Category Archives: Think Like A Pro

The C.L.I.M.B. #41: Things We’re Thankful For

November 22, 2016 Brent Baxter Leave a comment

On today’s episode: John Rich, fleas, Corrie Ten Boom, Skype and Thanksgiving leftovers… what???

The C.L.I.M.B. Podcast Episode 41 is live and ready for download!

In this week’s episode, Johnny and I get into the Thanksgiving spirit! We share several things that YOU can be thankful for as a singer, songwriter or indie artist. (Be sure and subscribe so you never miss another helpful episode!)

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON STITCHER (for Android)

CLICK HERE TO LISTEN ON THE C.L.I.M.B. WEBSITE

The C.L.I.M.B. stands for “Creating Leverage In The Music Business,” and that’s the goal of this podcast- to help singers, indie artists and songwriters like YOU to create leverage in the music business. What is leverage? It’s “strategic advantage; the power to act effectively.” We want to help YOU make stuff happen in the music biz.

It’s exciting to see how folks are digging the show- and being helped on their CLIMB. If YOU like it, we’d really appreciate it if you’d subscribe and leave a rating or review on iTunes. Positive ratings and reviews help us to climb the iTunes rankings so more people become aware of the show and we can help more singers, songwriters, and indie artists like you make The CLIMB!

CLICK HERE TO LEAVE AN iTUNES REVIEW

CLICK HERE TO DOWNLOAD THE C.L.I.M.B. ON ITUNES

If you aren’t on iTunes, you can listen to the show at our website:

TheCLIMBshow.com

If you have an Android phone, you can subscribe to the show on:

Stitcher

Thanks for your time. It means a lot to me, and hopefully it’ll be a lot of help for you!

God Bless and keep C.L.I.M.B.ing,

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Think Like A Pro

Songwriters, Give The Listener Great Advice!

November 14, 2016 Brent Baxter 5 Comments

It’s not about you. It’s about the listener. What’s in it for the listener?

As we began discussing a few weeks ago (READ IT HERE), successful songwriters know it’s not about us- it’s about the listener. When it comes to your song, what’s in it for the listener? What’s going to make them stick around till the end and hit “repeat?”

If your song doesn’t have something in it for the listener, there’s no money in it for you.

Yep. I just said that over the past few weeks, and I’m gonna keep saying it.

So I’ve been pointing out some things you can build into your song that can connect with your listeners. So far, we’ve discussed “It’s What I Want To Hear” and “It’s What I Want To Say.” and “That’s Who I Am.” This week, let’s talk about…

“Thanks for the advice!”

Personally, I love those songs that leave me a better person than I was before I heard them. Songs have expanded my thinking on topics such as loneliness (“That’s What The Lonely Is For” by David Wilcox), life (“The Dance” by Garth Brooks), God (“Jesus Loves Me” by my parents and so many others as I was growing up), and so many other things.

Notice that these songs aren’t preaching at me. I don’t like getting talked down to, and I don’t imagine you do, either. But I appreciate it when the sing (songwriter) is being “Humble And Kind” enough to share some wisdom that’s helping them through life and just might help me, too.

“The Good Stuff” and “Don’t Blink” by Kenny Chesney, “You’re Gonna Miss This” by Trace Adkins, and “Live Like You Were Dying” by Tim McGraw remind me to stop, smell the roses, and live life more fully. These songs have a clever way of avoiding the “preaching at” trap. They tell the story of how the singer heard the advice from someone else. The singer’s not preaching at me. The singer puts himself in the position of not knowing it all or being better than the listener. He’s just sharing some great advice he heard from a wise person.

So what’s in songs like these for the listener? We get friendly advice that helps us live life better! Pretty good deal.

One way to make your song more “cut/able” is to have your lyric share some advice that the listener will value.

So here’s your homework. Turn on the radio or your favorite playlist. Find a song or two that answers the question, “What’s in it for the listener?” with “Thanks for the advice!” Please leave a comment and let me know what you discovered!

If you want your songs to be more “cut/able” – able to be cut – then you should definitely check out my new, expanded and upgraded version of “Cut/able: Lessons In Market Smart Songwriting.” It’s five powerful lessons will help you write songs that artists want to sing, radio wants to play, and listeners want to hear! CLICK HERE TO WRITE CUT/ABLE SONGS.

God Bless and Enjoy the Journey,

Brent

The C.L.I.M.B., Think Like A Pro

Happy Halloween! Beware of Songwriting Vampires, Zombies & Werewolves!

October 31, 2016 Brent Baxter 5 Comments

In the spirit of Halloween, I figure now is a good time to warn you about a few of the ghouls who prey upon unsuspecting songwriters. Beware of…

VAMPIRES

There are people out there who will suck the life out of your dreams. Dwelling in (and on) the darkness, these predators never see the bright side or the silver living. Little by little, their biting comments slowly bleed you of your hope and optimism (“What makes you so special?” “Oh, the music biz is rigged- you’ll never make it.”).

They might look like your friends, but they are dead inside. Avoid these vampires- once their negative, pessimistic attitude sinks its teeth into you, you start to become one of them.

ZOMBIES

They are among us, and their number is legion. They shuffle off to their soul-sucking day jobs like a mindless herd. They never dream. They just respond to whatever happens to be in front of them. They stagger back home and sit mindlessly in front of a TV or computer screen for hours feasting upon whatever catches their eye (“lightsss… sooo… preeetttyy…)

It’s easy to turn into a zombie because being a zombie means doing the easy, numb, thoughtless thing. Spend too much of your time with the zombies and you’ll wake up one day to realize you’ve been sleepwalking through life- just like one of them.

WEREWOLVES

If you want songwriting success, you must avoid running with a pack of werewolves. These are folks who only “turn into” songwriters about once a month. The majority of the time, you’d never suspect they have that hidden side. They think they can just go about “normal life” for a few weeks, then suddenly unleash their inner songwriter for a night or two and somehow make a killing in the music business.

No, the music biz is not so easily tamed. You can’t just go into beast mode on rare occasions and create a career. You need to run with a pack that is ALWAYS hungry and ALWAYS hunting. Don’t be a werewolf. Be a REAL wolf.

What about you? What are some songwriting ghouls that you have encountered? I’d love to hear from you!

And if you’d like to hear more about these monsters, Johnny and I dive into this topic on the newest episode of The C.L.I.M.B. podcast. It’s available on iTunes and at TheClimbShow.com. Check it out!

Happy HOWLoween!

Brent

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Think Like A Pro

That’s Who I Am!

October 24, 2016 Brent Baxter 2 Comments

It’s not about you. It’s about the listener. What’s in it for the listener?

If your song doesn’t have something in it for the listener, there’s no money in it for you.

Yep. I just said that last week and the week before, and I’m still saying it.

So, for the next few weeks, I’m going to be pointing out some things you can build into your song that can connect with your listeners. So far, we’ve discussed “It’s What I Want To Hear” and “It’s What I Want To Say.” This week, let’s talk about…

“That’s Who I Am (or want to be)!”

“She wears short skirts, I wear sneakers. She’s cheer captain and I’m in the bleachers.” How many young girls hear themselves in those lines? Not only does Taylor Swift say in that song what so many girls want to say, she IS who so many girls ARE.

When the listener sees him or herself in your song, it’s powerful. Let’s be honest- most folks’ favorite topic is themselves.

But you can also connect with a listener by being who they WANT to be. Jimmy Buffett is a great example of this. So much of his music is escapism. Most Parrotheads aren’t beach bums, but we sure want to be! I want to crank it up in my earbuds while sitting by the neighborhood swimming pool and pretend I’m really on the beach, where I’ll be again tomorrow… and the next day… and the next day…

How many country boys are big-time ladies men like Luke Bryan and Florida Georgia Line present themselves? Not many. But a lot of them sure want to feel that cool. He wants to feel like the girl’s right in the palm of his hands, dancing for him in the truck headlights by the river, right before she slips out of that sun dress and invites him into the water for a skinny dip.

Really, if that happened as much in real life as it happens in country songs, the out-of-wedlock birth rate would be a whole lot higher. It’s who a lot of the young male listeners want to be. It’s male fantasy. But, hey… it sells.

If you want to immediately connect with a listener, sing their life (or the life they want) back to them.

One way to make your song more “cut/able” is to have your lyric say sing the listener’s life back to him.

So here’s your homework. Turn on the radio or your favorite playlist. Find a song or two that answers the question, “What’s in it for the listener?” with “That’s who I am (or want to be)!” (Either you yourself as the listener or who a listener of the other gender would want to be.) Please leave a comment and let me know what you discovered!

God Bless and Enjoy the Journey,

Brent

Think Like A Pro, Write Like A Pro

It’s What I Want To Say!

October 17, 2016 Brent Baxter 2 Comments

It’s not about you. It’s about the listener. What’s in it for the listener?

If your song doesn’t have something in it for the listener, there’s no money in it for you.

Yep. I just said that last week, and I’m still saying it.

So, for the next few weeks, I’m going to be pointing out some things you can build into your song that can connect with your listeners. Last week, we discussed “It’s What I Want To Hear.” This week, let’s talk about…

“It’s what I want to say!”

Back in the day, did you ever call a radio station and dedicate a song to your crush, boyfriend or girlfriend? Have you ever serenaded your sweetheart? Why’d you pick that particular song?

There’s a good chance you chose that song because it said what you wanted to say to your snuggle bunny sugar pie.

But what you want to say isn’t limited to love songs.

Have you ever cranked up the car radio to a kiss-off song and pictured your ex? Have you ever rocked the team bus with your teammates to Queen’s “We Are The Champions?” Have you ever cranked up Johnny Paycheck’s, “Take This Job And Shove It” on the way home from work?

What those songs all had in them for you was “It’s what I want to say!”

Put yourself in the mind of your listener. What does THE LISTENER want to say? What does THE LISTENER love? What’s important to THE LISTENER? What frustrates THE LISTENER? Give voice to those things, and the listener will listen again and again!

So one way to make your song more “cut/able” is to have your lyric say something the listener wants to say. Tell the listener’s girl that she’s hot as a firecracker. Tell the listener’s guy that you love how he’s always there for you.

So here’s your homework. Turn on the radio or your favorite playlist. Find a song or two that answers the question, “What’s in it for the listener?” with “It’s what I want to say!” (Either you yourself as the listener or what a listener of the other gender would want to say.) Please leave a comment and let me know what you discovered!

If you want your songs to be more “cut/able” – able to be cut – then you should definitely check out my new, expanded and upgraded version of “Cut/able: Lessons In Market Smart Songwriting.” It’s five powerful lessons will help you write songs that artists want to sing, radio wants to play, and listeners want to hear! CLICK HERE TO WRITE CUT/ABLE SONGS.

God Bless and Enjoy the Journey,

Brent

Think Like A Pro, Write Like A Pro

It’s What I Want To Hear!

October 10, 2016 Brent Baxter 6 Comments

It’s not about you. It’s about the listener. What’s in it for the listener?

As we began discussing last week (READ IT HERE), successful songwriters know it’s not about us- it’s about the listener. When it comes to your song, what’s in it for the listener? What’s going to make them stick around till the end and hit “repeat?”

If your song doesn’t have something in it for the listener, there’s no money in it for you.

Yep. I just said that.

So, for the next few weeks, I’m going to be pointing out some things you can build into your song that can connect with your listeners. So let’s dive in.

“It’s what I want to hear!”

Back when the Steve Holy single, “Good Morning, Beautiful” was climbing the charts and getting a bunch of radio spins… I didn’t quite get it.

I mean, it was okay, but I didn’t really get what all the fuss was about. So I asked a female friend of mine, Heather, why she liked it so much. She just smiled and said, “Because it’s what I want to hear somebody say to me.”

Ooooohhh… (I’m a little slow sometimes.)

So a singer directly addressing the female listener and telling her something sweet that she wants to hear… makes her want to listen. (Note to self: Try this on my wife.)

So one way to make your song more “cut/able” is to have your lyric say something the listener wants to hear. Tell her she’s pretty. Tell him you want to kiss him. Yes, I know this should be pretty obvious, but if you’re like me… sometimes the obvious isn’t so obvious.

So here’s your homework. Turn on the radio or your favorite playlist. Find a song or two that answers the question, “What’s in it for the listener?” with “It’s what I want to hear!” (Either you yourself as the listener or what a listener of the other gender would want to hear.) Please leave a comment and let me know what you discovered!

If you’re interested in learning other ways to make your songs more “cut-able,” check out “Cut/able: Lessons In Market-Smart Songwriting.” It’ll give you a ton of valuable insight into writing the type of commercial songs that artists want to record and audiences want to hear!

If you want to become a songwriting pro (in how you think, write songs or do business), then a great place to start is RIGHT HERE. I want to help you on your songwriting journey. I’ve been in the music business for years, and I’m here to help you get the cuts – and avoid the bruises. CLICK HERE TO START HERE.

God Bless and Enjoy the Journey,

Brent

Think Like A Pro

What’s In It For The Listener?

October 3, 2016 Brent Baxter 11 Comments

I was leading one of Songwriting Pro’s online workshops the few weeks ago when a question came along that really hit me upside the head.

The group was sharing song ideas as part of a workshop exercise. We were brainstorming and helping each other (it was a lot of fun). Anyway, while we were discussing one particular idea, Jonathan (one of the awesome workshop members) asked a simple but hugely profound question:

What’s in it for the listener?

If you want to get cuts, your song better have a good answer to that question. Why should your listener care about your song? What about your song will bring them back for more? What does your song have going for it that will motivate the listener to stream the song 10 times a day or to (brace yourself…) actually BUY YOUR SONG?

It’s not about you. It’s about the listener.

Do you have a friend who bores you to death with pointless stories or who drones on about some topic that doesn’t interest you in the least? Your eyes glaze over and you can’t recall anything he/she said 2 minutes later? Is there any way you’d want to put that conversation on repeat? Of course not!

But what about your other friend? You know- the one you actually like? He/she talks about things that interest you, things you can relate to, or they just plain know how to tell an entertaining story. Or maybe… they talk about YOU. Your conversations with the friend actually have something in it for you.

So if you want to get cuts, make sure each song has something in it for the listener. Over the next few weeks, we’ll be diving into some of the specific ways you can build something “in it for the listener.”

In the meantime, here’s your homework. Turn on the radio or your favorite playlist. For the next 10 songs, ask yourself, “What’s in it for the listener?” Please leave a comment and let me know what you discovered!

Also, if you think this post might be helpful for your songwriting friends, please share it through Facebook, Twitter, LinkedIn, email, however you want. I want to help as many songwriters as possible!

God Bless and Enjoy the Journey,

Brent

Craft, Think Like A Pro, Write Like A Pro

Songwriting Is All About Location, Location, Location

July 5, 2016 Brent Baxter 1 Comment

It’s true for real estate, and it’s true for songs.

I want to talk about the 3 most important things in real estate (which are also really important in songwriting):

Location, location, location.

In probably any town, certain neighborhoods have certain personalities. One neighborhood is full of SUV-driving soccer moms. Another is mostly middle-class country folk. Another is college kids, another is hipsters, etc.

Musically-speaking, most artists put down roots in one neighborhood.

They spend most of their time there, only venturing out to the adjacent neighborhoods every now and then. This is another way of talking about branding. An artist’s brand says, “I live in THIS neighborhood. I’m like THESE people, and I sing about them and for them.”

For example, an artist’s music may be most “at home” with the good ‘ol party boys. Most of his music is for those good ‘ol boys- bonfires and tailgates. The “good ‘ol party boy” artist doesn’t usually venture into the soccer mom neighborhood, where the music is more about family, lifelong love, kids, etc.

Most songs are also “at home” in certain neighborhoods. Some songs are built for the rednecks, some for the high school girls, some for their moms, some for the blue collar dads, etc.

But remember, most ideas can be built to fit in any of several neighborhoods.

It just depends how you frame the idea (pun intended). The choices you make will determine your song’s neighborhood.

For example, Craig Morgan’s “Redneck Yacht Club” and Little Big Town’s “Pontoon” are basically about the same thing- getting out on the water. But the songs (houses) were built in different neighborhoods and attracted a different kind of artist. Even though the basic ideas of the songs are similar, Little Big Town wouldn’t feel at home moving into Craig’s neighborhood, and vice versa.

When you think about where to build your song, it’s wise to think about the property values in the different neighborhoods.

Are the houses in the “good ‘ol party boys” neighborhood in high demand? Are the houses in the blue-collar-working-man in low demand? What type of song are artists cutting?

I was blessed to have Joe Nichols cut a song of mine on his most recent album. The song became the album’s title, “Crickets.” We built the song in Joe’s neighborhood, and I’m glad he liked it enough to move in!

But what about “Crickets” put it in Joe’s neighborhood? Well, first off, it’s country. Pretty dang country. Joe’s done some more modern stuff here and there, but he has a deep love for country songs that are really country. Also, Joe has also recorded several songs that are funny or tongue-in-cheek, such as “Tequila Makes Her Clothes Fall Off.” He’s not afraid to poke a little fun at himself, either, so “Crickets” seemed like a really good fit. I’m glad Joe thought so, too!

The concept of “Neighborhoods” is important if you want to write commercial songs. I go into more depth on the topic in my upcoming web-workshop series in August called “Song Ideas: From Blank Page To Finished Lyric.”

This course is designed to take you from a blank page to a new song idea to a fully developed concept to a finished lyric. You’ll learn a repeatable process you can use to discover and develop strong song ideas again and again. And you’ll also learn how to frame and focus those ideas for maximum commercial impact and appeal.

This course is INTERACTIVE! You won’t sit back and just stare at me talking for an hour-and-a-half. You won’t be some number on my laptop’s dashboard. No. We’ll be face-to-face. You’ll have exercises to practice outside of our sessions. I’ll ask you questions. You can ask me questions. We’re in this thing together. That’s why I keep the workshops small- I want to get to know YOU!

Tickets for this event are on sale NOW. There are only 11 spots open, and I expect them to go fast- so don’t wait too long and miss your chance to take your songwriting to the next level!

I look forward to seeing you in August- CLICK HERE or on the image below to learn more and reserve your spot now!

God Bless and Enjoy the Journey,

Brent

Think Like A Pro, Write Like A Pro

Set Your Cowriters Up For Success

June 20, 2016 Brent Baxter 1 Comment

I regretted the words as soon as they spilled out of my blabbermouth. “Yeah, I have this funny idea…” I didn’t regret sharing the idea because my cowriters hated it. No, I regretted sharing the idea because my cowriters LOVED it.

You see, we were jawboning at the front end of a cowrite, chit chatting and talking music. Well, my inner “Mr. Entertainer” got the best of me and (for a laugh) I shared this whacky song idea. Well, it got the laugh, but it also got a “we GOTTA write that!”

Well… shoot.

I wasn’t pitching the idea. I was just going for a laugh. My cowriters that day were both talented songwriters with cuts to their credit. So it wasn’t a matter of them being lousy songwriters. They’re good at what they do, but their wheelhouse is at one end of the country spectrum. And this idea, unfortunately, was on the OTHER end of the spectrum. Truth be told, the idea wasn’t in my wheelhouse, either. If anything, I needed cowriters to make up for MY lack of strength in that type of song.

Me and my big mouth.

We ended up with a song that was pretty well written, and pretty good (we even demoed it). But it just didn’t sparkle. I’m not saying that I would’ve gotten the song cut with any of my other cowriters (it still would’ve been a long shot), but I’ll never know.

Hopefully, I’ve learned my lesson. Ever since then, I try to be more disciplined about bringing the best appropriate ideas to each cowrite.

I want my cowriters to do what they’re great at.

Here’s a time I got it right. Some years ago, I found out comedy legend Ray Stevens (“Mississippi Squirrel Revival,” “The Streak,” “It’s Me Again, Margaret”) was working on a political comedy album. Just so happened, I had a silly title called, “Caribou Barbie” about Sarah Palin (no, really). Did I throw this idea out in my next cowrite? Uh-uh. I called up Matt Cline and Max T. Barnes.

Matt and Max both wrote for Ray at the time, so I knew our song would get a good listen. But even more importantly, I knew those two guys would write it right up Ray’s alley. Max already had a couple songs on the project, and Matt is just plain great at country comedy songs. I basically just had to throw that T-bone of a hook in between those two Rottweilers and get out of the way. The result?

Ray recorded the song for his album. There’s even a silly video… (it’s political comedy, ya’ll… don’t take it too seriously, and don’t get too uptight).

Of course, I can’t guarantee that simply pairing the right idea with the right cowriter will result in a cut. There are just so many things that go into landing a cut that I’ll never make that promise. But bringing the right idea into a cowriter who is great at that kinda thing will probably result in a better song and a more enjoyable cowrite.

And you sure won’t regret that.

What about you? I’d love to hear your thoughts on this. Do you have any stories about bringing in an idea to just the right cowriter? Or to the wrong one? How’d it work out? Please leave a comment!

God Bless and Enjoy the Journey,

Brent

Think Like A Pro, Write Like A Pro

Write Better Songs By Accounting For Your Cowriter’s Writing Style

June 13, 2016 Brent Baxter 8 Comments

About an hour into the cowrite, I knew I’d made a mistake. This song was gonna be good, but it probably wasn’t going to be great. And it was my fault. I shouldn’t have brought this idea to this guy on this day.

Guess I should give you some back story. “This guy” was not some 2nd rate hack songwriter who was destroying my wonderful song idea. Actually, this guy, (let’s call him “Chris”) had written multiple #1 hits and a ton of album cuts. In fact, he and I had already written several songs together.

So, since Chris is so good, why was it a mistake to bring this certain idea to him? Because Chris is not a “grinder,” and I knew this idea still needed some grinding. The idea wasn’t completely clear in my mind. It needed to be fleshed out and explored more. But Chris wasn’t the guy for this. You see, Chris is a successful writer, a great writer, and a very FAST writer. I’ve never had a cowrite with him stretch over two sessions. Heck, I’ve rarely had them stretch past lunch!

I’m not as fast as Chris, at least not until I really have the idea clearly focused in my mind. You see, I’m not really ever “off to the races” until I have a good idea of what the racetrack looks like. Chris isn’t one to really dig and explore to mine the very best stuff out of a concept or title. And, hey, it’s worked out for him- he has a lot of gold and platinums on the wall.

But for ME to get my best work with Chris, I need to bring in a very clear idea, concept and direction. Maybe even a full scratch lyric. I call it “pre-writing,” and it’s kinda like getting a head start on the cowrite. Chris loves it since he can just focus on melody (his strength) and I don’t slow him down too much. Since I know the idea clearly, I can make lyrical adjustments quickly and with confidence. When I do my prep, I have a better experience- and the song ends up being a lot tighter, too.

So that was my mistake on this particular day. I suggested an idea that wasn’t ready- not for this particular cowriter, at least.

The lesson in this, for me anyway, is to account for your cowriter’s strengths and writing style when bringing in song ideas.

For example, I have another cowriter, “Dave,” who is much more of a grinder. I’m comfortable bringing in vague or uncertain ideas because I know Dave will work until the song sparkles. Dave even grinds on ideas that I feel are really fleshed out already – just to make sure we write it as well as we can. And I love that. Because I don’t need good songs. I need great songs.

Writing average songs won’t change my life. (And they probably won’t change yours, either.)

Chris and Dave are both hit songwriters, and I have a ton of respect for each of them. Each of us just has our own way of working. And I can work well with either one of those guys- as long as I respect each of their writing styles.

I could really frustrate Chris by constantly hitting the brakes and making him grind out an idea. Likewise, I could really frustrate Dave by slamming the gas and flying through a song he isn’t sure is the best it can be. But, instead, I want to respect each of their styles, and adjust accordingly. Sometimes this means I do more “pre-writing.” Sometimes not. But either way, when I respect my cowriters’ writing styles, I get better songs.

And maybe there’s a lesson in there for you. If you’re not getting the results you’d like with one of your cowriters, maybe you just need to adjust your songwriting process if possible. A few adjustments might just save your cowriting relationship- and save a lot of your song ideas!

What about you? I’d love to hear your thoughts on this. Do you have any stories about adjusting or NOT adjusting to your cowriter’s writing style? How’d it work out? Please leave a comment!

God Bless and Enjoy the Journey,

Brent

The C.L.I.M.B. Podcast Episode 41 is live and ready for download!

It’s not about you. It’s about the listener. What’s in it for the listener?

If your song doesn’t have something in it for the listener, there’s no money in it for you.

“Thanks for the advice!”

In the spirit of Halloween, I figure now is a good time to warn you about a few of the ghouls who prey upon unsuspecting songwriters. Beware of…

VAMPIRES

ZOMBIES

WEREWOLVES

Happy HOWLoween!

It’s not about you. It’s about the listener. What’s in it for the listener?

If your song doesn’t have something in it for the listener, there’s no money in it for you.

“That’s Who I Am (or want to be)!”

When the listener sees him or herself in your song, it’s powerful. Let’s be honest- most folks’ favorite topic is themselves.

If you want to immediately connect with a listener, sing their life (or the life they want) back to them.

It’s not about you. It’s about the listener. What’s in it for the listener?

If your song doesn’t have something in it for the listener, there’s no money in it for you.

“It’s what I want to say!”

But what you want to say isn’t limited to love songs.

It’s not about you. It’s about the listener. What’s in it for the listener?

If your song doesn’t have something in it for the listener, there’s no money in it for you.

“It’s what I want to hear!”

I was leading one of Songwriting Pro’s online workshops the few weeks ago when a question came along that really hit me upside the head.

What’s in it for the listener?

It’s not about you. It’s about the listener.

It’s true for real estate, and it’s true for songs.

Location, location, location.

Musically-speaking, most artists put down roots in one neighborhood.

But remember, most ideas can be built to fit in any of several neighborhoods.

When you think about where to build your song, it’s wise to think about the property values in the different neighborhoods.

I regretted the words as soon as they spilled out of my blabbermouth. “Yeah, I have this funny idea…” I didn’t regret sharing the idea because my cowriters hated it. No, I regretted sharing the idea because my cowriters LOVED it.

About an hour into the cowrite, I knew I’d made a mistake. This song was gonna be good, but it probably wasn’t going to be great. And it was my fault. I shouldn’t have brought this idea to this guy on this day.

Helping songwriters turn pro.