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

Publishing is a huge money making side of the business, with great opportunity for songwriters looking for financial and artistic help. Staff writing, the job title of a writer who works for a publisher writing and recording songs so that publisher can pitch them within the major market, is a highly satisfying job for many creative souls. Below, I will attempt to outline my experience with staff writing, describing some of the typical deal points and what to expect. The contract terms between a publisher and writer vary greatly from writer to writer, and city to city, and so keep in mind that this is simply one example. More information can be found on my website, www.andreastolpe.com.

In short, a publishing deal is a contract between a writer and a publisher in which the publisher owns all songs written by the writer during the contract period. A contract outlines the terms of the deal. The basic terms consist of the length of time in months or years that the writer is affiliated with the publisher, the monetary compensation the writer receives during this period called a “draw”, and details concerning demo costs, royalties, and other small print interesting to a good entertainment lawyer. As a first time signed writer to a publisher, the draw is typically somewhere between $15,000 and $25,000 per year. Along with this draw, the publisher may agree to front half the demo costs up to $600, while the writer recoups (money the writer owes the publisher out of royalties) the other half after royalties are made. For example, if a writer makes $15,000 and spends $4,000 in demos, the total amount that writer cost the publisher is $19,000. Since the publisher agreed to pay for half the demo costs up to $600 (let’s assume any amount above $600 is the writer’s total responsibility), the amount that writer must recoup is half of $4,000, or $2,000. If the publisher gets the writer a cut (the term for when a song is recorded by an artist), then that $2,000 as well as the $15,000 draw is first paid back to the publisher, then everything in excess is paid to the writer. If the publisher doesn’t get any cuts, they don’t get any payback. First publishing deals are typically 3 to 4 years long with 1 to 1 1/2 year “options”, where the publishing company has the option to resign the writer to another term, or drop the writer altogether.

Few careers can boast of a schedule so flexible it allows for a month long hiatus and the option to scrap a whole day to go to lunch. The idea of being your own boss and working in an environment that is so heavily creative is certainly a rare gem. However, there are yins to these yangs. To make things simple, I’ve outlined some pros and cons below.
Pros

1. Flexible Schedule
2. You are your own boss
3. Opportunity to grow faster as a writer
4. Direct link to elusive contacts
5. Increased probability of getting cuts

Cons

1. Must be self-motivated
2. Must be self-motivated
3. Must be self-motivated
4. Locked into a year long contract
5. Publisher owns a share

These are just a few of the most obvious considerations. Some writers dislike the pressures of having a deal, and prefer to hire an independent plugger (a plugger is the person at a publishing company who serves as a liaison between the writer and artist or producer looking for songs). The terms of a deal vary as widely as the publishers who dream them up. For some writers, crafting 12 great songs a year is a comfortable limit, while others prefer to shoot for 200 in the hopes that quantity will expose quality.

In my experience in the Nashville industry, there is nothing to lose in signing a good deal. A good deal is one that allows the writer to grow, expand his/her network of contacts, and eventually get cuts. A publisher’s objective is to minimize risk and make money. Both the writer and publisher’s goal in the end is to get cuts and make money. The difference is that most publishers won’t wait for a writer to develop before seeing big returns. Make sure you have a good lawyer to negotiate the terms of the contract before signing. Consider how long you can afford to be locked into the deal, and your financial needs. A good publisher should at the very least get your songs heard. If you’re not interested in writing songs viable in commercial markets, then a publishing deal may not be for you.

Over the years I’ve met thousands of writers, no two of which got their deal the same way. There are, however, some basic similarities that have led to each success. In the following paragraphs I have outlined seven basic steps to getting a publishing deal. None of them are the answer on their own, but combined with a little common sense, they become a recipe for the good old college try. Take ‘em or leave ‘em, but they could be your north star when the horizon looks bleak.

For concrete steps towards getting a publishing deal, please visit www.andreastolpe.com.
Click on ‘Craft & Biz’, then ‘Publishing Info.’ I hope the information helps you to realize more of your potential as a writer in the commercial market.

Sincerely,
Andrea

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.