Career Songwriter

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.
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What: Missing Pieces: Techniques for Finishing Old Ideas. Part of the guest artist series by the Positive Music Association, http://www.positivemusicassociation.com/

When: June 18th, 6pm Pacific time (9pm Eastern)

How: To join us, call 1 (605) 475-4333, access code 367913#

I’m delighted to spread the word that on the 18th of this month I’ll be a guest speaker for the Positive Music Association’s monthly lecture series. I’ll be talking about an issue it’s safe to say all of us as songwriters have faced – multitudes of good ideas remaining only partially developed in our odd notebooks and hidden laptop files. To start the discussion I’ll outline some tools I use to keep the fire burning until the end, and then open up the lines for questions. Bring any challenges you’re facing, whether it be problems with lyric content or musical direction. If you already have my book, Popular Lyric Writing: 10 Steps to Effective Storytelling, I welcome any questions you may have about how to further apply the techniques to your own songwriting.

I look forward to talking with you!

Andrea Stolpe

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.

One really wonderful way to continue honing our craft and staying inspired is to attend a songwriting retreat. If you’ve never been, songwriting retreats, camps, or conferences can open up a world of creativity and networking opportunities that nurture our craft and our spirits.

There are many retreats to choose from, some in the backdrop of white water rafting in the Grand Canyon, some as long weekends portaging in northern Minnesota, and still others as single day experiences at a college or university. There is one retreat in particular that I’d like to talk about, called The Swannanoa Gathering, Contemporary Folk Week, held at Warren Wilson College in Asheville, NC.

Throughout the summer, The Swannanoa Gathering offers several retreats all focusing on a different style of music and culture. The retreat for songwriters that I highly recommend is Contemporary Folk Week, held this July 27th thru August 2nd. Last year I was honored to be an instructor at the camp, and spend 6 glorious days surrounded by songwriters and performers who regularly take one week out of their schedules each year to take part in this event. What makes the retreat so special is the opportunity to connect with other writers outside of the fabric of the industry. During this time, I couldn’t help but to return to the reason why I began writing songs in the first place – because I simply love it.

Participants can choose from several courses offered by esteemed writers and performers in the industry who have been invited to share their insights. During the days you’ll find yourself bulking up on your tools for the craft, while evenings are spent listening and sharing songs in the round with instructors and other participants. And all of it happens among the beautiful green landscapes of a quaint North Carolina town.

If you’re looking for a chance to get away this summer, to focus on your craft just a little more, or rekindle some excitement lost among the busyness of everyday life, take a moment to check out this retreat. It truly was an experience I will remember for a lifetime.

One really wonderful way to continue honing our craft and staying inspired is to attend a songwriting retreat. If you’ve never been, songwriting retreats, camps, or conferences can open up a world of creativity and networking opportunities that nurture our craft and our spirits.
The Swannanoa Gathering: Contemporary Folk Week

On staff this year are: Vance Gilbert, David Wilcox, Peter Mulvey, Kate Campbell, Brooks Williams, Cliff Eberhardt, Anais Mitchell, Kyler England, Siobahn Quinn, Ray Chesna

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.

When I sit down to write these days, I still feel a pang of nervousness. What if I can’t think of anything good? What if I just sit there and rehash old ideas? What if I travel down a dead-end, and spend hours rewriting until I have to scrap the whole thing? These can be paralyzing questions for writers if we rely on inspiration alone to fuel our songwriting.

When I am inspired and ideas flow, I am grateful. But what about when I’m not inspired, or I’m working towards a deadline? To jump-start a new song, I often spend 15 or 20 minutes doing a form of writing I call “Destination Writing.” It’s very similar to “Object Writing,” and involves stream of consciousness writing centered around 6 keys of connection: taste, touch, sight, sound, smell, and movement. These sense-bound ideas work to bring the experience I’m writing about to life. Instead of the listener standing on the outside of my experience, they are suddenly made a part of the experience. This form of writing is the foundation for two writing courses online, Pat Pattison’s “Tools and Strategies,” and my own course, “Commercial Songwriting Techniques.”

After I’ve written a page or two describing an event, a place, a person, or an object in sense-bound language, I can then lift out phrases and ideas from this writing to include in my lyric. I’m fully convinced that what makes a good song is not so much ‘what’ we write, but ‘how’ we write it. A song about love can be generic or utterly unique depending on our approach. The more specific my details and authentic my descriptions, the stronger the experience I create for my listener.

Destination writing done daily can keep us supplied with lots of song material whenever we feel a drought coming on. Another way I like to work up song material is to keep a notebook handy for title or theme ideas taken from movies, magazines, advertisements, or even everyday conversations. Many times simply becoming aware of the phrases people say in routine conversations can yield great titles and song ideas.

Finally, I like to have more than one song in the works at any given time. When I’ve got three or four ideas I’m writing, I can choose to start a new idea, or work on finishing one in progress. That way if a song isn’t turning out quite how I had hoped, I still have 3 others to give my energy towards. Feeling good about my progress and my productivity is important, and so I always make sure to give myself the opportunity to succeed.

Inspiration can come in spurts, and waiting for it to hit can leave us songwriters dry for weeks or even months at a time. Instead of relying on ideas falling from the sky, I try to coax them in with the tools and techniques I’ve learned to craft memorable songs. After all, ideas are neither good nor bad, and often it’s our ability to organize those ideas that determines the emotional investment from our listeners.