Category Archives: Biz

These posts focus on the business side of songwriting.

Biz, Cowriting

Songwriting Opportunities Come When People Think These Three Things About You

10 Comments

Man vs Row

Songwriting opportunities will come to you more and more as people in the music biz (publishers, artists, producers, other songwriters) think three particular things about you.

The more folks that think these things about you, the more doors are going to open for you, the more inside info you’re going to get, and the more successful you’re likely to become. So what are these three magic beans that can grow your songwriting career? Buckle up, ‘cuz I’m about to drop some serious, deep philosophy on ya. You want people to think…

“I know you.”

“I like you.”

“I trust you.”

There ya go. Are you surprised that these are the keys to the door of opportunity? If so, on behalf of the people of Earth, I welcome you to our planet. I hope you enjoy your visit. While you’re here, I suggest you check out The Grand Canyon and pancakes. If you only have time for one, go for the pancakes.

It’s just simple human nature that people want to work with and help folks they know, like, and trust. Let’s look at each one.

“I know you”

You have to get out there and shake hands- whether in person or digitally. Complete strangers rarely bring good opportunities. (Although there is a promising email in my inbox right now from a prince in Nigeria…) I can’t tell you that a new artist on Sony is looking for your type of song if I don’t know you or what type of music you do. Without someone knowing you, you’ll never get to the next step…

“I like you”

The music biz is rarely like a serious medical condition (I know what you’re thinking- don’t say it) where there’s only one or two doctors in the world who can help. In that case, the doc can be a complete jerk, but you don’t care because he’s the only one who can sew your face back on or whatever. It doesn’t matter if you like him. But that isn’t the case in the music biz where we’re surrounded by talented people. If we’re going to extend a good opportunity, it’s going to be someone we like and can think…

“I trust you”

Let me tell you about my brother-in-law, Matt. I’ve known Matt for over a decade. He’s a great guy. But if I were to get on an airplane and hear his voice come over the intercom saying, “This is your pilot speaking…” I’m getting off the plane! Why? Because I don’t trust him to fly an airplane. He has a lot of skills, but that isn’t one of them. He’s not a good fit for that job. Folks in the biz are less likely to attach their name to you if they don’t trust you for that particular opportunity.

For example, let’s say you’ve had a couple meetings with a publisher. He’s gotten to know you, and he likes you. Awesome. But he doesn’t think your songs are very good. Is he going to set you up on a cowrite with his best hot-streak writer? Probably not. Because he doesn’t trust that you’ll bring the goods. And he doesn’t want Mr. Hot Streak knocking on his door asking why his day got wasted.

See, it takes all three components for the opportunities to really start rolling in. They may start as small opportunities as people get to know you. But if you knock those small opportunities out of the park, people will begin to trust you more often and with bigger opportunities.

More know-like-trust leads to bigger opportunities.

But it all starts with folks getting to know you. So reach out in person at industry events, writers nights, workshops, online groups, etc. Be likable. Then knock their socks off with your songs and professionalism. And enjoy those pancakes.

Knowing the importance of know-like-trust is one way that pro songwriters think.  And if you want to become a pro, you need to think like a pro.  In my FREE e-book, “THINK LIKE A PRO SONGWRITER,” I not only reveal several of the mindsets which separate the pro songwriter from the amateur, but also…

  1. How to get on a music publisher’s radar
  2. How the pros know who is looking for songs
  3. Six simple ways to make your songs more commercial
  4. And more!

To get your FREE, INSTANT download of “THINK LIKE A PRO SONGWRITER,” just click on the image below, or CLICK HERE!

think like a pro songwriter 3D

God Bless and Enjoy the Journey,

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.

Biz, Cowriting

Don’t Neglect Your Songwriting Peer Group

Leave a comment

Man vs Row

Starting off, pretty much every songwriter wanting cuts feels like the fastest way to get there is to “write up.”

To “write up” is to write with a songwriter who is at a higher level in his or her career. It might mean writing with a hit songwriter, a published songwriter, or even just someone who’s been at it for more years.  Hey, writing up is great if you can make it happen, but it’s not going to suddenly unlock every door on Music Row.  And focusing on writing up might actually lead to some big mistakes.

The big danger of focusing on writing up is that you’ll neglect your peer group. Don’t neglect your peer group! Who is your peer group? It’s those songwriters in the same boat as you. It may be that guy in your hometown that has the same dreams and work ethic as you. It might be that unpublished writer you keep running into at songwriter rounds. It might be someone in the same online community who posts songs that are similar to yours.

peer group

Sure, maybe none of these folks are pro writers… (yet), but who’s to say where they’ll be in five or ten years? If the raw talent and work ethic are there, maybe all they’re missing is time and the right song or connections. What if you’re supposed to write your first hit TOGETHER?

That’s what happened with “Monday Morning Church.” Neither Erin Enderlin nor I had ever had a major cut before that song. When I wrote that song with her, I WAS writing with a hit songwriter – she just hadn’t written the hit YET.  We were supposed to write that hit together!

I’m glad I didn’t neglect our cowriting relationship while I was busy trying to write up. Here are some ways of neglecting your peer group:

1. Holding back your best ideas

What if I had held off on writing “Monday Morning Church” until I could finally get in the room with a “real” hit songwriter?  What if I thought my idea was too good for one of the best cowriters I had back then?  Well, the song might never have gone top 5, and you might not be reading this blog right now.

Write your best ideas with your best cowriters, whoever they are, even if they aren’t a “pro” yet.

Even if the song doesn’t live up to your hopes, it’ll still probably be better than the average idea you’re tempted to settle for instead. And better songs will lead to better opportunities in the future.

2. Not writing with a good writer just because he/she isn’t a “pro”

Like I said, neither Erin nor I had ever had a cut when we wrote our future top 5 single together. I was so much better off writing with her – an unsigned but talented and serious writer, than I would’ve been just waiting to write with a hit songwriter.

I’m not saying your should write with just anyone with a pulse. I’m saying don’t overlook a serious, talented, hardworking songwriter just because they don’t have a hit or a publishing deal yet.

Knowing that you shouldn’t neglect your peer group is one way that pro songwriters think.  And if you want to become a pro, you need to think like a pro.  In my FREE e-book, “THINK LIKE A PRO SONGWRITER,” I not only reveal several of the mindsets which separate the pro songwriter from the amateur, but also…

  1. How to get on a music publisher’s radar
  2. How the pros know who is looking for songs
  3. Six simple ways to make your songs more commercial
  4. And more!

To get your FREE, INSTANT download of “THINK LIKE A PRO SONGWRITER,” just click on the image below, or CLICK HERE!

think like a pro songwriter 3D

God Bless and Enjoy the Journey,

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.

peer group

Biz, Cowriting

Songwriter, are you working IN your business, or ON your business?

4 Comments

SWP 4

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.

Sometimes, I get so busy working IN my songwriting business that I forget to work ON my songwriting business.

Let me give you an example.

When I signed my publishing deal with Major Bob Music in early 2005 (my first publishing deal), I was an unknown songwriter who had an Alan Jackson single climbing the charts. “Monday Morning Church” would eventually land in the Top 5, I would be nominated for the Music Row Breakthrough Writer of the Year, the song would be one of only 12 voted that year by NSAI’s pro writers as a “Song I Wish I’d Written,” and it would also win an ASCAP Airplay Award. 2005 was an incredible year.

How did I respond to this blessing? I wrote my backside off!

I dove headlong into writing full-time. That year, I finished 102 songs. I wrote like crazy. That’s pretty much all I did. Write, write, write, rewrite, and occasionally demo.

And it was a mistake.

I spent too much time working IN my business and not enough time working ON my business.

Working IN my business included scheduling cowrites, songwriting, rewriting, and demoing. And I did plenty of all of that. And those aren’t bad things. After all, nobody else can write my songs for me. And without songs, I have no business.  Still, though…

I wish I had worked ON my business more.

I work ON my business when I’m doing the higher-level strategic thinking and planning that make sure that my activities are the right activities. Working ON my business is doing those activities which will give my songs a better chance to succeed. And I had every chance to succeed.

Like I said, 2005 was an awesome year, and it opened a lot of doors for me. Additionally, the guys at Major Bob asked who I’d like to write with, and they helped book some cowrites for me. They also pitched my songs and set up some demo sessions. All good things.

But if I had it to do over, I would’ve spent more time:

1. …having Major Bob introduce me to A&R reps and producers around the Row so I could start building relationships with them, and pitching my own songs.

2. …investing in my craft and business knowledge. Sure, I learned by writing a lot and writing with a lot of better writers, but I should have sought out some great, high-level mentors to accelerate my learning curve on both the craft and biz sides of songwriting. I should have asked a lot more questions over a lot more lunches.

3. …seeking out strategic cowriting relationships. I mostly jumped at every cowrite that came my way without much consideration. That kept me so busy that I didn’t spend as much time SEEKING OUT my best cowriters.

4. …building the “Baxter Brand.” While the Major Bob crew flew my flag around the Row, I should’ve done a lot more flag waving myself.

Working ON my business more would’ve helped me write songs that were more well-written, more marketable, and heard by more decision-makers, sooner.

Yes, my songs got better because I wrote a ton (and, yes, they needed to get better, so writing a lot was a good thing). My network slowly expanded organically. And I eventually started pitching my songs. And these are things that have brought my best results.

Working ON my business would’ve gotten me there faster.

So what about YOU? Do you need to spend more time working ON your music business? What activities are the ones which will accelerate your success? And what are the activities that are fun, but are working IN your business? I’d love to hear your comments!

God Bless,

Brent

A GIFT FROM BRENT

Thanks to those of you who have already downloaded my book, Think Like A Pro Songwriter! It gives you insight into valuable things like “how to connect to a music publisher,” “how songwriters know who’s looking for songs” and more!  You can get it FOR FREE at www.GiftFromBrent.com or by clicking on the image below. Enjoy!

 

Biz, Cowriting

Repost: Why Benton Blount Is Successful

Leave a comment

Man vs Row

 AGT_Benton_Blount

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.

REPOSTING NOTE:

I originally posted this in May of 2014.  Now, about a year later, Benton is making waves on America’s Got Talent.  Be sure and watch for him in the coming weeks on NBC!  Proud of ya, Benton! #TeamBenton

<This post is not just to tell you how cool Benton Blount is. There are valuable nuggets for both aspiring artists and songwriters.>

The first time I met Benton Blount, I thought I’d walked into the wrong room. My cowriting buddy, Skip Black, had set the three of us up to write, telling me, “This guy named Benton… country singer… record deal on Golden Music…” Well, my default answer when it comes to writing with a signed artist is “yes.” (See my post, “Things I Say Yes To”)

So I go walking in, but Skip isn’t there yet. There’s a guy sitting there looking like a rock ‘n roll UFC fighter. “Uh… you seen Skip?” Then Benton opened his mouth and filled the room with his Carolina drawl. Immediately, I knew it was gonna be an interesting day. (That was the day we wrote “Could’a Fooled Me,” which is on his album, “Stripped.” Check it out here.)

We continued to write, but as these things happen (too often), Benton’s label folded and he made the move back to the Carolinas. I don’t know for certain, but my guess is that his phone wasn’t ringing quite as often. But he didn’t quit, he just kept working. Guess you could call that, “drive.”

Benton and I have stayed in touch- not just because he’s a good guy and cuts my/our songs (“I Don’t Have To Prove I’m Country” “Could’a Fooled Me” “Go To Him” “God Sent A Woman”) I’ve been sure to always send him songs when he’s looking and to write when we can for one simple reason:

I believe in Benton Blount as an artist.

And this is more than just a gut feeling. It’s based on a few factors- ones I think you should consider when deciding how much time and energy to invest in an artist.

1. Talent

Benton is a singin’ fool. No doubt that he knows how to sing. And his voice would stand out on country radio. He’s also a solid songwriter (who’s smart enough to cut the right outside song).

2. Hustle

Benton isn’t waiting on Music Row to pick him. He’s already picked himself. He’s writing, recording and releasing albums. He’s out on the road playing a lot of shows. It’s obvious that he’s not afraid to work. And his booking agency and sponsors apparently agree.

3. Fan engagement

The Benton Blount experience isn’t confined to one of his shows. He’s been consistently engaging with his fans (and making new ones) through social media. At this moment, he has over 16,000 Facebook fans, 44,000 Twitter followers, and 27,000 Instagram followers. He’s also put out a lot of videos on YouTube. Careers are built on fan support, and he certainly has that (his latest album was fan-supported on Kickstarter).

Of course, hard work, talent, and persistence don’t guarantee anyone a major label record deal and radio hits (though it’d be nice if they did). But either way, I’m happy to have songs I’m proud of sung by a real singer- no matter how many people hear them at the end of the day. But given what I know about Benton… I’m betting it’s going to be a LOT of people.

You can find out more about Benton at… www.bentonblount.com

God Bless,

Brent

 AGT_Benton_Blount

A GIFT FROM BRENT

Thanks to those of you who have already downloaded my book, Think Like A Pro Songwriter!  I hope it’s helping you make the jump from amateur to pro songwriter! If you haven’t downloaded your copy yet, you can get it FOR FREE at www.GiftFromBrent.com or by clicking on the image below. Enjoy!

think like a pro songwriter 3D

 

Biz, Songplugging

Pitching Your Songs Is Like Learning To Play Guitar (Really)

Leave a comment

Man vs Row

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.

Remember when you first picked up the guitar? It was a mystery. How do those great guitar players do it? Then you watch a YouTube video or pick up a Mel Bay book (showing my age) and it tells you how to form your left hand into G, C, & D. The first time you strum a clean G, it’s magic!

And it quickly becomes pretty dang painful.

Your soft, virgin fingertips haven’t built up their calluses yet, and it feels like they’re going to split open any minute. (And Heaven have mercy if your first guitar has high action.)

But if you play frequently enough and don’t quit, your fingers will toughen up. Making those chords won’t hurt. That high E string won’t be the razor blade it used to be.

Now you’re not quite the beginner you were. Now you have a little “pro” about you.

(I may focus on lyrics now, but there was a time I earned some calluses on an old acoustic.)

Learning guitar can teach you a valuable lesson about pitching your songs to publishers and labels. And that lesson is:

You need calluses.

If you’re like me, your first meeting with a publisher is full of excitement, hope and big possibilities. Well, that’s how it feels on your end, anyway. From the publisher’s perspective, you’re probably just the next person through their door- a stranger who may have potential but probably doesn’t have a hit to play that day.

And the publisher is probably right. And it hurts.

Then you get another meeting, either with the same person or with someone else. Again, publishing deal offers don’t drop out of the sky like confetti at the end of your song.

The disappointment stings.

But, over time, you build up your calluses and it doesn’t hurt like it did. Having someone pass on your song will never feel good, but you’re able to take passes in stride and move on to the next song.

Like playing guitar, if you stick with it and don’t give up, you’ll be rewarded for it.

Enjoy the journey,

Brent

JOIN ME ON A LIVE INTERNET WORKSHOP!

On Wednesday, July 15, I’ll be hosting a LIVE INTERNET WORKSHOP from 8:30pm to 9:30pm CENTRAL.  I’ll be teaching out of my book, “Finish Your Song! 20 Ways To Overcome Creative Roadblocks.”  There are only 11 tickets available for this exclusive event, so don’t delay!  The $35 ticket includes a FREE copy of “Finish Your Song!” along with notes and extra content not found in the ebook.  To find out more or to get one of the 11 tickets, CLICK HERE or on the image below!

Small Group Coaching 1

Biz

Pro Songwriters Are Starving- And That’s Good News For You!

1 Comment

Man vs Row

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.

 

I have good news and bad news.

Bad news: These days, it’s so hard to make a living writing songs that a lot of great, talented professional songwriters need to look for additional income outside of just publishing deals and royalties. Yeah. That’s the bad.

Here’s the good. A lot of those pro songwriters are turning to teaching and coaching as a way to make ends meet, so there has never been a better time for you to learn the art and craft of songwriting!

Yeah, that’s pretty messed up when you think about it, I guess. But it is what it is.

You probably can’t do much to affect the state of the music industry, but you CAN take advantage of the situation by seizing as many learning opportunities as you can.

Whether it’s through folks like me who are writing ebooks and doing the occasional workshop or coaching session, or the fine folks at NSAI (Nashville Songwriters Association International) or GSC (Global Songwriters Connection) who hold workshops and give you the chance to connect with publishers, there are plenty of options.

There is really no excuse for you NOT to be learning a ton about the music business.

Even if you can’t afford to join a songwriting association or pay for coaching right now, there are still free blogs (like Man vs. Row) and YouTube videos that are free- and full of great information and inspiration.

Beware of sharks.

Out of desperation or greed, some “coaches” may lie to you. If it sounds too good to be true, it probably is. If he or she says you’ll have a good chance at a big cut if you pay a few hundred dollars for a cowrite… run. After all, if this pro can get cuts that easily, why are they writing with anyone who’ll pay them?

However, if a pro offers up a paid cowrite as a chance to “learn by doing” while you work on a song together and the pro teaches as you write… well, that’s a lot more realistic and could be a worthwhile investment.

The royalty scraps we’re being thrown is leading to a heaping buffet of learning opportunities. So pile up your plate, pig out, and come back for more!

When it comes to learning, gluttony is a virtue.

Speaking of learning, I’ve written an workbook about how to write market-smart songs (songs that have a competitive advantage in the commercial market).  If you want to discover more about how to write market-smart songs, check out my ebook, “Cut/able: Lessons In Market Smart Songwriting.”  Click on the image below or click here to write market-smart songs.

God Bless,
Brent

cutable 3d final white

 

Biz, Craft, Muse

Why I don’t play guitar- and play to my strengths instead.

8 Comments

Man vs Row

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.

My guitar is in the garage. The strings on it are older than my son, Ozark. Yet, I’m a decently successful songwriter. How do I manage that?

Well, if you’ve followed Man vs. Row for very long, you know I’m a lyricist by trade. I don’t take a guitar to cowrites, I don’t write melodies, and I don’t sing or play out.

This way of operating has not been without consequence: I don’t get to put my face with my songs at writers nights. Cowriting with a non-playing artist can be tricky because we have to bring in a third cowriter. But I’m sticking with this way of thinking. Here’s why:

It allows me to focus and specialize.

I figured out early on that it’s better for me to be great at one thing (if I can be great at anything) than average at many things. Focusing on my natural strength (lyrics), allows me to have an identity as a writer. It gives my cowriters a reason to call me in on a song.

It’s more rewarding.

Focusing on my strength gets me better results than working on my weakness.  It’s a lot easier to take a strength up to professional level than it is to take a weakness up to professional level. It’s also a lot less frustrating than banging my head against the melodic wall.

It’s a more effective use of my time.

If I took my guitar to a cowrite, I’d feel obligated to pull it out. Then, I’d end up taking up our writing time by getting my cowriter to show me how to play a certain lick or sing a certain melodic line. That would distract us from the task at hand- writing a great song. If I’m solo writing, I’ll get a lot more done if I work on a lyric than if I try to write a melody.

I’m not saying that the way I work is the way YOU should work.

We each have our own unique mix of skills and challenges. What I hope to do with this post is to get you thinking about the best way for YOU to work. Maybe it’s focusing on just lyrics or just melody. Or maybe it’s doing both. Or maybe it’s something else. That’s up to you to figure out.

Playing to your strengths will lead to better songs.  However, how you apply those strengths can help you write market-smart songs (songs that have a competitive advantage in the commercial market).  If you want to discover more about how to write market-smart songs, check out my ebook, “Cut/able: Lessons In Market Smart Songwriting.”  Click on the image below or click here to write market-smart songs.

God Bless,
Brent

cutable 3d final white

 

Biz, Cowriting

The Value Of A Songwriter/Producer Relationship

Leave a comment

Man vs Row

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.

Everyone tells you about the value of writing with an artist/writer. And, true enough, those can be very valuable relationships. Write a great song with an artist/writer, and you have a direct path to a cut.

There’s another type of “slash” that has a lot of value, too. That’s the writer/producer.

Whereas a writer/artist gives you direct access to that particular artist, a writer/producer can give you direct access to several artists. Here are a few of my experiences with writer/producers.

Byron Hill is a hit songwriter with multiple #1s and a ton of cuts. He’s also produced Gord Bamford’s first several albums. Gord’s a big star in Canada, and he and Byron have cowritten a lot of his songs. Because of my cowriting relationship with Byron, I was able to write with both of them, leading to 3 cuts and 1 #1 hit / Single Of The Year in Canada.

Aaron Goodvin is a young songwriter/producer. As a songwriter, he’s recently gotten cuts on Luke Bryan, Jon Pardi, and Cole Swindell. He’s also starting to produce some artists back home in Canada. He and I’ve been friends and cowriters for several years, and he brought me in to write with an artist named Drew Gregory. We wrote a song called, “Five String.”

Drew actually didn’t cut that song, but it WAS cut by another artist, Tristan Horncastle, that Aaron was producing for Sony Canada. Drew ended up cutting a different song of mine, “Farm Hands,” which he heard through Aaron.

Like I said, one writer/producer can link you to several artists.

Another buddy of mine is Brian Hitt. I’ve written songs with him that have landed on some of his projects including a Canadian Christmas single and 3 songs on a Christian kid’s album for Brentwood Benson, a big player in the Christian music space.

Here’s another advantage of writing with a writer/producer: if they have a home studio, you can get great, cheap demos of your cowrites. Bonus!

My writer/producer relationships have been an important and valuable part of my network. They might be worth giving some focus as you build your network, too.

What do you think?  What are YOUR thoughts on writer/producer relationships?  Have you had success with that on a smaller or larger scale?  I’d love to hear your thoughts!

God Bless,

Brent

A GIFT FROM BRENT

Thanks to those of you who have already downloaded my book, Hit Songwriting: How A Songwriting Coach Can Fast Track Your Success! You made it an Amazon bestseller in both the Songwriting and Music Instruction categories, and I really appreciate it! However, if you haven’t downloaded your copy yet, you can get it FOR FREE at www.GiftFromBrent.com or by clicking on the image below. Enjoy!

Gift From Brent Songwriting 3

 

Biz, Quick Tip

A Quick Lesson On Publishing

13 Comments

Quick Tip

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.

A publisher’s job is to get your songs recorded. They generally do this in return for the ownership, or copyright, of your song.  A publisher may sign you or your song.  If they just want one or two songs, they offer what is known as “single song agreements.”  That means they will pitch that one (or two) songs in exchange for the copyright.  You won’t get a monetary advance for this.

A publisher may offer to sign YOU, which is to say they may offer you a staff songwriting deal (aka a publishing deal).  Publishers usually pay their staff songwriters an advance against future earnings.  This advance (or “draw”) will be paid back by you as royalties come in from the songs that are part of your publishing deal.  Basically, the unrecouped advance money is withheld from your royalty check by the publisher until they are paid back.  You’ll continue to receive your advance, though.

If your deal ends with you still owing money toward the advance, you don’t have to write the publisher a check.  They will continue to collect any royalties on the songs they own until you’re recouped.

Publishers used to mainly help their writers by just pitching their songs.  However, in today’s country market, not too many outside songs are getting recorded.  The most successful publishers are acting more like the songwriter’s agent- helping the songwriter make good relationships with decision-makers and helping the songwriter get artist cowrites, etc.  It’s less about pitching a song than it is about putting the songwriter in the right room, giving them the best chance to succeed.

What about you?  What’s your experience been regarding publishers?  How do you see their role changing (or not changing) in the current music business?  Let us hear from you!

God Bless,

Brent

THE PRO KNOWS

To BE a pro, you need to THINK like a pro. In this complimentary report, learn the mindsets that help the pro songwriter get cuts, earn respect in the industry, and maintain long-term success in the music business. Just click on the picture below to download this complimentary report today!

The Pro Knows

 

Biz

S.M.A.R.T. Goals For Songwriters

3 Comments

Man vs Row

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.

A while back, I wrote about the difference between goals and dreams. (Read it HERE.) Today, I’d like to dive further into the type of goals you should be setting.

You should be setting SMART goals if you want your best chance to be successful.

S.M.A.R.T. goals are: Specific. Measurable. Actionable. Reasonable. Time-bound.

Specific.

A goal needs to be specific, not vague. For example, “Do more songwriting stuff” is not specific. However, “Finish more songs” is more specific.

Measurable.

Make your goal measurable so you can track your progress and know if and when you reach it. For example, “Finish more songs” is not measurable. “Finish 25 songs” is measurable.

Actionable.

A SMART goal is actionable. This means you have the ability to affect the outcome. You can do something about it. Setting a goal for something you can’t do anything about is like setting a goal for the sun to come up tomorrow or for it not to rain tonight. “I will finish 25 songs” is something you can do something about.

Reasonable.

A goal should be something that requires effort (and is worth the effort), but it shouldn’t be unreasonable. For example, “Have 2 top 10 singles this year” is just not reasonable if you’re living outside of a major music center and haven’t even gotten a song published yet. A more reasonable goal might be, “Sign 2 single-song contracts this year.”

Time-bound.

Your goal should have a deadline. Without one, it’s too easy to keep putting off the work. Without a deadline, it’s easy to tell yourself you’ll get around to it “someday.” Not only that, without a deadline, how will you know if you’ve actually accomplished your goal? “Finish 10 songs,” could take the rest of your life. “Finish 10 songs in the next 2 months” lets you know in two months if you accomplished your goal. It also gives you a sense of urgency.

Setting SMART goals can take you from a vague non-goal of “Do more songwriting stuff” to the SMART goal of “Finish 10 songs in the next two months.”

Here are some other examples of SMART goals:

“Record 5 new demos this year.”

“Select and join a PRO by the end of September.”

“Book my first cowriting session by the end of the month.”

“Attend one songwriting conference next year.”

When your goals are SMART, you’ll get more done and be more successful. And that’ll make you look REALLY smart.

What do you think?  What are YOUR thoughts on goal-setting?  What are some of your songwriting goals?  I’d love to hear your thoughts!

Also, if you have a goal of writing and finishing more songs this year (or this month or this week), I have a resource I’ve put together that I think can really help.  I’ve gathered 20 techniques to help you finish your songs.  It’s called… amazingly… “Finish Your Song!”  Click on the image of the book below, or click here to finish more songs.

finish cover 3D

God Bless,

Brent