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April, 2002
Index
Interviews:
Alan Dean Foster
Dee Davis
Articles:
The Top Ten FAQs on the Business of Songwriting: #5
Writing an Article That Sells
Flash Fiction: Good Things Come in Small Packages
Features:
Book Reviews
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The Top Ten FAQs On The Business Of Songwriting: #5
By Mary Dawson
QUESTION 5: What Are the Advantages/Disadvantages of Co-Writing?
Their names are etched on the Walls of the Songwriting Hall of
Fame: Holland-Dozier-Holland; Mann & Weill; Bacharach & David;
Ashford & Simpson; Jagger & Richard; and of course -- Rogers &
Hammerstein -- songwriting teams that have changed the landscape
of American Music! What ingredients go into a successful songwriting
collaboration? How do you know if and when you should try to write
with another songwriter?
Most of us begin our songwriting career writing alone! We start
by wondering if we are even able to write a song...so when no one
else is around to make fun of us, we try to put some word and notes
together. And then, very cautiously, we unveil our creation to a
listener -- usually a spouse or a very good friend. To our amazement,
we discover that some of our listeners actually like our songs and
we decide that maybe we "ain't half bad!" We try another song... and
then another... and before you know it... we start to believe that
we really are songwriters!
That's exactly what happened to me! I loved writing songs whenever
the Muse visited me with an inspiration. I had found a comfortable
method of letting the melody and words "evolve" together and
songwriting became my own private passion! And then... I went to
a songwriting seminar and heard the word co-write. Apparently,
there seemed to be some sort of value in including another person
in the songwriting process. Frankly, the whole idea scared me to
death! I couldn't imagine letting my ideas "all hang out" in front
of another person. What if they thought I was an idiot? Turtle that
I am, I decided to retreat back into my shell and keep writing by
myself!
But, the co-writing concept would not leave me alone. The more
exposure I had to the craft and business of songwriting, the more
I realized that most of the greatest songs ever written were
composed by more than one songwriter. So, at length, I swallowed
my fears and made the attempt to co-write with a friend of mine.
It was not the most positive experience, but at least it allowed
me to overcome my fears and try again with another writer some
time later. Over the years since then, I have come to value the
co-writing experience as one of the great "perks" of the craft
and today most of my writing is done in collaboration with others.
Let's take a look at some of the advantages -- and then, some of
the possible pitfalls -- of co-writing.
Advantages of Co-Writing
- Two Heads are Better Than One -- The first advantage of
co-writing is simply that two creative minds working together are
usually able to come up with twice as many ideas as one writer
working alone. Most solo writers only write songs when they are
"inspired" by a visit from the Songwriting Muse -- in other words,
when they feel like writing! But the simple presence of another
person with different perspectives and ideas can turn on the
creative juices for both writers and increase both the quality and
quantity of the songs they write.
- Instant Feedback -- As co-writers work together on a
song, they have the advantage of instant feedback on the ideas
they are sharing. If one writer gets a bit unfocused and starts
down the wrong road, the other writer can immediately help to pull
the effort back on track. Of course, this presumes that the
collaborators are working to establish an honest and friendly
relationship built on mutual respect and receptivity to the other's
point of view. If you are a thin-skinned, easily offended songwriter,
you may not be ready to take advantage of this benefit of
collaboration.
- Growth through Stretching -- The kiss of death for
creativity is monotony and predictability. No matter how gifted
a songwriter may be, if he/she continues to write all alone --
all the time -- the chances are that his/her songs will eventually
begin to sound much the same. While it may be comfortable to
continue following a familiar writing method or using melodic
and lyrical techniques that we personally happen to enjoy, a
writing partner with different strengths and perspectives can
help us to reach out beyond the parameters of the familiar into
new creative territory. Each new co-writing experience introduces
us to ideas and thoughts that are different than our own and that
increase our own arsenal of creative techniques.
This is especially true if you are collaborating with a songwriter
who has strengths where you have deficits. When I interviewed
Songwriting Hall of Famer, Paul Williams, for my radio show, I
Write the Songs, Paul admitted that when he first started writing
songs, he didn't know one note from the other on the piano. In
fact, he had to actually number the keys so he could remember
which ones to hit when he composed melodies. Needless to say, he
felt more than a little inadequate as a musician and considered
himself more of a lyricist. But rather than limping along alone,
Paul aggressively sought to co-write with composers who not only
complemented his deficits, but in the process also taught him a
great deal about music composition. Although Paul had little
formal musical training himself, his collaborations with genius
musicians like Roger Nichols, Jimmy Webb and many others, have
given Paul a music education that has made him a stronger writer
overall.
- Maximum Exposure by Sharing the Workload -- The creative
part of songwriting is only the first chapter in the saga of
making a song into a hit. After the song is finished, it has to
be demoed (See FAQ# 8 on the Demo), registered with the US
Copyright Office (See FAQ #9 on the Copyright), and professionally
pitched to publishers, producers and artists who can "take the
song to the world." All of this takes time and effort and if
there are two or more writers involved in the creation of the
song, they also can share the work and expense involved in getting
exposure for the song. One of the co-writers may have a home
studio and be very good in producing professional quality demos,
while the other co-writer's forte may be in making the contacts
necessary to "pitch" the song. As with the songwriting process
itself, the co-writers can each contribute their own expertise
and skills to see that the song receives maximum exposure and
opportunity for success.
Incidentally, if the co-writers are members of different performing
rights organizations (ASCAP, BMI or SESAC) they will each register
the song with their respective organizations. Now, instead of only
one P.R.O. tracking the performances of the song, there may be two
or more organizations tracking the same song and increasing the
potential for maximum performance royalty payments.
There are, of course, many more advantages to the co-writing
process than those listed above. Good co-writing relationships
involve a transparency and intimacy that are unlike other
friendships. In my own songwriting journey, I have met many
wonderful people and have had a hell of a lot of fun co-writing
with them!. We have laughed together till our stomachs ached at
some hair-brained idea we had and we have wept together as we
tried to put into words and music the pain of lost love or of
letting go. But as with any other human relationship, there are
also pitfalls and possible landmines along the way. Let's take a
look at a few of these.
Cautions for Co-Writers
- Overcome the Jitters -- In many ways, developing
co-writing relationships is a lot like dating. You remember those
days, right? Butterflies in your stomach at the first meeting;
fear that you will say or do the wrong thing and look stupid; and
the cold hard reality that not all dates will be successful. All
of these emotions accompany new co-writing experience as well, but
as with dating...the rewards and fun far outweigh the jitters we
all have to overcome. Don't let fear keep you from seeking out
co-writing relationships. Remember...your co-writer is probably
nervous too!
- Be Tactful but Honest -- As with any new relationship,
you have to get to know each other gradually. The comfort level
will increase the closer the relationship becomes. If your
co-writer shares a thought, suggestion or song idea that you
think is totally nuts...be honest and truthful, but remember to
be kind at the same time. There is a big difference between:
- That's the stupidest thing I ever heard!" -and-
- "I can see your point, but what about this…..?"
Remember this is a friendship as well as a creative collaboration.
Even if the "chemistry" between you as collaborators is not all
you hoped it would be, you will still be the richer for the
friendship.
- Agree to Give Credit Where It's Due -- Almost every
week I receive emails from writers asking my opinion on how to
divide credits in the songwriting process. If there are only two
writers (one writing the lyric and the other composing the music)
the division will be very simple -- 50%-50%! But what happens if
three or four band members start jamming one day and the end
result is a song that's bound to be a blockbuster hit? What if
all the writers contribute some of the lyric and some of the
music? Or what if the bass player only contributes the opening
riff that identifies the song and inspires the others to write it?
Should he be given more credit because of the importance of the
riff? How do you figure these things out so the percentages of
ownership are fair for all concerned?
My standard answer to such questions is that all the writers
involved in the creation of the song should sit down together as
soon as possible -- while memories are fresh -- and discuss these
matters in an open and honest way. When they have come to an
agreement, they should write down what they feel are fair divisions
of the song credits. They should record these agreements in a
simple letter which all the writers sign and date. Such an
agreement is a binding contract and will help to refresh everyone's
memories later when and if the song begins to generate income. A
simple letter of agreement is that "ounce of prevention" that
can literally save friendships down the road!
The experience of co-writing a wonderful song with another person
is one of songwriting's truly great blessings! The assets
definitely outweigh the liabilities, so don't miss out! Start
where you are -- in your music community -- to find other writers
who might be interested in collaborating. Your local songwriter's
association is a great resource. Or you might visit a college or
university music department; introduce yourself to the director
and tell him/her that you are a songwriter looking for a co-writer.
Even a large church music department will have musicians skilled
in more than Gospel Music. It may take several "dates" before you
find the perfect songwriting partner, but don't give up. There are
great songs out there just waiting to be written by you
and ____?____.
**From her earliest childhood years writing simple songs
and poems with
her father, through her twelve years as an overseas
missionary, to her present,
multi-faceted
career as an author, lyricist/songwriter and conference speaker,
Mary
has always been adept at using words to communicate her heart to
others.
She is the President of
CQK Records &
Music of Dallas, Texas, a company which creates and
produces songs in a panorama of musical styles for a
variety of audiences,
She is the host of "I Write the Songs,"
a nationally syndicated radio talk show,
especially created to
inspire and instruct the more than 40 million aspiring
songwriters in the U.S.
Mary is a frequent public speaker and seminar lecturer
and teacher of songwriting in her popular Living Room Seminars.
She is a Contributing Editor for The Internet Writing Journal
®. You can visit her website at:
www.cqkmusic.com. You can reach Mary
by email.
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