![]() This will provide a window through which you can experience your work with more objectivity. Let the song marinate for several days then revisit it. The advise that follows is my prescription for those who are writing good songs – but not exceptional ones. I was initially devastated, but in retrospect, I see that this song represented a huge leap for me. He burst my balloon by saying my song was good, but not any better than thousands of others in his catalog. Instead, the publisher congratulated me on finally writing what he called a staff-writer song-one that was as good as those his signed writers regularly turned in. ![]() He listened and I waited, heart pounding, expecting to be offered a single-song contract and maybe even the staff-writing deal I craved. ![]() I was certain the publisher would jump on this one. This song was light years better than my previous work and so was the production, which included the talents of top session-players and an in-demand vocalist. It was the first time I had collaborated with a pro. Then I brought in a song I had written with a writer who was coming off a recent hit. For several years, I brought every new song I wrote to a publisher who summarily rejected each and every one. This reminds me of a milestone early in my songwriting journey. Then comes the hard part, when I say that there is nothing “wow”-no elements that would compel a decision-maker to choose this song or performance over the equally well-crafted competition. ![]() I tell them to pat themselves on the back because few writers will ever master the craft so successfully. The toughest critiques I do when I teach my workshops are those that require my telling the writers and artists that they have written a perfectly crafted song that there is nothing wrong and nothing to fix. ![]()
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