This weeks post is from my friend Amanda West! She is a great lyricist and lives in Ireland. She knows a ton about collaboration and is sharing her knowledge! Read on!
The Oxford English dictionary defines collaboration as “The action of working with someone to produce something”. The idea of collaborating is not new, in fact the word ‘collaboration’ first came into use in the mid 1800s, and was a derivation from the Latin verb collaborare, to ‘work together’.
All very dry and boring when put like that isn’t it. But in reality, when applied to the world of creativity, and in our instance, music, it takes on an incredible life of its own. When we work together to create a song, or a piece of music, amazing things can happen.
I’ve put my thoughts on collaboration into 10 points, although there are many more aspects to the subject than I have room for here. I suspect I could easily write a book on it, but in case I bore you, 10 will do.
So here they are:
1. We all have our strengths and weaknesses. Working with a partner on a song means that someone else can do the things you don’t find so easy, or are aren’t confident at, creating something that is often much stronger than either of you could have written alone.
2. Maybe you have some great lyrics or an amazing top line melody, but they just don’t inspire you enough to create equally great music/lyrics to finish the song. Sometimes we hit a blank wall on a project, and it can be a useful idea to ask someone suitable if they would like to see if they could take it forward, and collaborate on it with you.
3. Collaboration with another songwriter often means that you produce more tracks overall, as you are using your strengths. When you work with your strengths, not only do you tend to enjoy it more, but you also seem to produce more overall. Thus, your output of songs or cues will be larger over a period of time, meaning that your income in the long term is likely to be larger.
4. Always agree and sign a co-writer’s agreement before you start work. This is a big one. It can’t be emphasized enough. You need to agree your copyright splits before you start working together, and you need it in a legally binding document. There are no end of horror stories about people falling out, or even worse, taking each other to court, concerning a disagreement over copyright splits. If someone doesn’t want to sign one, move on. Any professional songwriter or composer will not have a problem with this, as it is normal.
5. Discussion and communication is key. If something is bothering you, talk to your co-writer about it. If you don’t understand something, talk to your co-writer about it. Misunderstanding is very easy, especially if you are working online. Of course it goes without saying that you should do this in a well-mannered way, explaining politely your point, and asking for their ideas on the matter. Almost everything can be resolved in a good way, if approached decently and professionally. Be nice, it means the world.
6. Songwriting with someone else can be fun! Songwriting, in general, tends to be a lonely business. Composers and songwriters are known to spend many hours ensconced in their studio, emerging only for the next caffeine fix. If you co-write with somebody, be it online or locally, you are communicating and discussing something you are passionate about, which is always enjoyable.
7. Collaborating with a producer can take your music to the next level. Many of us can write decent songs, but when it comes to production we just aren’t in the same ballpark. A suitable producer may be willing to work with your tracks in exchange for a share of the copyright.
8. How can you find these collaborators? You can collaborate with anyone, anywhere in the world. How amazing is that! The traditional way of collaborating in music is face to face, in a room together, bouncing ideas back and forth as you write the lyrics and music. To work in this way try an online search for your local songwriting groups, go along a few times, get to know the other members, and you will find people more than willing to work with you. Also nowadays we have this thing called the Internet. So now you can work with anyone, anywhere in the world, as long as you both have an Internet connection. But where do you look for these like-minded folks who want to work with you online? Some of the ones that have worked for me are online songwriting groups, such as GYAWS (a Facebook group), FAWM (February Album Writing Month – 14 songs in 28 days), and 50/90 (50 songs in 90 days). I have also found co-writers via the TAXI Forums, and well as through my actual TAXI membership and at the annual TAXI Road Rally in Los Angeles every year. Other music and songwriting conferences would provide much the same opportunities I am sure.
There are many online songwriters groups where you can collaborate, just try a Google search. Although you will have to weed out the wheat from the chaff as they say. Another way that can be productive is to attend events put on by your country’s PRO. For me in Ireland that is IMRO. They organize many such events, and at all of them there is the chance to chat to other songwriters and artists. I always make some kind of contact to work together in the future when I go to these things.
Eventually, as you network over time people remember you and will contact you when they need what you are offering. Be patient, be considerate, be friendly and open, and you will find collaborators in many places.
9. Communication in collaboration is everything. And I mean everything. Poor communication will mean a less than pleasant experience, resulting in one or both co-writers not wanting to repeat the process, or feeling resentful, or worse. Discuss everything before you start writing. Discuss the copyright splits upfront, and get that contract signed.
If you are not happy about something, mention it. Make sure you do it in a friendly and non-confrontational way, being open and willing to compromise to solve any issues.
Online communications are fraught with problems, not least because most of it is via typing. It is so easy to misunderstand what someone means when you read his or her hastily written Facebook message or email etc. So, if something is ambiguous, just ask nicely for them to clarify what they meant.
Finally one very important thing is to never take offence. Whatever upset you was probably not intended, and can easily be sorted out by talking on a voice chat such as Skype, or even a typed message explaining nicely that you aren’t sure what such and such a sentence meant, and can they please explain in a different way. Don’t brood, just ask in a friendly and polite manner. If your co- writer is professional, they will understand and respect this.
10. And finally, not all collaborations will work. We are all different creatures, with different ways of working and different personalities. You will find that some collaborations are incredible experiences, producing some of your best music, and feeling easy in the process. Others will be quite the opposite, ending in bad feelings and even anger. If you have the bad luck to have one that is a bad experience, then just learn from it and move on, but stay polite and professional no matter what the provocation. Remember, write, submit, forget, repeat, and just move on. Luckily most collaborations are not in this category!
TAXI forums: https://forums.taxi.com/
Amanda West, Lyricist.
Confused about when to register your tracks with a PRO?
You are not alone. Navigating this can be confusing. So let’s tackle this topic.
First, if you are not sure what I mean by PRO, a PRO is a Performance Royalty Organization. They collect royalties on your behalf for performances of your music. These performances include those on Film, TV & Ads, Radio as well as Live performances. They DO NOT collect mechanical royalties, which come from selling a CD or digital download. Also, It is a common misconception that the Performance Royalty Organizations are publishers & signing with them means you have a publishing deal. This is simply not true.
The reason you register your tracks is to make sure you get paid royalties for the performance of your song. But WHEN do you register your songs?
YES: Licenses directly through Supervisors:
If you are pitching your music directly to music supervisors and do NOT have a publisher and you or your song is not signed to an exclusive publisher, then register your music right away.
NO: Exclusive Library Publishing Deals:
If you sign your music to an exclusive publisher, they will register your track for you with your PRO and there is no need for you to do so.
YES: Exclusive Or Non-Exclusive Deal for Master Sync Only:
If you sign your music to a Licensing Agent that only takes a portion of the Master Sync and not the backend royalties then you would most likely register the track yourself. Check with the agency to make sure. Sometimes they may take care of that for you.
YES: Non-Exclusive Deals:
If you sign your music to a NON-exclusive publisher, they will register your track with a unique identifier added to your title, OR they will re-title the track and register it with the new name. This means that you can also register your track with your PRO under it’s original title. The reason for that is if you get your tracked licensed directly through a supervisor, then you want to make sure you get paid the royalties owed to you. You will also get paid the publishing side as well because YOU are the acting publisher in this case.
YES: Playing Music Live IF...
Both BMI and ASCAP will pay your for live performances of your songs! This is great news! You simply enter in the performance info and choose the songs performed. If your tracks fit into any of the yes categories above, you want to make sure you register them. If they fit into the NO categories, you can still choose to select them for a live performance since your Publisher registered them.
YES: Digitally Released Music
If you have released your music and it will be streaming or on mainstream Radio then register your tracks. PRO's collect some money from these services.
I hope that clears up some of the confusion of when to register a track with your PRO. If not, please feel free to leave a question in the comments section.
Thanks and have a great day! - Michelle
Do you have a plan?
Whatever we do in life, we should always have goals. We should continually re-invent ourselves to grow. I recently went to the Global Leadership Summit, and as usual it was awesome! The speakers are always top notch. The conference always helps me to re-evaluate my goals, my why & my workflow.
Here were some of the speakers this year:
Sheryl Sandberg, COO Facebook
Marc Lemonis : CNBC’s the profit
Immaculee Ilibagzia (survivor of the Rwandan genocide)
Angela Duckworth- Grit
Juliet Funt- Whitespace
Lazlo Bock - Senior Advisor of Google
These people were just filled with awesome information and motivation.
Here are some notes from them that I found helpful:
Give your work meaning.
What is your why?
What is the thing that drives you?
100% exertion = 0% thoughtfulness -think about that, we are constantly trying to get things done that we are not strategically thinking about how we should go about our work in a better way.
De-crapify your workflow. Ask yourself if there is anything you can get rid of. What really deserves your attention. What is going to really move you forward?
Be aware of thieves of productivity:
Drive (When you plan too much)
Excellence (Perfectionism, suffering from It’s not good enough)
Activity (overly busy)
GRIT: = sustained passion & perseverance
Talent x effort = skill, but SKILL x effort = achievement
You don’t have to be the most talented to achieve
Effort counts twice
You need to have Deliberate Practice. When you get comfortable, you stop developing
1. Develop your interests before training your weaknesses
a. Know the science of deliberate practice
b. Feeling confused & upset you can’t do something is good
c. Can you do more deliberate practice
2. Cultivate purpose beyond self- be part of something larger than yourself
3. Have a Growth mindset- a Growth Mindset Predicts Grit
4. Don’t Quit on a Bad Day
All of this advice makes me think and re-evaluate my goals & plans for my business. It also makes me think about how many tasks I am doing that aren’t as important to my business. You should be doing this too.
So take a look at what you are doing. What do you really want to accomplish in life? In work? (yes, being a musician is work & a business, so think of it that way!)
First thing you need to do is write down your Why and Create a Mission statement.
Answer these questions:
What does success look like to you?
What is your lifetime goal with your life, your work?
Where do you want to be in five years?
For your Why, ask yourself these questions:
Why are you doing what you do?
What makes you come alive?
What are your innate strengths?
Then Create a Mission statement. Answer these questions:
What do you do?
How do you do it?
Who do you do it for, or Why do you do it?
What value are you bringing?
Here is my mission statement:
Michelle Lockey is an award-winning singer-songwriter creating emotionally compelling music for Film, TV & Ads.
Next: Create a Five Year goal.
Right down everything you would need to do to accomplish that goal .
Organize that into Five- One year goals. Then you can break down each year goal into 4-90 Day goals.
Make a list of tasks, and decide which ones will really help you to move forward toward your goal. Eliminate all the others. For example, if your goal is to make a living off of licensing music, then maybe you need to cut out gigs that don’t pay enough and take up too much time. Or spend less time on social media & busy work.
In the world of music licensing, we have what is called the Five year Plan. That means that it usually takes about five years to see a consistent income from licensing music. It is like building a business. It takes time. There is no quick fix, but you can increase your learning curve. Sometimes the Five year plan gets sidetracked. Life happens, stuff happens, direction changes.. And that is ok. Just keep re-evaluating & adjusting.
Here is an example of my “Five” year plan:
Five year Goal: Make six figures a year licensing music
Goal Year one: Learn to craft music for Film & TV
90 Day Goals:
Make a list of conferences to attend, attend at least one conference.
Find courses to take,
Meet two co-writers & write x number of songs
Goal Year two: craft 20 songs and 10 instrumentals
90 Day goals:
Work with co-writers who produce to save cost
Write a weekly song or two instrumentals to a theme
Learn my DAW software
Learn Recording techniques
Pitch to x number of listings/publishers
Goal Year Three: Increase amount of music pieces and record more on my own
Write 60 songs/instrumentals
Learn how to craft cues
Learn how to mix and master
Meet music supervisors and pitch directly
The remaining years are mostly building my catalog, continually pitching and writing for opportunities & getting songs signed.
The first few years of any business are the building years. So make sure you plan for that. Do the things that you can control. Be on the offense so to speak. If you are great at writing music in a certain genre and are getting it signed, & placed, then perhaps focus on that instead of working on more genre's that may not be your thing.
Having your goals & a plan written out will help you to achieve your goals rather than aimlessly going about. Make sense?
So, Do you have a plan yet??? Get to Work!!
Michelle Lockey is an award-winning singer-songwriter creating emotionally compelling music for Film, TV & Ads. She is committed to giving back by teaching workshops and building a community of songwriters that support each other through the music licensing journey!
Want to learn how to license your music? Go to LicensingSongs.com for more info!
Dread: anticipate with great apprehension or fear. Ugly cousin to fear & self doubt Synonyms: apprehension, trepidation, anxiety, worry,
concern, foreboding, disquiet, unease, angst;
fright, panic, alarm, terror, horror.
Dread. It is impossible to reach your destiny or achieve your goals if you are constantly being overcome by dread. Fear & self doubt alone can do this, but dread seems like it is the nail in the coffin. I am writing about this because I just went through this last week. But I could not pinpoint the exact feeling. I was fearful, I was full of doubt, but the feeling was more, it was a bit crushing & anxiety producing… it almost stopped me. Dread was the perfect word to describe what I was feeling.
What was I dreading?
Well, as you know I write music for Film & TV. I do some of my own production, but usually I am paired up with songwriters who produce better than me and can help with that process. I started a song, was contacting some co-writers, and then I saw a listing (a search, or basically a description of a piece of music needed for a TV show). My song seemed to fit the listing well. BUT the deadline was about 24 hours away! So I got on the horn with a couple folks to help out, but they were too busy. EGADS! Was I going to have to do this myself?
That fear & dread just ate at my stomach. These questions floated through my mind:
Blah blah blah blah… on and on the doubts piled up. I almost bagged it. But I knew… I knew that if I didn’t try, that when that deadline came and went I would feel even worse. I had to shake this horrible self doubt. So instead of watching the clock, and fretting over how the song would come out, I just started…
I took ACTION (and prayed). ACTION, no matter how small, is one of the steps you MUST take to move past dread, fear & doubt. Instead of focusing on the big picture, I broke down the steps. You can do this to for any goal.
Here is what I did:
Big Picture: Write & Produce a Song in 24 Hours
PHEW. I am not sure exactly how much total time I worked on the song, but that is a lot in 24 hours! I did take many breaks, both forced by other things & by choice. That is a necessary element. Had I looked at that entire list I could have easily gotten overwhelmed, so I just went and did one thing at a time. I became extremely focused. Most importantly, I didn’t judge my work too much. Are there things I wanted to add? Maybe change? YES. But after all that, I will probably not go back to it. That can take you down a rabbit hole.
So, how can YOU take a goal and break it down to manageable, actionable steps that allow you to move forward without being overwhelmed?
Dread is a trap. Focused action is the releaser. Sometimes all it takes is one small action and you will break through your dread, fear and doubt and accomplish great things!
P.S. The results of the song submission: They liked the song but the lyrical content didn’t exactly fit what they were looking for. So that’s good, they liked my production… which is what I was most worried about .
P.P.S: Here is a SoundCloud link to the song if you wanted to check it out https://soundcloud.com/michellelockey/long-way-home-to-you-extended
Michelle is an award winning singer-songwriter with Film & TV music placements in over 70 shows on over 45 networks globally. To read more about Michelle Click Here. To read more about her Music Licensing Courses and get a FREE Sync Checklist go to Music Licensing Courses
I have had a few people ask me why I may or may not sign an exclusive deal. Some people have very strong opinions against signing an exclusive deal. Here are some reasons why you may want to consider an exclusive deal. If you don’t know what an exclusive deal is, read this first. http://michellelockey.com/musicsync/archives/03-2015
There are different types of exclusive agencies. For example, Licensing Agencies, Publishers/Publishing administrators and Music Libraries. Often times, these exclusive entities will work harder for you and your music. You have to do some vetting to figure this out. A lot of times they have access to better deals & better shows.
If you have only an album’s worth of songs and you want to retain ownership, you may want to stick with non-exclusive deals for a while. BUT, if your focus is touring and being an artist, perhaps a licensing agency is best for you. If you find the right agency, they will pitch your music to Film & TV opportunities and only collect part of the upfront master sync fee. Usually the deal is for a certain period of time and they will want to represent you & your catalog. The downside is that you can't pitch your songs anywhere else and if the agency turns out to be a dud, then you have to wait for the contract to be over to pull the songs.
Non-exclusive deals have advantages because you still own the rights to your music and can pitch directly to music supervisors and to other libraries. Be aware that if you put the same songs into too many libraries and they pitch to the same entities, then the music supes won’t be too happy about receiving multiple copies of the same music. Also if the song is used on a show, there could be some confusion about the origin of the song pitch. (Usually re-titling fixes that, but there are issues with that too.)
The terms of an exclusive deal may also affect your decision. There are deals that are in perpetuity in which they assume ownership of the copyright. The company gets the publisher’s share and you get the writer’s share. Usually the master sync is split 50/50. Some people freak at giving up publishing, but come on, those companies are doing the pitching. That is their job, so they should get the publishing half. Those deals can be scary, BUT, some of my best placements have come from these agencies. There are also deals that pay you upfront for the song, but you will not get paid for any future master sync that is obtained. However, you will get back end writer’s royalties AND upfront money is ALWAYS a good thing. Not every placement gets a master sync fee.
Other exclusive deals may be for a year, or three, or semi exclusive with respect to film & tv only, meaning you can still release the song, sell it, and perform it.
If you are writing a ton of songs or instrumentals for the sole purpose of achieving music placements, then you should not fear the exclusive deal at all. These folks are pitching your music and they want to get you placements. What good does your song do sitting in your catalog not getting placed? Yes, you could go non-exclusive too, but I am just saying that if an exclusive deal comes your way, do not fear signing the deal. Just check the deal points and make sure you understand how the company works before you sign.
This is how I go about it: I sign all kinds of deals. I sign exclusive deals, non-exclusive deals, royalty free deals (NOT performance royalty free) because I know that I will make more music. My exclusive libraries get me more deals. But I have also had good deals/placements from my non-exclusives. Some of my non-exclusive libraries are going to be or changed to exclusive because that is what the Music Supervisor and Production Companies/Ad Agency wants. They like to know that they will find that song from only one representative. There is some “exclusivity” to that (pun intended).
When I do sign a non-exclusive deal, then I may sign the same track with another library that pitches to different markets. For instance, if I sign a song to a really good reputable non-exclusive agency that pitches to mainstream shows on NBC, CBS, HBO, etc., then I may also sign that song to one that pitches strictly to reality shows. This way I can spread around my music and bring income from many different sources.
Personally, I like to sign deals PER SONG. Not SIGN MYSELF or MY CATALOG. I don’t want to be tied up that way. My plan is to build my catalog as large as I can and sign all kinds of deals until the industry changes. If you are in this for music placements and are creating a lot of music, or plan to, then DO NOT be afraid to sign an exclusive deal. Your tracks could end up sitting in your catalog earning nothing, and (exclusive or not). Wouldn’t you rather get 50% of something, than 100% of nothing?
Want to learn how to license your music? Go to LicensingSongs.com for more info!
Metadata. Google defines metadata as: a set of data that describes and gives information about other data. So how does this apply to music? Well, imagine you have burned this wonderful CD of music that you are going to hand to music professionals at a music conference. The music is your latest and greatest. You meet some professionals, publishers & Music Supes and give them your CD. They go back to their office, put the CD into their computer and then they see:
DOH!!! They may love the song, but now it is lost in a myriad of song files they have with no way of contacting you. Sure, they may have the CD cover, somewhere, but usually the songs are uploaded into their vast database and can get lost forever.
So tagging your files with the appropriate metadata will save YOU from this problem and help THEM find your music and contact you. But it does more than that. Understanding how to tag the files appropriately, keep a music catalog with these tags, and use the tags when submitting to music libraries and Music Supervisors, can make your music more visible and findable in this vast music universe.
Here is a list of the tags that you should fill out for each song. Start with a song catalog spreadsheet. One column for each title. Then you can add them to your mp3 files as well. Use iTunes itself to tag files or Mp3tag. You can even have your Mastering engineer embed some of the data into the file itself.
Here is a photo of a line of my song catalog filled out, followed by an mp3.
In the mp3, I would have your email next to the artist or song name and even phone number so the music supe doesn’t have to go digging for your information. Remember that wav files do not retain this info. So, if your music is NOT released, burn an mp3 CD or enter the information into the Gracenotes database. See how to do this here: http://diymusician.cdbaby.com/musician-tips/how-to-submit-your-track-information-to-gracenote-using-itunes-11/
If your music has been released then you won’t have the issue of Track 1, Track 2 etc. Because iTunes will automatically find it from the Gracenotes database. At least your name, and general info will be on the track.
As far as Keywords and Moods. Be as inventive as you can. Use a thesaurus to come up with various ways to describe the moods, style, what the song can be used for. For a song that is “Happy” Just don’t say “Happy and Fun” Also say, bouncy, joyful, playful, bright, lovely, snuggly, warm, crunchy, car commercial, kids party etc… Make sure you have a list of all the instruments used in the song as well. The more descriptive you can be the better. Keeping these words in a spreadsheet or database will help you save time when submitting music. Each library/publisher has their own forms they want you to fill out, so it is easier to have these all in one place to copy from or easily fill out a checklist.
As far as “ala’s” or sound alike artists, use a google search and go to the Last.fm link that comes up. Try for at least 5 soundalikes. Here is a link from a search I did for “Sounds like Sarah McLachlan” https://www.last.fm/music/Sarah+McLachlan/+similar
I listened through some of the artist’s music that were displayed on that page and took five to put on my list. That will help when describing your music and most publishers want that when filling out their forms.
Start a catalog spreadsheet today, or use a database like Composer Catalog (Composercatalog.com) . If you don’t have the time, resources or knowledge to tag your files yourself you can use a service like Tagteamanalysis.com They will tag your files for about $4 a song.
Making sure that you have the proper metadata information will make your songs and YOU more visible and easy to contact. And we all want that!
Happy Metadata Tagging!
#metadata #music #musicians #musiclicensing #synclicensing #blog #entreprenuer #iTunes #mp3 #tagging
Michelle is owner and operator of Licensing Songs Academy. She is building a community of songwriters that helps to support each other through the music licensing journey. Her students have a BLAST learning about licensing and creating new music! In addition to the basics of licensing music, students also learn about goal setting, how to be a professional, and learn how to fight fears through actionable steps. Michelle also motivates her students. helps them focus and grow in their musical journey! www.licensingsongs.com
When it comes to writing music for Film & TV that is...
I recently had a blast interviewing my buddy Steve Guiles for my Licensing Songs Academy. We had a great conversation about the writing process. So many things go into the process of writing, especially when your goal is to write songs for Film & Tv. But after you write a song and record it, how do you know if it is suitable for film and tv? How do you know if you are writing what the Music Supervisors want to hear?
When I first started out I had an album of 5 songs. I would take those songs, my babies and submit them to everything regardless of whether they were a true fit. If the listing (an ad of sorts that describes what the Music Supervisor wants) said the word “love” then I submitted any song I had that was about love. I didn’t know how to interpret what the listing said or how to analyze the ala artists and songs. I didn’t know much about genre, or how to break down a song's elements. I had NO idea what a Universal lyric was or how to write to a Theme. What I found out was that, writing to common themes will make sure that the song is falling under a category that is suitable for Film & TV.
So, what is a theme? A Theme is an overall idea or subject. For Example, Love, Coming of Age, Family, End of Days. Home etc. I am sure you can think of a ton more! Just watch TV and start writing down the Theme of each show. The key is to write about an emotion that may fall under that theme. For instance: Let’s Pick, Love. Now what about Love are you going to write: New Love, breaking up, death of a loved one? If you pick New Love, then you need to brainstorm on all the emotions associated with New Love. One you think of the emotions associated with it, next, pick some unique ways of describing those emotions. You don’t want to be plain. Boring or cliche. Find new ways to describe say: “You give me goosebumps” What other ways can you say something like that? A way that makes the listener really FEEL this new love feeling. In a song that Steve and I wrote Called Together, We Belong, we have a line that says “Unsteady I fall for you” which is a way to describe that new love feeling.
Steve and I were also talking a lot about writing process and having a Five Year Plan. It is possible to make a living or at least a nice sum of money each year on licensing. But you have got to have a plan, and a process for doing the work & analyzing the music that is being used in Film & TV (you can catch an excerpt of the interview here Steve Guiles Interview Excerpt )
A process that works well is to pick a theme each week and write a song based on that theme. The song doesn’t have to be perfect, it just needs to get done. You can also join songwriting groups that have weekly theme challenges. This will exercise your writing muscle. Experiment, play around! Some of the songs I have written for weekly theme challenges have gone on to be signed by Publishers and placed in Film & TV. About 20 seconds of the instrumental from a quirky song I did for a theme challenge ended up in the show Becoming Us on ABC Family channel. I never intended it for Film & TV, it was an experiment in recording and writing. But it ended up being usable because it was quirky, comedic and worked for the scene they wanted.
Studying ala songs is very important. This gives you insight into what is working for Film & TV. Pick some shows that you think your style of music would work in, and listen to the music used on those shows. Analyze the instruments, the mix, the lyrics and the theme/emotion. This is a great way to see what is being used and how those songs are written, lyrically, emotionally and stylistically.
Writing to listings is also a great way to exercise that muscle as well. A listing is basically a description of what a production company/music supervisor is looking for and it describes the style of the song, theme, and usually the type of scene it will be used for. Listings can be found on places like TAXI or Hit License, through Music library/Music Supe newsletters & websites.
You can definitely get your songs more on target for Film & Tv by doing the above and learning how to write for Film & TV. It is great fun to experiment and get the writing muscle going! In doing so you will rapidly build your catalog!
Oh and if you haven't signed up for it yet, I have a Free checklist : 10 Steps to Sync Success. Sign up Here: 10 Steps Checklist
Hope your week is going great!- Michelle
P.S. I have a current awesome deal for my Self Paced Music Licensing Course Bundle! Only $247! It's a GREAT deal! Click here for more info and to sign up!
We’ve all been to them. seen them, the motivational conferences, speeches, videos etc. We have all been left with a feeling that we can do anything. We can achieve our dreams! We can fly! We feel so pumped and energized! WE CAN DO THIS! We buy the books, the videos, the courses without really thinking if this product is what we need, but it is what we WANT at the moment. We feel so good!! it is EUPHORIC..
And then… we go home, we get back to normal life, we tell people about our experience and some may negate it by saying negative things, others don’t get it cause they weren’t there. And that book we bought, course or video we purchased.. they just sit there. Or maybe we start them, then life gets too busy, we return to reality, our old way of thinking comes back, and then… we stop.. we return to our normal way of doing things. We can also get stuck in “learning” mode and never apply what we learn. I have been a victim of this and I am sure that you have been too.
We all want to achieve our dreams, goals and plans, and when we get motivated, we get all geared up to do something, buy the product, but alas, often never finish what were “Motivated” to start.
So what do we do once we get motivated? The solution lies with taking ACTION. Should seem like a no brainer, but like I said above, we may be motivated to take action right away, but that can fade to dust.
After the motivational event is over, and while you are still feeling motivated, take stock of what you learned.
-Reflect and write down the important things that you learned during the event.
-From that create some long term goals, short term goals and actionable items
-Try to avoid impulse purchases if possible until you have taken stock of the event and decided what you want to do.
What is the company, course, book all about? Does the person/Company giving the motivational speech have credibility?
Ask for/look for reviews, references. Did it help the people who took the course/read the book etc achieve their goals?
Once you have your list of goals/actionable items
-Follow through- Read the book, take the course
-DO THE WORK! (the hardest part)
-Plan your steps to achieve the goal
-Make a list of tasks to accomplish each goal and assign them a completion date
-If you are having problems completing tasks, then reflect on why
-Do you need help organizing a calendar? Are there bigger reasons like Fear keeping you from achieving your goals? What can you do to "fix" these problem areas?
No dream is achieved with motivation alone. Motivational speeches and videos make us feel pumped, which is a good thing, but can leave you with some hurt in the wallet if you buy on impulse and never follow through. You need to learn, plan, goal set, task orient yourself, and Do the work. Motivation can fade. Take action to succeed!
If you would like a copy of my Goal Setting worksheet to help you achieve your goals: Email Me today!
"The most important thing in the Olympic Games is not winning but taking part; the essential thing in life is not conquering but fighting well. "Pierre de Coubertin - founder Olympic Committee
I just finished watching Eddie the Eagle. It was very inspiring. Here is a man that against all odds competed in the Olympics, never gave up despite incredible odds, and the lack of support from some of those around him. Yet he knew in his heart that he wanted this more than anything. So he went for it.
This is how we need to approach our goals and dreams. There are some practical things to think about, of course, but this kind of zeal and attitude is needed to approach what we most want to accomplish in life. Without it, we get stuck, bitter, and basically die before we are dead.
Maybe I am being a bit melodramatic, but I don't care. Since being laid off in 2013, I have gone for this dream of mine with everything I have. The dream may have altered slightly, but I know what i was put on this earth to do: Make music and Help People. I am the last person to toot my own horn, but I keep getting emails from my students about how my courses have been helping them, not only to learn, but to be hopeful and motivated and they appreciate the honesty, how upfront I am, and they know that I genuinely care.
It is a hard thing for me to process, knowing that something that I am doing is helping others. I have a hard time accepting compliments, still. My goals used to be all for me, all for my feeling good, all for my validation. But I have realized I don't need that validation anymore to achieve what I am here to do. But it does humble me to know that lives are transforming.
So what does this have to do with Eddie? He went for what he wanted. He wanted to do his best. He wanted to prove all the naysayers wrong. He wanted to do what he believed in his heart was what he was meant to do, against all odds. . And it inspired others.
So go for your dreams and goals with all the gusto that you can. You will change yourself, but you may also change others in the process.
Thursday/Friday- midnight blog... Have a great Friday! - Michelle
Ok It has been a long while since I have written and I apologize. I had surgery then some health issues, then a possible move to LA and I developed a 9 course on Music Licensing. Amidst all that I was still making music for Film & TV. BUSY to say the least. Anyway during the course of my um, course, I interviewed some experts in the field of licensing. Bob Mair owner of Black Toast Music is a wonderful guy, has a great publishing company and I can call him my friend. Also I interviewed Cathy Heller, (caththemoonmusic.com) who has licensed songs for McDonalds ads (you've seen them) Wal-Mart, Payless, and much more, she talks to us about ads. So below is a sneak preview from their interviews along with some info about my Music Licensing course! So get the popcorn ready and watch!
Your class is the best money I have ever spent during my entire career. You can quote me on that!
Loving it." -April Kelly www.aprilkellymusic.com
Ok, so you have seen the video and my little pitch about my course. My course is now 25% off! Enter Code 25off at checkout!
You can't beat my price for the amount of practical information that will help you make your music licensable and that puts you on the path to get it licensed! You can read more and register through the button below. I hope you sign up and I will see you in the course!!
Michelle Lockey's class was invaluable, very well organized and presented. Dense with information that saved me me years to understanding the songwriting and business path to writing for film/TV and music licensing. The guest's also were professionals working in the industry and provided excellent insight into the business. 5/5 stars"
Tom Kwake (www.musicbytk.com)
Michelle Lockey is a multi-award winning singer-songwriter sharing the knowledge she has learned over the years writing for Film & TV.
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