Brent 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.

Two weeks ago, I discussed where I say “yes” to putting my time.  You can read it by clicking <HERE.>  Here’s the flip side of that coin – the things that maybe I used to say yes to, but now I usually can’t.  And none of these things are bad in and of themselves.  I just can’t say “yes” to everything.  This list might be useful when you’re deciding where to spend YOUR time.

1. Unsigned artists.

So few artists ever get signed, and I have so little time, that I just can’t invest for a few years on something with so little chance of success – especially when it would mean taking up time I could be spending with a signed artist.  I wish I could write when more unsigned artists (I know some great ones), but I just can’t right now.  A few exceptions are a couple of close friends (who rock, work their backsides off and cut our songs).

2. Random cowrites.

I’ve had to put off writing with several of my regular cowriters because of time constraints- friends with whom I expect to get good results.  So it sure doesn’t make sense to sit down with a stranger- unless I have good reason to think they fit one of the things that make me say “yes.”

3. Non-commercial songwriting.

I’m trying to earn enough in royalties to “buy” my way back into full-time writing.  I have to focus on where I have the best chance to make the most money.

It’s not easy to say “no.”  There are times I feel like a jerk, and there are probably people who think I AM a jerk for saying “no.”  But I can’t let that determine my decisions.  I have to do what’s best for me and my family in the long-term.  And let me be clear- what you might want to say “no” to is not necessarily going to be the same things I say “no” to.  Each situation is different.   If you’re going to be successful (and as you become more successful), you’re going to have to say, “no,” too.  Just try and be honest and graceful when you have to turn down an opportunity.

God Bless,

Brent

YOU VS…

Brent 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.

As I mentioned in my post, “Slash Songwriters” (read it HERE), for the past several months, I’ve been a songwriter/salesman.  Obviously, this has limited how much time I have available for writing.  And as much as I don’t like it, it has forced me to make tough choices- choices about where I spend my time and energy, who I write with, and what I write.

So, since, I can’t say “yes” to everything, what DO I say “yes” to?  Now, my situation is likely different from yours, but I hope this glimpse into my thought process is useful for you.  So here are the opportunities that get me to say “yes”- in order of priority.

1. Cowriting with an artist on a record label.

This is my top priority because it’s the shortest route to a cut.  And right now I’m focusing on just a couple artists who I believe in, write well with, and get along well with- and who are hopefully going to cut an album within the next six months.  I also spend some time outside the cowriting room generating and polishing ideas to bring in to these cowrites.  This is where I spend most of my writing time.

2. Writing lyrics for a specific project.

A buddy might call and say, “I’m connected to ‘x’ project, and I need a so-and-so type of song.”  If I think there’s a possibility of a good return on the investment, I’ll generate some ideas/lyrics in the early mornings or late nights.  We can then hash things out over phone/email and minimize the time in the room together – which comes out of family time.

3. Writing lyrics to melodies / tracks.

Right now, I have some time to listen and write while I’m driving around in the truck for work.  So this is a good way to work solo.  But it takes a while, so I still have to choose carefully.  I have to really dig the melody.  And it really helps if the writer is connected and can work the finished product effectively from his or her end.

4. Writing lyrics to shop around.

If I have a strong idea that doesn’t fit into one of the categories above, I can work up some lyrics and “shop” it around to some buddies.  The ideas that I’ll work with this way are either things I really need to get off my chest, or what I think are incredible ideas.  I’ve found that trying to shop around MY versions of what’s on the radio right now (pickups and dirt roads) haven’t gotten traction with my cowriters- they just haven’t been motivated enough to work on those ideas when I’m not sitting in the cowrite with them.  So I’ve recently decided to ONLY work on lyrics that I think are different, meaningful, and something that clearly falls into what I do best.  If I send my cowriters versions of what’s already being written all over town- it just doesn’t get the results I want.

Like I said, I don’t expect your situation to be just like mine.  But, like me, you don’t have unlimited time for your songwriting.  Prioritize, then say “yes” to what is mostly likely to get the results you want.

God Bless,

Brent

YOU VS…

Brent 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.

When you write a song with a cowriter, it’s standard practice in Nashville to have even splits between all the cowriters, no matter how much they contribute.  This means every writer on the song owns an equal share of the copyright.  I’ve heard stories of writers who “count lines” when determining their percentage of ownership of a song.  I am REALLY not a fan of this, for a few reasons.

Generosity wins.  This time, maybe your cowriter only contributed a few lines, if that.  Well, next time, they might contribute more than you.  It should all even out in the end, if you’re well-matched cowriters.

I want my cowriters focused on making the song the very best it can be.  I don’t want it to become a competition over who gets the most lines and the most credit.  Serve the song, not your percentage.

It’s impossible to tell who really wrote the line.  Maybe you got the final wording right, but you only got there based on a line suggested by your cowriter.  You wouldn’t have gotten to that line by yourself, so you BOTH created it.  It’s a collaboration.

And, lastly, counting lines is a good way to alienate your cowriter and make them less likely to write with you again.  Especially in a town like Nashville.  Be generous and win!

God Bless,

Brent

YOU VS…