Career Songwriter

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

Craft:
As I describe in my book, Popular Lyric Writing: 10 Steps to Effective Storytelling, there are two kinds of language – external, and internal. Internal language is thoughts and feelings, (basically comprising most of the lyrics we heard in the 80’s.) But external language is derived from the senses of touch, taste, feel, sight, sound, and movement. It creates a picture in our minds, and increases our ability to remember and experience the song ourselves. This kind of language yields much more original lyrics and forms a great foundation for the lyric idea itself. A great project for this week would be to look for these two types of language within some of your favorite songs. Some great artists who use these two types of language very effectively are Sting, Sheryl Crow, Billy Joel, Avril Lavigne, Tom Petty, John Mayer, and pretty much any contemporary country artist you can think of. Or sift through the lyrics of your favorite artist and consider what lyrics you really love within those songs. Are those lyrics external or internal?

Business:
Don’t be a LONER. Many have tried it, and it doesn’t pay. To be successful in this industry, you need to rely on the talents of others. Production houses are formed by engineers who have partnered with producers to record bands and artists they feel are worth their time and effort. Publishers rely on their relationships to get songs into the hands of those who need them. Songwriters need outside material and perspectives to influence and inspire them, and independent artists need fans to receive their material. There may not be one person out there who fits your musical needs perfectly, but keep an open mind. I personally have a small group of writers I enjoy collaborating with, and each for a different reason. With some writers I focus on writing killer chorus melodies and with others I take the musical lead and together we focus on lyrics. Still with others I take a back seat when it comes to writing a rhythmic guitar lick. In this situation I’m able to bring the melodic and content ideas to what would otherwise be a song I would never have written. Form relationships and look at each as an opportunity to connect down the road with others through that relationship. In this industry, you can not plan how one meeting will lead to another. The only control you have is how often you put yourself out there to be found.

It’s 5 o’clock and you’ve just merged into the flow of freeway traffic after a long days work. You reach for your MP3 player, only to realize you’ve left it on your desk and will somehow have to survive the evening without it. So you flip on the radio hoping to find some musical retreat for the ride home. As the latest hits from the most talked about artists float on the radio waves, you find yourself coming up against the same old questions, “why do artists record bad songs?” and “why does the radio play them?” Those questions are soon followed by thoughts like “if I could only get so-and-so to hear my song, I know she’d love it and put it on her next record.”

As commercially viable songwriters and artists, it behooves us to know the current sounds catching the ears and pocketbooks of millions of music lovers. However, with the changing landscape of the music industry and radio no longer the gate-keeper of success, our view of the business is not limited to the empty-calorie happy meals we’re fed from top-40. We have access to a rich, all-you-can-eat smorgasbord of original music with just the click of a button and a credit card.

With so many avenues to discover new artists and talented songwriters, why then do we still complain about multi-platinum artists releasing aluminum sounds? The answer, I think, varies as widely as the experiences and perspectives of those who give them. For songwriters, the key may revolve somewhere around our ability to weather the industry, network, and hone our craft.

It’s no secret that the music industry is a people business. Who we know plays a great deal into the opportunities that come our way. We may have all the skills and personality necessary to write Beyonce’s next hit, but without access to her circles, we can rationally write off the likelihood of getting on her next record. This may sound unfair, but consider it from a business point of view.

Let’s say you’re eating your Wheaties one morning, and as you stare at the box you come up with a great new idea for their marketing campaign. So you decide to call up the people at General Mills and introduce yourself. When the 1-800 number on the back of the box doesn’t pan out, you try to leave a few messages with the 22-yr.-old temp in the customer service department. But the fact is, without a referral it doesn’t matter how good your ideas are. The creative team has its own agenda and hand-picked staff of brain-stormers who have proven their reliability and worth over years of service.

So how do we get into the circles of writers and artists who are making the music that sells? We network. We go to shows. We attend music festivals and conventions. We become a member of our local songwriting groups. We create and sustain an online presence. We hand out samples of our music. We co-write with anyone who believes in our ideas, and above all, we persist against all odds.

Some of the most successful and most fulfilled writers and artists are those who invest as much in others as they do in themselves. Focusing on advancing our own careers while also benefiting the careers of our peers is a plan structured for success. The bigger the circle of writers and artists we’re involved in, the more likely we are to be discovered. By bringing our art into local circles and creating something notable in our communities, we can start a movement as powerful as the grunge scene of Seattle, the singer-songwriter scene of Atlanta, or the dance scene of Miami. Discounting the significance of the fans and peers around us is as dead as the idea that a major label contract is the only way to reach millions of listeners.

Who we know is such an important aspect of the industry that it even overshadows talent and skill. When we hear a major-label release on the radio, what we’re hearing is networking in action. Imagine for a moment you are J-Lo, Paris, or Christine. Between touring, public appearances, and keeping up your great skin and hair, you’ve got to find time to write and record. On your 5-hour layover in NYC, you sit down to write a melody and some lyrics over a track already laid down by the producer and other names your label has paired you up with. Your first instinct will probably not be, ‘Hey, why don’t we check out some unfamiliar artists online and see if they’d want to fly in to co-write with us?’
No, you’ve got your team of proven hit-makers, and you’d like your next record to reliably find success. Furthermore, you enjoy that you’re able to work with a team who listens to and incorporates your artistic vision into the record. Finally, after breaking even on the first few records of your contract, you’ve realized that there’s money in publishing. Artists stand to gain a significant piece of the pie with their hands in the writing of the record.

The fact of the matter is that many producers and artists strive to write and record their own material rather than lose the writer and publisher share by recording outside material - even if that outside material is right for the record. Even as I wince at that statement I have to admit I’m guilty of the same. As an artist with the desire to both express myself and enjoy the financial rewards, I also prefer to write and record my own material.

Another perspective I’ve had to recognize is that I am an educated listener with educated tastes. My neighbor, much to my constant frustration, is not. While she pulls into her driveway with the latest Britney Spears single pumping out open windows, I’m painfully aware of the chasm that separates us on our musical vistas. What I think is drivel, she bounces to like Christmas morning. What I think is well-crafted and layered with depth, she finds complicated and boring.

Interestingly, my neighbor and I differ on another point. She works in the film industry, and much the way I feel about ‘consumer music’ she feels about ‘consumer film.’ Personally, I can’t get enough of Bruce Willis blowing up a power station while single-handedly saving the world from certain destruction. Set me in front of a serious art film that’s star-studded and a shoe-in for best picture, and I’ll be asleep as fast as you can say Grammy. After all, I don’t always want to think. I just want to be entertained.

Acknowledgment of my own consumerism makes it easier to understand why some people don’t gravitate towards deep lyrics, or jazz for that matter. A chef can’t imagine how fast food still exists with the knowledge of how to prepare simple and tasty meals. An electronics buff can’t understand why anyone would settle for the equivalent of a boom-box when pristine sound is available from Manley Labs. So the question may be, why does the lowest common denominator of what we value still exist? Because someone still buys it.

As musicians, we can easily sink into the sludge of cynicism. After all, how can we compete with the money and power of the commercial industry? Why do we continue to try to improve our craft when in the end, it seems to be all about our ability to market ourselves? Because we’re crafts-people. Because we’re the heartbeat of humanity. Because we have something to say, and without us, music-lovers all over the world would be left with a vacant shell void of expression. I’ve never met a songwriter who didn’t experience moments of defeat, cycles of abundance and drought. My own experience has taught me that unless I create for the pleasure of creating, my art soon loses its soul.

So next time your favorite diva belts out another rendition of ‘Baby Baby, you know I love you’, take heart. With belief in your music, a little talent and lots of persistence, you can get your songs heard. Most importantly, set your sights on forming relationships that last. If you’re a songwriter, write. If you’re an artist, perform. Do what you do as often as you can. In this industry of music, no two writers follow the same path to success. We all need to choose the way that will bring us the kind of lifestyle, relationships, and fulfillment we desire.

Last week I began a series called ‘While You Are Writing’, in which I offer up a few business and creative activities to grow your songwriting career. Here are a few more suggestions, and feel free to add in your own this week as opportunities present themselves.

Business: Buy one new record in the genre of music in which you write. Find a quiet place and listen to the record in its entirety. Read the label notes and familiarize yourself with the songwriters. Find 30 minutes and research those writers on the internet and find out what other songs they’ve recorded. Read any other biographical information you can on those writers, such as how they got started and the publishers or labels to which they were signed.

Craft: Try writing some simple choruses, such as 4-line or 6-line, repeating the title in the first, middle, and/or last line. Don’t concern yourself with verse sections just yet, but work from some of the title ideas you sifted from your newspaper/magazine/book resources from last week. Try to write 2 or 3 choruses, music and lyric. Record a rough work tape of each as a simple guitar/vocal or piano/vocal.