These posts focus on the business side of songwriting.
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Brent’s Twitter: @Razorbaxter
Brent Baxter Music: http://www.brentbaxtermusic.com
Nobody can provide you with an exact roadmap on how to get from being an amateur songwriter to being a professional songwriter. But here are five things you must know – and act upon – if you want to go pro.
You have to build a network. Songs move from hand to hand (or inbox to inbox) and into the right hands based on relationships. These relationships can range anywhere from business acquaintances to best friends. You MUST get to know people, and they must get to know your music.
In order to earn money, your songs have to have value in the market- somebody wants to record them, and a bunch of somebodies want to buy them. To live off your royalties or to get and keep a pub deal, you songs have to earn significant income. Your job is NOT to write songs. Your job is to write songs that make money.
If you treat it like a hobby, that’s all songwriting will ever be for you. And that’s fine. But if you want it to be a business, you have to act like a professional. The serious writers make the serious money (sometimes).
To break into the biz, your songs can’t be “just as good as” the worst stuff on records and radio. If an artist wants to cut mediocre, they’ll cut THEIR OWN mediocre song, or their buddy’s or their producer’s. Your song has to compete against everybody else’s BEST songs.
The professional songwriters are the ones who have been willing to sacrifice. They came home from their day jobs and picked up the guitar instead of the tv remote. They spent their Spring Break in Nashville instead of at the beach. They left family to move to Nashville. They waited tables – even though they had a masters degree – just to be there.
Thanks for hanging in there with me- I know this post is more about perspiration than inspiration. Work hard, good luck, and God bless!
-Brent
What did I miss? Anything you’d like to add or ask? I’d love to hear your thoughts – leave a comment!
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If you like this blog, don’t miss a single post! Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page. It’s either in the upper righthand corner or down below. Also, please share this blog with anyone you think would benefit from it. I appreciate it when you share it on Twitter, Facebook, and anywhere else. Thanks!
Brent’s Twitter: @Razorbaxter
Brent Baxter Music: http://www.brentbaxtermusic.com
I’ve run into some aspiring songwriters who believe they have “the song,” and if they can just get “the song” to Kenny Chesney or Carrie Underwood, that it’ll be a surefire hit. The hard truth is that it’s foolish to put all your hopes on one song. So much timing, luck, and networking goes into getting a cut, much less a hit, that you need a CATALOG of great, commercially-viable songs. If you have a bunch of great songs working their way through the system, MAYBE one will get cut. If you can write one great song, that’s great. Now focus on writing more great songs. Good luck and God bless!
-Brent
If you like this blog, don’t miss a single post! Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page. It’s either in the upper righthand corner or down below. Also, please share this blog with anyone you think would benefit from it. I appreciate it when you share it on Twitter, Facebook, and anywhere else. Thanks!
Brent’s Twitter: @Razorbaxter
Brent Baxter Music: http://www.brentbaxtermusic.com
For the past two weeks, I’ve discussed how songwriters can maximize mentoring sessions. You can read part one HERE and part two HERE. Today, let’s talk about how to maximize your mentoring AFTER the session. And away we go…
Chances are, you’re feeling a little kicked around. Don’t worry- we’ve all been kicked around. This is an opportunity to build your getting-back-on-the-horse muscles. Believe me, you’ll need them over the years to come. It’s important not to swing too far in either direction- “I’ve arrived” or “I’ll never get there.” Just because your mentor didn’t do backflips doesn’t mean it’s time to feed your guitar to a woodchipper. And just because your mentor DID to backflips doesn’t mean it’s time to give your boss the ‘ol Johnny Paycheck. Just take a deep breath.
Thoughtfully consider the feedback you received.
Put away the voice of pride which says, “they don’t know what they’re talking about- just ignore ‘em.” Also put away the voice of fear and laziness that doesn’t want to admit you may have a lot of work ahead of you. Honestly, did the mentor make some valid points? Maybe you brought in a rodeo song and your mentor told you rodeo songs aren’t in demand right now. Well, get on iTunes or Billboard and do the research. It’s not about seeing the world as you want it to be. See the world as it is.
Seek out additional educated feedback.
Nobody’s opinion is gospel. Nobody has perfect understanding. If you disagreed with everything your mentor said, get another opinion. If you agreed with everything your mentor said, get additional opinions. If you hear the same point made by two or more pros, really give it a lot of consideration. But there’s another reason to seek additional opinions- it will help you grow your network and increase the chance that you’ll find your champion.
Don’t let one meeting determine the validity of your dreams. That is a decision for you, your family, and the Good Lord. Well, it’s actually HIS decision alone, but it sure is a lot easier on everyone if you and your family get on the same page with Him.
Well, there we have it: how to maximize a mentoring session. I hope this series has been helpful.
What did I miss? Anything you’d like to add or ask? Leave a comment!
Right now, the next Brad Paisley and Miranda Lambert aren’t famous yet. They don’t have gatekeepers, and they still write with unknown writers. But that will probably change in three years when they get a record deal. You might want to find them and write with them starting… now.
-Brent
If you like this blog, don’t miss a single post! Subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page. It’s either in the upper righthand corner or down below. Also, please share this blog with anyone you think would benefit from it. I appreciate it when you share it on Twitter, Facebook, and anywhere else. Thanks!
Brent’s Twitter: @Razorbaxter
Brent Baxter Music: http://www.brentbaxtermusic.com
Last week, I discussed how songwriters can maximize a mentoring session before they step into the session. You can read that post HERE. Today, let’s talk about how to maximize your mentoring while IN the room. And away we go…
In a world where writers and creative types are habitually late, it’s refreshing to have someone show up on time or (gasp) a few minutes early. Seriously, this is a simple way to show respect for your mentor and his or her time. It matters. Be professional.
Seriously. Wear your pajamas or whatever if it’s a phone session. But if you’re meeting in person, you want to appear professional. No, you don’t have to wear kakis or a suit, but you want to be presentable. No, it doesn’t make your song sound better. However, if you hope to build a relationship with this mentor and hopefully get some cowrites or business referrals, you want to make the mentor feel like you know what you’re doing and won’t embarrass him later. No, you don’t have to be handsome or beautiful, just don’t let your outfit be a negative.
Maybe your songs are impressive. Maybe they’re not. But a humble, teachable attitude is always impressive. You want your mentor to be a fan of YOU, not just your songs. If I get the sense that a songwriter is not there to learn but just wants to be told how great they are, I’m just going to try and get through the session with as little headache as possible. Because if you not willing to learn, I’m not going to waste my time trying to force you to learn.
Or record the session (just ask before recording). First of all, if you have a memory like mine, you won’t remember everything you want to. Secondly, if you look like you’re taking it seriously and are fired up about learning, it encourages your mentor to give even better info. Also, a mentor might be a little less likely to pass along a potential contact’s name and email if you look like you don’t have a pen within five miles.
It’s okay to ask clarifying questions and “explore” a topic more. But it should be to learn, not to win. Again, if I think you’re disinterested in learning, I’m disinterested in teaching. If you’re mentor is wrong on a point, it’s your job to go out and PROVE them wrong. If you irritate them with your attitude, you can lose the relationship.
Remember, you’re probably not the only talented writer that mentor is trying to help. Make it easy on the mentor to help you.
What did I miss? Anything you’d like to add or ask? Leave a comment!
Big congratulations to my cowriting buddy, Gord Bamford, who won FIVE awards in Sunday night’s Canadian Country Music Awards. Gord also debuted his new single, “When Your Lips Are So Close” which I was blessed to have a hand in writing (read about how we got the song cut HERE). Also, congrats to Brett Kissel for making his CCMA debut! Good work, fellas!
I’m blessed to have written Gord Bamford’s new single, “When Your Lips Are So Close.” Gord is a hit artist on Sony Canada who is nominated for seven Canadian Country Music Awards. If all goes according to plan, he’s going to debut our song on the 2013 CCMAs. Today, I’d like to briefly discuss how I got the song cut and what you can learn from it.
I started writing with hit songwriter, Byron Hill, back in 2004. It wasn’t until later that Byron became Gord’s producer. Because Byron and I had written several good songs together and he trusted my skill and work ethic, he felt comfortable bringing me into a cowrite with him and Gord.
Byron and I are buddies, but he and Gord had a good thing going before bringing me in. I already knew Byron pretty well, but I still used a patient approach to getting in the room. It took months, but that’s okay. You want to be persistent, but you don’t want to push too hard and make your contact uncomfortable. You don’t want to lose the contact.
When Byron said he’d hook up a cowrite with him and Gord, I got copies of all of Gord’s records. I listened and wrapped my head around Gord’s brand- what he likes to sing about and his lyrical “voice.” I also talked to Byron about what works well for Gord.
I started an idea called “On My Best Days” and tailored it for Gord. Gord and Byron liked the idea and the sketch I brought in, and we finished it. It was an album cut on Gord’s album, “Is It Friday Yet?”
Even though they cut the only song we’d written, I didn’t assume they’d call me up when Gord was writing for his next record. Every once in a while, I mentioned to Byron how much I’d love to get back with Gord when he was in town to write. After several months (and a couple of cancelled trips), we were back on the books.
I didn’t assume that Gord wanted or needed more of the same. I asked Byron what they wanted for Gord’s next album. Based on what Byron told me, I spent a few hours on my own looking through my ideas and adapting a few for Gord. I ran them by Byron, and he liked two of them, “When Your Lips Are So Close” and “Nights Like You.”
Byron and I originally thought “Nights Like You” would be a midtempo, but Gord liked it as a ballad- he thought it would really connect well with his audience. Well, he’s the successful artist, and nobody knows his fans like he does, so I’m not going to argue with that. (He cut that song, as well.) We also worked to make sure “When Your Lips Are So Close” fit where Gord wanted to go and sat really well in his voice. Thankfully, it worked out.
So, three cowrites with the artist and producer, and three cuts and one single- I’ll take it! (I wish all my other artist cowrites worked out this well.) So, here’s what I learned from this experience:
Use patience and persistence in your networking. Do your research on the artist. Pre-write. Don’t get lazy. Focus on the artist’s needs. Of course, there are never any guarantees in the music business, but I believe this process gives you a better chance of success. Good luck!
Thank you so much, Byron Hill and Gord Bamford, for writing with me and doing such a great job on our songs! I’m honored to be a small part of your success!
If you like this blog, please subscribe by putting your email in the “Follow Man vs. Row via E-mail” section on this page. It’s either in the upper righthand corner or down below. Thanks!
Brent’s Twitter: @Razorbaxter
Brent Baxter Music: http://www.brentbaxtermusic.com
I’ve been on both sides of the mentoring desk- I’ve been the newbie on a visit from Arkansas, and I’ve been a pro mentor to hundreds of NSAI members. Over the next few weeks, I want to share with you 11 tips that I believe will help you get the most out of mentoring sessions. Today, let’s start with how to effectively prepare for the session.
Do you want to write hits or just write better? Those are two different conversations. Are you writing for yourself or for the radio? How can a mentor help you get where you want to go if you don’t know where that is?
Don’t just make a mental note- write it down. By the way, write it down- and have it in front of you during the meeting. When you get into the session, when you get nervous or happy or frustrated or whatever, you’re likely to forget something you wanted to talk about. Prioritize the list to make sure it’s as easy as possible to get to the important ones. Did I mention that you should write it down? Write it down.
Decide on your songs based on which are most relevant to your goals. If your goal is to be a hit country songwriter, but you bring in a novelty gospel song to show your range, it’s kind of a waste of time. Bring songs that are aiming in the direction of your goals. Put your songs in order of importance. You might not get to them all, so play your “must-play” song first. Burn a CD, even if you plan on playing live- what if you break a string or a finger in the middle of the first song? What if the mentor wants to play the song for a publisher friend later that day? Be prepared. Also, have the labeling on the CD be clear and professional with all your contact info on it.
Make two copies of your typed lyrics- one for you (in case you get nervous and forget them in the middle of your song) and one for your mentor. Some mentors don’t look at lyrics, but others do. Better to have it and not need it than to need it and not have it. And I don’t care how much you like your own handwriting- a typed lyric is more professional and makes a better impression. Also, put all your contact info on every page of every lyric. It doesn’t matter how awesome your song is if they can’t find you or remember who wrote it.
I’m not talking about hiding in the bushes. But who is going to be sitting across the desk from you? Have they written a hit? Knowing some of their cuts 1) makes you look more prepared and professional 2) can spur relevant, helpful conversation (“How did you get ‘Happy In Love’ to George Urban?”). Also, nothing is worse than badmouthing an artist or song to your mentor then seeing that artist’s album hanging on the mentor’s wall. Oops.
Hope that’s helpful. Check back next week, when I’ll be discussing how to maximize your mentoring session DURING the session. Thanks!
If you’d like to discover much more about how to find a songwriting coach- and get the most out of that relationship- check out my Amazon bestselling ebook, “Hit Songwriting: How A Songwriting Coach Can Fast Track Your Success.” It will help you prepare for the coaching session- what to do before, during, and after the session- and more! CLICK HERE TO FAST TRACK YOUR SUCCESS.
Any great experiences with a mentor? Any nightmares? Any advice on finding a great mentor? Leave a comment!
Be sure and tune in to the Canadian Country Music Awards this Sunday night (September 8, 2013). Not only is my cowriting buddy, Gord Bamford, nominated for seven awards, word has it he’ll be debuting a song he and I wrote with Byron Hill. Thanks, Gord!
First of all, what is a mentor? It’s anyone who advises or trains. It could be a more seasoned, experienced cowriter. It could also be a publisher or PRO representative (ASCAP, SESAC, BMI, SOCAN…) who takes time with you. It could also be a professional mentor from NSAI (Nashville Songwriters Association International) or GSC (Global Songwriters Connection). And there are several good independent mentors out there, too.
A quality mentor can help you get where you want to go more effectively and efficiently- if you’re willing to learn. Here are four specific ways songwriters can benefit from seeking out a mentor. (Disclaimer: I’m not trying to drum up business for my own mentoring services. I only do two or so a month, since it comes out of my family time.)
He may or may not have some #1s to his credit. He may or may not have a song on the charts this week. But the important thing is that he has been down the road ahead of you and can point the way. He’s seen more, learned more, and accomplished more than you have. He can help accelerate your learning curve and avoid some of the pitfalls he’s experienced.
A mentor is not going to love your song just because they already love you. And a mentor doesn’t have to see you at Thanksgiving or worry about the quality of the nursing home you choose for her. Therefore, while a quality mentor will not be mean, she has the freedom to be honest about your writing- as she sees it. She also doesn’t know your backstory. This means your writing has to stand on it’s own– singing about Jenny you dated in high school means ONLY what the song says. Your mentor can’t fill in the gaps from your shared experience- your mentor never sat next to Jenny in algebra class.
If you want to get songs recorded on a professional level, you’re going to have to get comfortable throwing your babies into the real world. It can be scary and frustrating, but it’s something you need to get used to. A quality mentor is a safe place to get that professional feedback. It’s a step into the music business where you’ll be challenged and have to toughen up. But it’s also safe because being “just okay” or even “bad” doesn’t close that door to him or her in the future. After all, it’s your mentor’s job to help you get better.
If you want to be a professional writer, you won’t get there alone. You need a network of relationships in the business, and a mentor is a great start. A mentor might recommend cowriters or publishers. He or she can be your champion- especially at places like NSAI or GSC. A mentor might even write with you. Eventually. (But you should never be the one to mention it first.) It’s important that you don’ expect this extra level. I’m just saying, if you’re very good- and professional and would reflect well on your mentor, he or she MIGHT open additional doors for you.
Next week, we’ll start looking at how to maximize a mentoring session. Thanks!
Yesterday, it was officially announced that my song, “Crickets” is the title track to Joe Nichols’ new album on Red Bow Records, to be released on October 8, 2013! Thanks to my cowriters, Lisa Shaffer and Bill Whyte. And a big thanks to Joe Nichols and his team for recording it!
www.joenichols.com www.lisashaffermusic.com www.billwhytecomedy.com
Brent’s Twitter: @Razorbaxter
Brent Baxter Music: http://www.brentbaxtermusic.com
Before you call to set up a pitch meeting, assume the A&R person will have an appointment with Luke Laird right before you and Don Schlitz right after you (look ’em up if you don’t know who they are). If your song can’t compete, put down the phone and pick up your guitar.
-Brent
Brent’s Twitter: @Razorbaxter
Brent’s Facebook: www.brentbaxtermusic.com
