Writing Tips & News for Songwriters
The Songwriter News Network includes info such as songwriting tips from music-industry pros, advice on how to market your songs, and insightful articles about the music business.
On the website, author and songwriter Richard Tuttell offers his Ten Tips on How to Write a Hit Song: "Country music publishers in Nashville want hit songs. Yes, strong album cuts are also welcome. But smartly written commercial songs aimed at the heart of mass appeal are what gets country music publishers really excited."
On the website, author and songwriter Richard Tuttell offers his Ten Tips on How to Write a Hit Song: "Country music publishers in Nashville want hit songs. Yes, strong album cuts are also welcome. But smartly written commercial songs aimed at the heart of mass appeal are what gets country music publishers really excited."
- Set your hook early and often. "As we all know, hooking is the key in commercial songs. Hooking is the ability to grab the attention and interest of a listener. According to Ralph Murphy at ASCAP, a song should hook the listener within 60 seconds."
- Don't bore us, get to the chorus. "The chorus is the most important part of a commercial song, so get to it quickly. As hit songwriter Jerry Vandiver noted, 'Nobody walks down Second Avenue humming a verse.'"
- Keep it simple. "During an ASCAP Sound Source session I was told by Jerry Vandiver that my song was too complicated and to adhere to the acronym KISS (keep it simple, songwriter). The best thing is to play it for somebody, and ask, 'Did you understand what was going on?'"
- Start yourself up! "Songwriters need to be disciplined self-starters. Ralph Murphy said a typical day is spent writing for three hours and then conducting businesses such as pitching songs to publishers, promotion and tending to financial aspects. "
- Focus on the music first. "Focusing on the music and songs is the best way to spend your time, according to Chris DuBois. He said songwriters need time to write and grow. They have to figure out how to get their songs to the next level.
- "Do not flash your cash." Singer-songwriters with money to self-promote do not necessarily have an advantage when they approach publishing companies, according to Chris DuBois. If the writer has a good song most companies will be more than willing to pay an advance and pay for recording the demo. 'The real issue is the whether the music is as good as it needs to be,' said Chris."
- Give your song its best chance. "Michael Puryear suggests hiring a professional singer for a demo because using someone who has a 'commanding voice' and put the song in its best light. Michael also suggests skipping any special effects (rain storm, engine racing noise) on demos. It can be distracting and delay getting to the meat of the song."
- Choose the right topic. "Jerry Vandiver noted that subject matter is important because you have to persuade a singer to do your song. BMG publisher Michael Puryear suggests that songwriters ask themselves 'Who would record this song?'" "Ralph Murphy adds that humor and irony are needed now in country music."
- Supply what is in demand. "As far as country music publishing goes, most people I spoke to in Nashville believe the contemporary pop movement has stopped working. They cite disappointing sales of new albums by big crossover country stars." "Jerry Vandiver agrees there has been a 'pop backlash,' and that 'organic, rootsy' music is coming to the forefront."
- Find a writing partner. "As noted, collaborating (co-writing) is a big deal in Nashville. At every songwriter night I attended singer-songwriters introduced their songs by crediting their songwriting collaborators." "Jerry Vandiver says a great co-writer can be a great editor. (Editing was something that was noted as lacking on my song, which I was told was about one verse too long.) A co-writer allows you to get an objective perspective on song ideas and can serve as a catalyst for developing new ideas."
- Richard V. Tuttell is a songwriter and the author of Good Press: An Insiders Guide To Publicizing Business and Community News. Visit his website at www.tuttellpress.com
Here is a list of books about the craft and business of songwriting
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Much Ado About Publishing
Mamas, Don't Let Your Babies Grow Up to Be Writers
So, the Writers Guild strike is over, and the television and film writers are back to work.
Given the professional crap that writers of all kinds have to endure, what I wanna know is where is our country song?
Plenty of other professions have their own country songs -- musicians, waitresses, and truckers have more than their share.
Where is the country song that laments our never-ending trials and tribulations?
Actually, enough writers and authors have spent enough time crying in their beer (and coffee) to warrant not just one, but at least a couple of dozen gut-wrenching ballads and honky-tonk classics.
I know I'd love to hear Willie Nelson sing Mamas, Don't Let Your Babies Grow Up to Be Writers.
Yes, plenty of books and movies have been written about writers, but everyone knows that the best way to vent, whine, or get some sympathy when somebody does somebody wrong is with a traditional country song. Even if you don't have a dog or a truck.
Johnny Cash could've sung "this book is mine, I wrote that line."
In her flawless rendition of Willie Nelson's immortal Crazy, Patsy Cline could've sung "I'm crazy for crying at my own booksigning, and I'm crazy for writing for you."
And Willie could still tug at our hearts if he wanted to sing "agents lying to boast all around."
Of course, agents who do right by their clients could've been celebrated if Charley Pride had sung Kiss an Agent Good Morning.
To chronicle the desperation of authors out on the long and dusty promotion trail, Hank Williams could've sung. "Hey, good lookin', read my book an' how's about lookin' for my book online!"
And Hank didn't have to write and record Cold, Cold Heart when he could've given us Old Wal-Mart instead.
I guess that we'd also have to have been prepared to hear some songs we didn't care for. Like if the censorship varmints had sung Stand By Your Ban.
On the other hand, just think about how many times country crooners wail the word cry. Substitute the word buy every once in a while and we'd have ourselves bushels and truckfuls and double-wide trailerfuls of book marketing and promotion songs that could show people what that ordeal is really like.
Of course, we wouldn't want to get rid of cry altogether since it is an appropriate sentiment given the situation.
Right now, though, all we've got out on the lonesome book tour is Willie's optimistic anthem On the Road Again. Not exactly the bitchin' and moanin' lament you're lookin' for when the books don't show up and neither do the people.
When publishers hardly lift a finger to promote or publicize your book, they could excuse that away by admitting that, while they did you wrong, at least You Were Always on My Mind. Sorry folks, as Willie knew when he sang that song about the woman he done wrong, it just ain't enough.
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Nina L. Diamond is a journalist, essayist, and the author of Voices of Truth: Conversations with Scientists, Thinkers & Healers. Her work has appeared in numerous publications, including Omni, The Los Angeles Times Magazine, The Chicago Tribune, and The Miami Herald. Ms. Diamond was a writer and performer on Pandemonium, the National Public Radio (NPR) satirical humor program, for its entire run in Miami and select markets nationwide from 1984-1998. As an editor, she works frequently with other authors and journalists on both fiction and non-fiction.