At SongU.com, we offer a variety of of small group feedback sessions that focus on different aspects of songwriting and the music business. Writing songs for synchronization with film, TV, and other media takes unique skills beyond crafting a great song. For example, do your vocals and instrumentation work to the benefit of your production? Is your hook relatable for certain situations? Do you know the specifics of the sync licensing market in order to submit your songs appropriately to music supervisors?
Today we’re shining the spotlight on “FDBK 330 – Song Feedback for Film-TV-Media.”Join us to learn from the pros and your peers.
About:This 1-hour advanced feedback session is geared toward analysis of how your demo recording will compete in Film, TV, and other media-related pitches. Focus is given to your songs’ production as it pertains to pitching successfully for sync licensing opportunities in TV, Film, and Media. Limit 5 participants.
Our Facilitators: Nancy Peacock, CEO and Owner of Washington Street Publishing which focuses on securing placements in Film, TV, and Media; and Creative Director for Washington Street Publishing, Queenie Mullinex.
“Queenie and Nancy are soooo good. They are encouraging and yet candid when they hear things that need improvement. I learn a lot from their feedback on my song and the feedback that they give others. Always very, very helpful.” -Becca B. , SC
“Always a joy to learn from them.” –Ricki B. , WI
“Great insight for tailoring your songs for music supervisor pitches.” –Shawn F. , NJ
Between May 1st and June 30th 2020, SongU.com is running a special event: Staff Writer for a Day. This is an opportunity to pitch your songs for a chance to see what it would be like to be a staff songwriter which includes getting set up by our guest publisher for a CO-WRITE SESSION with a hit songwriter!
If you aren’t sure what the term Staff Writer means, you’re not alone. When I moved to Nashville in the early 1990’s and got serious about my songwriting, many of my peers were hoping to become a full-time paid songwriter for a music publishing company (aka a staff writer). The concept was so strange to me that I had to wonder if I ever had the chance to be a staff writer, would I even like it? At the time, I questioned whether I would really enjoy writing songs on demand, on a timetable, with a quota, being “set up” on blind co-writing dates, writing to make the creative director at my publishing company happy, and asking their permission to demo songs.
After about four years of engrossing myself in the Music Row experience of constant writing, re-writing, networking, co-writing, over-coming performance fears, sheepishly meeting with ASCAP reps and music publishers who would listen to my songs, and politely or not-so-politely tell me that I wasn’t quite “there” yet, I built a strong catalog of songs. By then, the idea of being a professional songwriter had grown on me. One day, miraculously, I was hired by a little music publishing company called Zamalama Music as their first staff writer (cue the Rocky theme song).
It turned out that this job gave me valuable lessons in how to prepare myself mentally every morning to “show up and write” whether I was feeling creative or not. I made sure to arrive at those blind date co-writes with lots of potential titles and ideas to jump start our meetings. I learned to leave my ego at the door and do what was best for the song. Most importantly, I found an inner confidence that only comes when your songs have been rejected so many times, you can laugh and moooove on! Here’s a picture of the bay window of the Zamalama writers room on Music Row where I eventually co-penned a hit song!
Check out the staff writer experience for yourself:
A SPECIAL EVENT PITCH – STAFF WRITER FOR A DAY! This is your opportunity to be selected by Kirby Smith, Creative Director of WinSongs Music Publishing, for a chance to find out what it’s like to be a professional staff songwriter for a day, including a meeting with Kirby and a CO-WRITING SESSION with hit songwriter, Sandy Ramos! Read about our guests.
With all the transitions and changes going on these days, I asked the music publishers and song pluggers we work with regularly to give us an update on pitching in the time of Corona. Here’s what they said:
“Still pitching strong and I think our decision makers are more at their computers listening to songs than perhaps ever before.”
Jeffrey Nelson, Song Plugger
“Song pitching continues uninterrupted…The dynamics of pitching have, of course, changed recently in that social distancing has made in person pitch meetings, at least for the moment, not possible. I do however, continue to maintain communication with industry decision makers and continue to pitch them songs via links and mp3’s, much of which I already did anyway.”
Additionally worth noting, “This is the time of the year that acts who are going to record Christmas records are beginning to look for songs.”
Dallas Gregory, Publisher, Song Rocket Music
“There will be no personal one-on-one meetings but the selected songs will be sent to my contacts and they will be considered. Recording dates etc have been altered and moved to unspecified dates due to the coronavirus. Keep writing great songs and keep the faith.”
Bob Dellaposta, Publisher, My 3 Kids Music
“There has been a definite halt in some of the film / TV show productions. The music supervisors are emailing and saying that we have a couple weeks to send in songs rather than 24-48 hours. But there are lots of TV shows already in post production so we are continuing to get requests for songs. The ad agencies work a long time on a client’s branding so we are getting requests for those also.”
Nancy Peacock, Licensing Agent, Washington Street Music Publishing
Thanks to all these sincerely dedicated music professionals for keeping our songs out there and getting us placements and cuts!
I’d like to share a SongU member inquiry that recently landed in my inbox: “Dear Songu, can we talk about extensions for deadlines on pitch submissions on songu? How do they occur? What kind of relationships do you have, that ever cause to allow this? What actually happens? Thank you kindly.” – J. (Vancouver, B.C. Canada)
What a great question! Let me explain the process we use at SongU.com. To get the leads and submission deadlines for our Street Pitches, I communicate directly with several song pluggers, music publishers and licensing agents that are out there “on the street” making appointments with the artists, record labels, and such to find out who is looking for songs, what kinds of songs they want or need, and when they will be in the studio recording.
After you’ve been working in the industry for a while, you learn that most artists search for songs over a period of time from a couple of months to even a year or more. It is often a moving target as the artists find songs they like, target songs they hope to find to fill out the album, or “change direction” from what they thought they originally wanted.
Based on the information our pitch guests relay to me each month, I post the Street pitch leads and submission deadlines. Then, a few days before the deadlines (which generally fall either mid-month or end of month), I send out an email asking if they want to extend any listings or send new ones. Here is an example of an email I received this week:
Good Morning Sara!
Sorry I’m just getting back to you. Let’s keep Mark Wills and Chris Golden active through the end of May if that’s o.k. as they continue to be very engaged in receiving and listening to songs. We can pull Hannah Dasher on the 15th, but I may re-list Hannah in a few weeks IF she is still looking for songs. They’re assessing what they have at this time. I’ll get with you later today with fresh pitch opps.
Have a wonderful day 🙂
Thanks for taking the time to check in with us and find out more. I hope this explanation helps clarify.
Let me introduce you to my friend, Diona Devincenzi (isn’t that one of the lovliest names you’ve ever heard?). I met Diona, a talented singer-songwriter, in the early 1990’s when we were both fairly new to the “Nashville thing.” Perhaps she’ll remember the story about how back in the day, when we were all pretty broke, she invited Danny and me for a dinner at her place. Having gotten used to eating a lot of vegetarian Pot Lucks with friends, I was shocked that she and her fella, Jerry, served us a REAL meal…appetizers, main dish with meat, dessert…the whole kaboodle! She chuckled at my delight. Ah, those fond memories of being a starving artist.
Diona has remained on the cutting edge of the songwriting business, traveling back and forth from Nashville to the West Coast. I’ve always admired what a hard worker and go-getter she is. Here’s one of my favorite articles from her blog Savvy Songwriter. You can find out more about her (besides that it’s grand to be invited to her house for dinner) at her website dionadevincenzi.com
10 FACTS ABOUT MUSIC LICENSING THAT WILL PUT YOU IN A GOOD MOOD
I’ve been hearing and reading a lot of doom and gloom about the music industry lately. Articles which lament the demise of the value of music and the dwindling earnings from making and selling it. So I wanted to present a different perspective in an area of the music business that is actually thriving: MUSIC LICENSING.
Here are 10 facts about music licensing that will put you (or should put you) in a good mood.
1. YOU CAN ACTUALLY MAKE SOME MONEY AT IT Yes, you actually can. You’re not going to get rich with just one placement, but if you are a prolific writer with many songs that are placeable, you can make some decent money. BUT, be prepared to be patient because it won’t roll in over night.
2. THERE ARE MILLIONS OF OPPORTUNITIES TO PLACE YOUR SONGS IN FILM/T.V. AND MULTI-MEDIA EACH YEAR
According to IMDB (Internet Movie Database) there were over 2,000,000 opportunities to place your songs in film & television just last year alone.
3. YOU DON’T HAVE TO BE 20 SOMETHING.
Those years are past me and many others I know in the music licensing business, but that doesn’t matter because what people need desperately are songs to place with their visual production. And they don’t care how old you are. They only care how good your song is and how it might fit their project.
4. IT’S A RAPIDLY GROWING INDUSTRY.
In fact, it’s the only part of the music industry that is growing, besides touring. Need we talk about CD sales? No, already done. But as content is king, so are songs.
5. YOU CAN WRITE IN MULTIPLE GENRES.
If you want to, you can write in every genre imaginable, and even some that are new hybrids. If you want to write a pop/rock song, go for it. If you want to tackle a Bollywood tune, no problem. You get to write whatever you want, as long as it’s commercial.
6. IF YOU WRITE BOTH LYRICS AND MUSIC, THEN YOU BASICALLY HAVE YOURSELF TWO TRACKS FOR THE PRICE OF ONE.
Many times a music supervisor (decision maker) will ask for and use the instrumental track versus the vocal one. Well, no problem, you literally have 2 songs – one with both lyrics and music and one with just the music. You double your opportunities as well as your catalog. And that’s just a side benefit.
7. YOU’RE GOING WHERE THE MUSIC INDUSTRY IS HEADING.
We all see the writing on the wall when it comes to CD sales. It’s all about streaming these days. If you’re writing for the music licensing opportunities, then you’re at the forefront of where music will be in the future. Sure, no one can really tell the future. But with all of the cable channels and new networks and “screens” popping up to enjoy content, there is a growing marketplace for usage of songs. If you’re not thinking about music licensing then you’re out of the game.
8. YOU DON’T HAVE TO HAVE A PUBLISHING DEAL. Middlemen are disappearing in the music industry, much like a lot of other industries. There are more and more opportunities to pitch your songs directly to the gatekeepers, thanks to technology allowing for direct access. You couldn’t do this 20 years ago. So welcome to the directness. Just make sure you are prepared when you do pitch your songs though, because as the saying goes, “You only one chance to make a first impression”.
9. THERE ARE RESOURCES TO LEARN MORE ABOUT MUSIC LICENSING.
I scoured the four corners of the earth to find out all I could about music licensing when I started getting involved. I still consume all things music licensing in the way of books, blogs, articles, podcasts etc. In fact, I’m in the process of writing an e-book right now on it. And thanks to Google search and the like, all the stuff you need to know about music licensing is at the tips of your fingers.
10. IT’S A THRILL WHEN YOU HEAR YOUR SONG IN A FAVORITE TELEVISION SHOW, MOVIE OR AD.
We all write songs because we love it. Well, this part of the glory of your hard work is really gratifying. ‘Cuz you get to tell all your friends and family about your latest rockstar placement.
Diona Devincenzi is a songwriter/producer born in San Francisco and hanging her hat in Nashville. Check out her blogs at Savvy Songwriter .
“We are standing on the shoulders of the ones who came before us
They are saints and they are humans, they are angels, they are friends
We can see beyond the struggles and the troubles and the challenge
When we know that by our efforts things will be better in the end”
-Excerpt from “Standing on the Shoulders” written by Joyce Royce
The poignant song, “Standing on the Shoulders”, was written by a lovely songwriter friend of mine, Joyce Rouse, and recently sung in it’s entirety by another dear songwriter friend, Lisa Silver, at the unveiling celebration of the new Women’s Suffrage Monument in Centennial Park in Nashville, TN. The lyrics were such an appropriate tribute to those women who bravely stood up for women’s right to vote.
However, this lyric took on an even more personal meaning for me earlier this month when my former creative director and publisher at Zamalama Music, Kacey Jones, sadly lost her battle against cancer on September 1st. I felt heartbroken when I heard the news. Kacey was one of the women whose “shoulders I stood on”, in other words, one of my mentors. She probably didn’t realize it, but she was my “fearlessness” coach. Watching her “go for” whatever she set her mind to, helped teach me to reach further and be braver. On her Facebook page, there are memories and tributes posted from those who knew and loved her from the 1970’s to the present. She was: Kacey, the recording artist, the comedian, the singer-songwriter, the Shameless Hussie, the Sweet Potato Queen, the business woman, publisher, and record promoter, and the list goes on. To me, she was Kacey, the first person to believe in me and my songs enough to hire me as a staff songwriter for the few years that she ran a small indie publishing company between 1999-2001. She guided me toward my first hit song and we celebrated that accomplishment together.
At the 2000 ASCAP Awards. With Kacey Jones – a rare picture of her short-lived, short haircut – and Sharyn Lane, owner of Zamalama, and me second to the right, accepting an airplay award for “Home to You” recorded by John Michael Montgomery. (Excuse the poor picture quality, it’s been sitting on top of our piano for a long time).
After my stint at Zamalama ended and the company catalog was sold, Kacey and I stayed in touch mostly through emails and Facebook. What I’ve realized through my grieving was that on a day-to-day level, I played a very brief and relatively minor role in Kacey’s diverse and well-lived life, yet her direct impact on my life was enormous. Did she know that?
This led me to think of other women early in my music career who unwittingly have helped shape who I am. They are the ones who showed me (not told me!) how to conduct myself and move forward in this crazy music business. One of the first, Lisa Palas, who in the early 90’s was already a hit songwriter and signed with Reba McEntire’s publishing company, invited me to stay at her home while I was researching a possible move from New Jersey to Nashville, TN. She invited me to tag along with her to cool gatherings and let me know that I would have a friend if I moved here. This taught me that no matter how successful you become, it’s important to keep it real and be kind.
Around that same time, Debbie Hupp, who co-wrote the Kenny Rogers mega-hit song “You Decorated My Life” took the time out of her life to sort through the pros and cons of being a woman in the music business and without mincing words let me know that if I didn’t move to Nashville and try, I’d regret it. She showed me that despite the odds, it’s okay to follow your dreams.
When I actually did make the move to Nashville in 1992, I was quite timid about the whole songwriting thing. Then I was hired by the power-house then-Executive Director of the Nashville Songwriters Association, Pat Rogers, who taught me that being timid was a complete waste of time. She showed me that if you know something has to get done, make it happen even if it means being the tough one. What a great example of business moxie and fortitude which I needed to summon over and over again as I slugged away at the music industry beast.
In my nascent efforts to become a professional songwriter there was one publisher, Karen Conrad, who was running a very successful independent publishing company, BMG, who always returned my phone calls even though I didn’t write for her company or have anything she truly needed or wanted from me. She returned my calls because it was the respectful thing to do, regardless of whether I was on my way up or down the ladder. That show of respect is something I’ve never forgotten and try to emulate in my own business dealings.
To be fair, there have definitely been a few good men out there mentoring me and nudging me forward, not the least of which was my husband, Danny Arena. I’m not embarrassed to use the cliche that he is the wind beneath my wings. We formulated our songwriting dreams together. Moved to Nashville together. Every song I brought into my publishing deal with Kacey Jones had Danny’s name on it as a co-writer, and every songwriting and/or music business success I’ve had, has his mark on it, including our songs in “Urban Cowboy, the Musical” for which we were both nominated for Tonys. Danny taught me take it slow and to keep learning and growing along the way.
Playbill from the 2003 Tony Awards. Danny and I were part of the composing team for Urban Cowboy, the Musical, nominated for Best Original Score. Danny was thrilled that among the nominees that year was one of his composer idols, Michel LeGrand.
Learning along the way was exactly what kept me going when the going got tough, and still does. Losing Kacey has given me a reason to pause and reflect on how much I appreciate all the people I learned from (and continue to) and the positive influences in my life. There are a multitude of other friends, teachers and mentors, both women and men, even serendipitous encounters with helpers whose shoulders were there for me, maybe not always to stand upon, but at least to lean my head on for awhile, and for all of them, I’m grateful.
I’m making a little joke here. I found this in my computer files. I can’t recall how I originally got it and haven’t found the source (if you do, let me know). But it still makes me laugh and there’s definitely a grain of truth – or the entire loaf of bread of truth – in this list. So without further ado, here’s what songwriters really need to know:
THE PROFESSIONAL SONGWRITER’S ABBREVIATED DICTIONARY
1. to schmooze = befriend scum
2. to pitch = grovel shamelessly
3. to brainstorm = feign preparedness
4. to research = procrastinate indefinitely
5. to network = spread misinformation
6. to collaborate = argue incessantly
7. to freelance = collect unemployment
1. agent = frustrated lawyer
2. lawyer = frustrated producer
3. producer = frustrated writer
4. writer = frustrated artist
5. artist = frustrated human
COMMON TERMS AND PHRASES:
1. Entry-level = pays nothing
2. You can trust me = you must be new
3. Highly qualified = knows the producer
4. It needs some polishing = Change everything
5. It shows promise = It stinks rotten
6. It needs some fine tuning = Change everything
7. I’d like some input = I want total control
8. It needs some honing = Change everything
9. Call me back next week = Stay out of my life
10. It needs some tightening = Change everything
11. Try and punch it up = I have no idea what I want
12. It needs some streamlining = Change everything
13. It’s very close = You’re not even on the right planet
14. We want something different for this album = The last album didn’t sell
15. We’re looking for a new direction = see previous
16. I know someone at the label = I know the janitor
17. You’ll never work in this town again = I have no power whatsoever
This story begins in Nashville, TN in the spring of 1998 in a little writer’s room with a big window overlooking 18th Avenue on Music Row. That room was one of my only perks of being a staff writer for a small independent publishing company. I had arrived there to meet my co-writer Arlos Smith for our weekly Tuesday morning writing session, a tradition we started after reading a best-selling book at the time called Tuesdays With Morrie, a true story about a teacher with Lou Gehrigs disease and his weekly Tuesday meetings with an old student. The life lessons in the book had made an impact on both of us, so we thought it would be a good tribute to Morrie to write on Tuesdays.
That particular Tuesday, I learned that my awesome writer’s room was going to be rented out as office space which meant that after that day I would no longer be able to write in that room. I had already been living in Nashville for six years and had been a full-time staff writer for over a year. Normally, I tried to keep a positive attitude amidst all the inevitable disappointments and setbacks of a tough industry. And even though I was reaching a lot of little songwriting goals, I often felt like I was simply treading water, not really getting anywhere, certainly not getting cuts! Losing my writers room left me feeling powerless and defeated. Admittedly, I was allowing myself a moment of self-pity.
By the time Arlos got there, I had worked myself up into a little tizzy. He let me vent about the loss of my room and about all the difficulties of breaking into the music business. Finally, I said, “well, if nothing else, at least at the end of the day I get to go home to Danny.” Arlos said, “Sara, that’s our song! Let’s forget about what THEY want and just write one for us today.” Before long we had written a heartfelt song about battling a tough day and going home to the person you love called “Home To You.”
Short-cutting through the next few months, we played the work tape for our publishers, demoed it, Arlos’ publisher played it for Al Cooley in the A&R department of Atlantic Records who sent it directly to John Michael Montgomery with a bunch of other songs (a little miracle in itself). Apparently, at the time, John Michael was out on the road missing his young daughter and pregnant wife, so when he heard “Home To You” he could directly relate to it. In December, we got a call that he was going record it!
Months went by as we sweated out the details: Recorded, yes – but would it make the album? If it makes the album, would it become a single? Sure enough, it became the title cut and the second single from the album. In the summer of 1999, over a year after we had written it, we heard it on the radio for the first time.
We made a point of tipping our hat to Morrie for being instrumental in our writing on that Tuesday. As we watched the song go up the charts we were excited and nervous. Suddenly, our thoughts were not simply about writing a heartfelt song, or getting our first major cut, but about how high the song would climb and how much money that would translate into.
Several more months went by as we eagerly watched the song’s progress. Finally, it broke into the top ten. Slowly but surely each week it moved up one or two spots until it arrived at number two. Then one Thursday, we got the call we had been waiting for. As long as the promotion team at Atlantic Records could hold the position through Saturday, “Home To You” would be the number one song on the Billboard Country Charts for the following week!
But alas, it was not meant to be. Our “competition,” the RCA promotion team who had the number three song, Clint Black’s “When I Said I Do” were able to finish at the very last minute in the number one spot. So we got the call, instead, telling us that “Home To You” lost its bullet and would peak in Billboard at number two. It was hard not to feel disappointed. We lost the coveted number one spot, the ASCAP number one party and gifts, the fancy number one plaques, awards and number one banners hanging on Music Row.
In a strange twist of timing, that very same week a made-for-TV movie was airing based on the book “Tuesdays With Morrie”. Obviously, Danny and I sat down at home to watch it, as did Arlos and his wife. The movie’s opening scene is of Morrie and his student in the stands of a college basketball game. The crowd is in a frenzy screaming, “we’re number one, we’re number one…!” Morrie turns to his student and quietly asks, “what’s wrong with being number two?”
There it was – fate, timing, life, a higher power, good ole Morrie – stepping in to remind us what was really important. It is not getting to number one that makes us great or successful. It is not about standing on the top of the mountain, but the willingness to climb it. What makes any of us successful is to engage fully in life and in the things that we love. As long as we are being true to ourselves and doing the best we can along the way –what’s wrong with being number two?