We recently had to chuckle when a new member from the U.K. emailed us saying,
“Before joining SongU I thought - now what can a bunch of Yankees can teach
me about songs? It turns out, a lot!” Even though education
isn’t as obviously glamourous as some other aspects of the music industry, it
does provide the crucial foundation to give you the best chance of success. Reading
through the
testimonials and
success stories from SongU.com members is the best answer to this question.
Every songwriter has to start somewhere. It is important that you educate yourself on both the craft and the
business so that you have the best chance possible at success as well as
ensuring that you spend your money wisely and steer clear of potential sharks,
perhaps saving your thousands of dollars in the long run. Of course we
recommend SongU.com for this, but there are also a variety of magazines and
books devoted to the craft and business of songwriting. A few classic authors
to look for are Donald Passman and Jason Blume for business, Pat Pattison and
Sheila Davis for lyrics, Jai Josefs for music composition and Robin Frederick
for placements.
It’s good practice and networking to find a collaborator (aka co-writer) who will have
an equal stake and interest
in the success of the song by sharing copyright ownership of the song. At
SongU.com co-writers meet in feedback classes, through
co-write challenges, and using our co-writer search feature.
A songwriter does not actually "sell" his or her songs. As a
copyright owner, you have the option to keep your copyright and
collect your own royalties and license your own works (which is often
a challenging task), or transferring your copyright for a limited time, with
a reversion clause, to a publisher who will do the work of collecting for you, deciding
how the song will be used, and the division of profits shared. You should always have a
qualified music attorney review any publishing contract before you sign it.
It can be frustrating to feel like you have written a great song, but
find closed doors and “no unsolicited material” responses when you try to get
an industry professional to listen. Having a well-crafted, professional sounding
song is only the first step. The music business is the same as any other industry
in that you must be willing to take the time to network and build relationships. A good
place to start is by meeting and talking to other songwriters by joining
a local songwriting group or an online songwriting community. Familiarize
yourself with names and current events through industry magazines and resources.
“Pitch Sheets” can provide you with tips about who is looking for material
for a particular project.
Songwriter’s earnings from a hit song have always varied from very little
to quite a lot. However, with the advent of new technologies, the Internet and
the legal (and illegal) downloading of music, the reason behind this disparity
becomes less clear. Some factors include distribution of Performance Royalties
which are the monies collected and distributed by performing rights
organizations (ASCAP, BMI, or SESAC in the U.S or SUISA, PRS, etc. for International) for radio airplay and
concert performances. These are affected by a song’s genre, chart position and time
it takes to climb the charts. Another factor, Mechanical Royalties, which are the
monies collected and distributed for every "hard copy" sold (e.g., CD's, sheet music
and such), can also vary tremendously based on how many albums are sold based on the
current statutory rate for mechanical royalties. Other factors in the equation
include the split and distribution of royalties between publishers and co-writers in
addition to the songwriter’s recoupable earnings are all factors involved in a
songwriter's earnings or lack thereof. Songs can also generate income in the form
synchronization licenses for use in film, TV, and alternative media outlets. The
changing climate of copyright protection laws and technologies to record and
distribute music makes exact
earning calculations a rock in the shifting sands of the music industry.
Copyright protects "original works of authorship" that are fixed in a
tangible form of expression. This includes music and lyrics. In effect, your
song is “copyrighted” as soon as you create it. You cannot, however, copyright a
title or an idea. This is why there are so many songs written with the same title.
Registering your copyright with the U.S. Copyright Office is voluntary. Many
choose to register their songs just to have them on file. More importantly, if
there is ever a question as to infringement, your song must be registered to
stand up in court. To register a work, you simply need to submit a completed
application form, a non-refundable filing fee and a non-returnable copy of the
work to be registered. You can download the application form and get all the
necessary information
from the U.S. Copyright Office website at
https://www.copyright.gov/.
A demo (or demonstration recording) is a recording of your song that can be played for industry professionals such as
publishers, A&R people and recording artists. In essence,
a demo is a sample recording of your song. Demo prices vary considerably
depending upon where and how they are produced. A simple piano/vocal or
guitar/vocal demo is relatively inexpensive costing approximately $250-$350.
Full-band demos obviously cost more. In Nashville for example, you can
get a professional full-band demo for anywhere from $300-$2000. With the
rising popularity of computerized home studios, sequencing and sampling, it is
possible to find someone who can "do it all" and therefore, the fees may
be less. Music centers such as NY,
Los Angeles and Nashville also have studios that can provide mail-in demo services
for out-of-town clients. Before investing money in a demo, you should always
make sure your song is ready to be demoed by having one or more industry
professionals evaluate your song. At SongU.com we offer regular small group feedback and mentoring sessions where members
can play their songs for our faculty and get advice prior to spending money on a
demo and pitching the song. We also offer our members an optional
one-on-one coaching service where our members can select the coach of their
choice to provide them with feedback.
Learn more about our
live Song Feedback Sessions
or our
song evaluation and coaching services at SongU.com.
ASCAP, BMI and SESAC are all performing rights organizations (PRO’s) whose
main function is to collect and distribute performance royalties to composers and
publishers. The reps at these companies can also sometimes assist you in networking
within the industry. Many countries around the world have equivalent organizations,
such as SOCAN in Canada, PRS in the United Kingdom and SUISA for Switzerland. If you are a songwriter or
publisher who is being paid Performance Royalties, you must be affiliated with one
of these organizations. Since each PRO has a different method of tracking performances,
as well as different philosophies and guidelines, it would be wise to do research
before making a decision about where or when to affiliate. You can learn more by
visiting their websites or by contacting
each organization directly and asking to speak to a writer representative.
The record industry is a competitive one. There is no such thing as an
overnight success. If you are an independent artist looking for a major label
record deal, you need talent, time, perseverance and contacts (not to mention luck). A
good place to start is by creating a local “buzz.” Don't underestimate the experience
and exposure you can get in your own hometown. Take the time to hone your skills and
find your own style. Network with other songwriters, musicians and artists on the web
or by attending seminars, music and songwriter festivals and visiting larger music
industry cities like NY, Los Angeles, Nashville, Austin, Atlanta or Miami. Finally,
educate yourself about the business through courses, books and articles, so you
can steer clear of false promises
and instead recognize legitimate opportunities when they present themselves.