Career Songwriter

‘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 once interviewed my creative manager at Universal Music Publishing for the truth about what publishers look for when signing new writers. I assumed his answers would include ‘talent’, ‘personality’, the ‘ability to write incredible melodies and lyrics’, etc. Though those elements were part of his answer, surprisingly several other factors were significantly more important. Skill and talent were part of the equation, but personality, productivity, and the ability to receive and apply critique were key qualities that came up over and over again.

He went on to explain that every afternoon around 4pm he begins his meetings with new writers. Many are new to Nashville, having moved with a guitar and a dream of writing songs for other artists. Each week he meets anywhere from 5 to 10 new writers and listens to 2 or 3 of their songs. Out of these 10 writers, on average, only 1 calls back or emails him for a follow-up meeting. Months later he runs into the other 9 around town, at a show, in the grocery store, etc, and asks how their writing has been going. They often respond with, “I’ve been working a lot and haven’t had the chance to write much lately,” or “I’ve got some songs but I wanted to wait until I got good demos done.” What this says to a publisher is that you aren’t yet ready for the job of a staff writer. A publisher is in the business of pitching songs to commercial artists. Without product, without songs, the publisher can’t do their job. The more prolific the writer, the more pitching power a publisher has. A publisher wants to be sure that after signing the writer, that writer will continue to produce song material that is viable in the market.
This is why just writing 2 or 3 good songs isn’t enough. If you consider that a company like Universal Music Publishing has 50 staff writers in Nashville alone, each writing and demoing at a minimum 3 songs per month. That translates into 36 songs a year per writer, and 1800 songs per year company-wide. Finishing just a few songs isn’t enough. A publisher wants to know that you can consistently write solid material.

Another factor in deciding whether a writer would be a good addition to the publishing company is personality. Would the writer fit well with the other writers on the roster? Can the writer co-write? Does the writer bring something unique to the roster, or is he/she similar to a writer we already have? The publisher is also interested in signing writers who will continue to network and push his/her own material instead of relying solely on the publisher. The publisher can certainly widen the network of contacts and co-writers for the writer, but a writer who works to form and sustain relationships within the industry only boosts his/her potential for success and therefore benefits the publisher.

Talent does matter, and great songs will initially capture the attention of industry folks and consumer listeners alike. But managing our own careers with integrity and persistence are immutable qualities that will sustain our futures as career-musicians. Write what you love, and don’t allow yourself to get stuck polishing just a few songs until they’re perfect. Get out there and promote yourself with what you have, and continue to improve your craft by listening and practicing your art of writing.