then there are software options to consider:

Softwares include Apple Garage Band, Fruity Loops for starters, and Ableton Live or Propellerheads Reason for a little more well-rounded approach. You may have heard of DigiDesign Pro Tools LE/M/HD, which is the industry standard, proprietary. Steinberg Cubase and Nuendo, Apple Logic (which is mac only), and MOTU Digital Performer are all softwares used by professionals in major facilities, as well as more serious home or project studios. The main point of having specifically Protools in your studio is a matter of compatibility, since they have been the guys that have been there from the very beginning, and are therefore the most widely distributed software/hardware solution. Many great records have been made on Logic, Cubase, Digital Performer, etc. These software solutions are quite comparable to ProTools, especially the LE version, but there is something to be said for the ability to go back and forth between your home studio and a world class facility without compatibility headaches. The other consideration to be made are driver conflicts … it just doesn’t matter how good the software feels, and your hardware sounds if they don’t play well together. Yet again a point for Digidesign’s ProTools, since hardware and software are specifically created for each other.
Frequently, audio interfaces will actually come with a lite version (really a teaser) of a particular software. Play with that and see if it appeals to the way you think, work, and create. After spending about 100 hours with it and things still feel awkward, maybe it’s time to try something else.

If all this seems a little overwhelming to you, (and there’s no shame in simply being a great songwriter), I encourage you to become familiar with the most basic recording setups, read a couple books, and stay clear of too many radical commentaries in online recording newsgroups/blog sites. Most of the guys that I really want to hear opinions from are busy …making records Whether you find yourself at your friend’s house recording, or at a major facility, you’ll be glad you took the time to understand a little about signal flow, patchbays, compression, microphone basics, etc. You’ll be able to empathize a bit more with the engineer tracking your session as well.

If you do choose to go the way of a major facility, consider your options here, too. How much you shell out for those gleaming platinum-record lined hallways depends on how much time you spend there. The more you rehearse before the studio, the more money you’ll save. Studios charge by the day, sometimes by the hour, whichever you’ve working out with them, and the cost can range from $50 - $250 per hour. Many times day rates are less expensive. My advice would be hiring and engineer that works in that particular room all the time. For one, it will ensure that the engineer frequently works in high end facilities, and at the same time this person will know the ins and outs of that particular room. That will save time and save you money. Most larger studios will be able to connect you with an engineer like this.

You might decide to record a solo demo if you’re a singer/songwriter, thus cutting out the cost of hiring a full band. You might decide to use a full band but only record an EP instead of a full album. Fewer songs mean less time investment and less money.

In my experience, I’m happier with the final product when I’ve done adequate pre-production, over-budgeted the time it will take to record, and hired musicians capable of achieving the sound I want. I would personally rather record two songs with musicians and an engineer I can count on in a decent facility, than record 4 songs in an expensive facility with buddies of mine who mean well but can’t execute what I need them to get on tape. For you, the situation may be different, but I encourage you to give it some thought. The more you know going into the recording process, the better your experiences throughout this exciting leap into the next phase of your music career.

I’d like to describe this idea of ‘writing what you know’ in terms of my own experiences. As an unsigned writer in a new town trying to establish a career as a songwriter, my ears were keenly perked to the styles of music and lyric that rode the radio waves in my industry. Back then it was Nashville, and so I my plan was to dive right into the types of songs that were making it as singles and basically write my version of them. This was always a frustrating endeavor. Just when I’d think I’d get the groove down, acceptable lyric material, and some good melodic ideas, I’d realize I’d be writing too close to the original. Even if I managed to draw a clear line between my tune and the one that inspired it, I was left with something that was an excellent caricature rather than an innovative trend-setter. Another problem was that the songs I’d be attempting to write like were old by the time they were released. I was always 9 months to a year behind the trends. The final blow was realizing that while an artist may have had a hit single with a song, they wouldn’t necessarily want to release another a year later with the same message and sound. It was a good exercise in capturing the essence of a song, but a poor direction for writing truly believable and innovative tunes.

As is often the case with new writers, it took me awhile to figure out that the key to my success as a songwriter would be in writing music and lyric that moved me. When I wrote what was important or significant to me, I ended up with a product I was happy with and an experience that moved my listeners. Understanding how my songs could fit within the commercial market took time and intense listening and study. Sometimes my writing would sway on the side of art songs, expressing my own artist’s voice but falling short of any commercial potential. Sometimes I’d flip-flop the other way, hitting the commercial elements but losing a bit of my own artistry. The process of hitting both the commercial market and expressing my own voice as an artist took many songs to grasp, and I’m still faced with the challenge each time I sit down to write. My most successful songs are those where I become the character, I step into the emotions of the singer. The topics though not always a frame from my own life, are deeply personal. I project how I would feel, move, think, and be in the situation I present in the song. That’s quite a vulnerable expression and takes some level of guts. More than that, it takes a level of honesty, revealing some intimate emotions I might only share with close friends. But that’s the power of music, isn’t it? It connects us at our deepest fibers where we may be uncomfortable connecting any other way.

This is where the idea of ‘write what you know’ comes into play. I may not know much about tractors, ex-husbands, or dive bars, and if I attempt to write country music from any of those perspectives, I may wind up with a fairly watered down idea. It’s not the theme that makes a song settle into a particular genre. It’s the artist/writer who draws from his/her own experiences giving that theme believability. At least that’s how I see it.

When I write, lyrics are a very important part of my songs. Relationships are a common theme in my tunes. That’s not to say that I often write love songs or break-up songs, but to say that the themes I tend to know about revolve around personal connection. It is an extension of what I value in life. In this sense, every song I write is deeply personal whether it’s an expression of an actual event or something imagined.

Think about your own life and what you hold close to you. What do you know a lot about? If you work a day-job, immerse yourself in a hobby, give your time, money, your resources to campaigns you care about, how do those feed into the perspective with which you see the world? What if you write from that perspective, creating connection from where you are now? Recognizing the extraordinary in the ordinary has sent thousands of songs to the tops of the charts – and the bottoms of people’s hearts.

I hope you find the courage to write what you know. I truly believe that as writers we share the most valuable part of ourselves when we write from a place of true experience. The audience can feel our honesty - just as they can feel us withholding the truth. Begin to believe that you don’t need to become someone else to the audience than who you are now. Write what you know, because no one knows it better than you.

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.

You’d think with such a soft spot for affection I’d eek out a few hundred love songs now and then. The problem is not writing a love song, but writing a good love song that people want to hear again and again without chewing their own arm off. For me, songs have to connect - and connect with a depth of purpose. If that depth of purpose only runs skin deep with phrases like ‘ever since we met’, or ‘I was so blind,’ my willingness to believe the song reflects actual experience is compromised. I want to be swept away by the love song, not just mildly interested. I want to feel down to the marrow of my bones that this love is worth every ounce of passion and vulnerability the artist is asking me to invest by listening to it. Anything less and there is a discordance between what the writer/artist intended on making me feel, and what I actually feel.

I’m not saying that a love song can’t be reggae, can’t make me smile, blush, or can’t bounce along with the pitter-patter of a new romance. I am saying that a great love song has to deliver some actual life experience between the clichés. It’s got to be real, intimate, and totally accessible.

It is for this reason that I find love songs especially difficult to write. In my opinion, my most successful love song attempts result from two techniques, both of which I only realized I was using in hindsight. The first of these techniques is using a location as the basis for the story. By setting the first verse in a specific ‘place’, such as a laundry mat or a coffee shop, the song finds its roots firmly planted in a real-life experience instead of whizzing out in nowhere with scattered thoughts and feelings. Take a listen to some of the more recent popular love songs and look for this ‘location’ within the lyric. Many artists within the pop or rock vein come to mind, such as Jason Mraz, John Mayer, Edwin McCain, Sting. As with any songwriting technique, look within your genre to find examples of the tool at work. For more detail on this technique, refer to Popular Lyric Writing: 10 Steps to Effective Storytelling, chapters one, two, and three.

The other technique is using a metaphor to ground the song. For instance, love is a rose. Love is a rent-controlled apartment. Love is an open field. Love is a landing strip. Thinking about the characteristics of these nouns, we can draw contrasts and comparisons and come at love from a unique perspective. When I write with a metaphor in mind, I also choose my verbs wisely. If a landing strip is my launchpad for this technique, I list all the verbs, nouns, and adjectives that come to mind related to that idea. Taking off, zoom, jet fuel, screech, burnt rubber, passenger, wingspan, etc. This gets me on a path towards more ideas: What happens when love takes off? When would I describe love with the word ‘zoom’? What jet fuels love? What happens when I smell the burnt rubber, the screech, am I ever a passenger in love, and what wingspan can love have?

On a final note, I find break-up songs just flow out of me. Even though breaking up hasn’t been a theme in my life for years, I find I can access that well of painful words and images as if it happened yesterday. Perhaps it’s because so much of love is deliriously happy and almost removed from the details of mundane reality. But to connect in intimate ways, generalizations just won’t do. While you’re writing your next love song, how vulnerable are you willing to get for the sake of connecting with your listener with purpose worth writing?

Whether you write music first, words first, or both at the same time, it’s a good idea to change up your process and explore other possibilities. I’m not talking about the style of music or genre of lyric you write, but rather how you go about writing it. Always starting with lyric can lead us in a pattern where all our phrases, rhythms, and rhyme schemes follow the same patterns. The lyric also has the power to steer the musical tempo and style, and so the result can be streams of songs that either don’t match the subtleties in our musical moods, or all tend to sound basically the same.

If you often start with lyrics, try setting words aside awhile. Sit at the piano or with your guitar and just let your musicality take over. Something I like to do is write 8 or 10 different motifs, just little mini-sections of 4 or 8 bars of melody and harmony that I think are catchy. I record each one as I sit there, and once the recording is done, about 15 seconds, I move onto another idea. I don’t allow my editor to interfere too much and I’m not afraid to record bad ideas. Later in the week I dump all my recordings onto my computer and listen. I’ll pick out all the ones I think could make a good verse foundation or chorus idea, and stash it in a folder labeled “New Music 6-22-08.” I may even grab one random idea and consider it a verse, putting it together with another random idea as a chorus, both very catchy and ready to inspire great lyrics. Sometimes the pairing works, sometimes it doesn’t. The point for me is that I’m trying things without any presumptions or concern for making mistakes. I may go through this process each day for a week, letting the music clips stack up until I feel ready to sift through them. When I finally do, it’s like opening little Christmas presents – I’ve forgotten what’s wrapped within each music file and I listen with much more objective ears, responding as the listener might to my song.

In my experience, many songwriters are at least additionally, but often first and foremost performers. Having a bunch of music clips lying around isn’t exact a novel idea. So in this case, lyrics are the issue and we need a process for finishing songs that are gathering dust without words. What I like to do in this case involves a two-pronged attack. First, I focus on a musical idea that I feel is very strong. I record it – just a rough one minute job will do. Then I sit with my eyes closed and earphones on and listen to the track, poised in front of a word document ready to jot down any images, words, phrases, emotions, etc. that the recording sparks. As I type, I pay special attention to the mood of the music. I allow myself to write whatever comes to mind, free of my editor and focused on sensebound descriptions. This process of writing is called ‘Destination Writing,’ and I teach it in my Commercial Songwriting Techniques class. From my paragraph of rambling images and thoughts, I harvest the phrases and words that seem to plug into my melody, building around them always from the destination writing.

Sometimes we get mired in perfecting each section as we write. This can land us in a hole of lots of first verses and choruses, but no back halves of songs. To this problem, I take a bold leap and try using my first verse as the second verse. Seeing the song from this new angle enables new ideas to flow. I write a first verse setting the ‘who’, ‘when,’ and ‘where’ clearly, creating the foundation of the storyline. Again, to do this, give your editor the day off. You’ll need guts to leave behind old ways, but trust me, it’s worth the effort.

Every few months it can be a great idea to change up our process. Not only do we realize greater depths of skill, but we consistently knock down the tower of hesitation that keeps us bound within our typical melodic, harmonic, and lyrical styles.

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