Resources

(see Affiliates for a great link list!)

Making Contacts/Getting Gigs

What's the best way to connect with someone who can help me?

• Don't be focused on your needs when you're approaching someone who can help you. It's not about "how can you help me." It's about "how can we help each other." Everyone has something to bring to the table. Get to know the person who can help you. Ask them about himself/herself. You may be able to connect on several levels. Trade talents and watch the sparks fly! Read Dan Kimpel's book on "Networking in the Music Industry." Keep a positive attitude, and keep on plugging. When someone asks you about yourself, be articulate. Know how to describe your music in ten words or less, and know what your musical goals are.
   
• Be kind and gracious to everyone, especially secretaries, assistants, waiters, anyone who is helping you or the person you're trying to reach. If they're working in the music industry, chances are they're reaching for the stars just like you. Today's assistant may be tomorrow's manager, attorney, producer, agent, or fellow pop star!

• The best way is to find people on your own level who are looking for your talents. Composers, if you want to get your music in film, quit hanging around other musicians. Hang around directors. Start scoring student films and go from there. Check the college film school programs. Try ghostwriting for other established composers. Don't expect to get paid at first. No one will knock on your door; you have to get out there! Attend film festivals! L.A. is full of screenwriters and amateur directors on the verge of completing their first film. Find a list of them in the Hollywood Reporter. Ask your actor friends where the directors are. Check out the Screen Actors Guild, The Writers Guild, and the Directors Guild of America. Get a list of film music supervisors from the Film Music Network!
   
• If you're a songwriter/performer, don't play for your cats. Play as many gigs as you can at as many places as you can. Again, don't expect to get paid at first, especially in L.A. Invite the media to see you when you're ready. Establish excellence first, then gradually increase your fee to play. On the other hand, if you're already at a professional level, you may be able to command higher fees than you think. A higher rate implies quality...just be sure that you're able to deliver. One performer I interviewed charges $1500 a gig for his jazz trio, and he gets it!
   
• Think of unusual venues to play…and know your target audience. Don't just play at clubs and coffee houses; play at festivals, trade shows, and more.

• The Film Music Network has music listings at www.filmmusicworld.com . For a job at a record company, go to www.narip.com. For entertainment jobs, go to www.showbizjobs.com. For song placements in TV and film, go to www.taxi.com. Most of these sites have a fee, but it's a great way to get started and have projects sent to you on a regular basis. Go to them! Think about selling your CDs through distribution websites like www.cdbaby.com and  www.amazon.com . If you play an instrument well, advertise as an available player in Music Connection for studio gigs. Join the Musician's Local 47 (union) to be listed.

• Join songwriting organizations, such as www.songsalive.org, Just Plain Folks ( www.jpfolks.com), Nashville Songwriters Association (www.nashvillesongwriters.com), SongNet (www.songnet.org), the Society of Composers and Lyricists (www.filmscore.org), www.circleofsongs.org, and the Songwriters Guild of America ( www.songwriters.org). These organizations have songwriter showcases and wonderful guest speakers. NARIP and the Film Music Network also have valuable networking events and meetings.

Legal Issues

I'm afraid to try out new songs in front of an audience. What if someone tries to steal my song? Or what if I send something to a record company and they steal my song?

• Quit worrying about other people stealing your songs. Your songs are copyrighted the moment you record them in tangible form (CD, cassette, etc.). And in the unlikely event that Madonna steals your song, rejoice! You're gonna be rich! Most record companies and major artists will not accept unsolicited material. By the way, when you copyright songs, you'll save money by copyrighting them as a compilation.

• When collaborating, get a written statement on how you will split the writer's share and publisher's share. (Explain) Read "Music, Money, and Success" by Jeff and Todd Brabec. The best way is to write with someone you trust and just split the rights 50/50 (just like Lennon and McCartney!). It's less complicated that way, and it usually balances out in the end.

• Join a performing rights organization (PRO) like ASCAP, BMI or SESAC (invitation only). A music publisher will also do this for you. Here's a music publisher resource book: http://www.songwritersguide.com/music_publishers.html . NOTE: If you're a composer, always fill out cue sheets and send them in. If you're a songwriter, make sure all your songs are registered with your PRO.
   

Demo Do's and Don'ts

How good does my demo have to be?

• Make sure your CD is of the highest quality you can afford. Your competition is on the radio. If you're submitting a song for a project or a gig, know that most people think of adding music at the last minute when there's almost no budget left. They will not have time to re-record your song for you. A music supervisor will choose the best song that he can plug in fast.

• Don't send demos to record companies unsolicited. They will usually send them back unopened. Always get permission first, and make sure the intended person's name is on the envelope. If you pay a lawyer to submit your CD, be very specific that you want it to be sent alone (not with other CDs). Visit California Lawyers for the Arts for free or inexpensive legal advice. Make sure your package is immaculate. Make sure your complete contact information is on the CD itself, as CDs and jewel cases often get separated. Don't follow up every day. Ask when it's convenient to chat, and keep it brief. A quick friendly email works wonders.

• Most people say focused is better. Be sure you target the right music for the right artist, or if you're submitting something for a specific project, submit only what fits the needs of the particular project. Don't try to dazzle people with diversity; it only confuses the listener. If your niche is great country ballads, flaunt it! Read "Your First Cut" by Jerry Vandiver and Gracie Hollombe for tips on how to orchestrate your first song placement. If you're an artist/performer, it is especially important to show a distinct style…your demo should reflect a strong personality. Record execs want to know where your record would be placed in a record store.
   

Promotions

What goes in a demo package?

• On demo packages and all communications to record execs and the media, please be brief. When your recipient has 100 demo packages on his desk, it's your responsibility to make it easy for him to find the information he needs. Tell him what he wants to know. If you're a band, most people want to know how many CDs you've sold, how long you've been together, do you draw crowds consistently, and your musical influences. A good CURRENT headshot helps, as does great reviews. PUT YOUR PHONE NUMBER AND WEBSITE ON EVERYTHING!!! If you need help putting a package together, hire a professional like Tom Kidd (www.prespakpr.com). Another tip from Michael Mollura, Associate Editor of Music Connection: When sending emails to busy execs, having a clear subject line is critical. Some people get hundreds of emails a day from people they don't know. If you're referred by someone they know, use that name. Help the reader to know how to handle your mail before opening it. Don't write more than three short paragraphs. Be brief!

• Want radio airplay in America? Good luck! Sign up for Bryan Farrish's newsletter at www.radio-media.com. Also consider Internet radio such as www.live365.com or www.bagelradio.com.  Internet radio is wide open and you should take advantage of it. Also check out KCRW and European stations.
   

Staying Motivated

Can I make it as a songwriter without a record deal?

• Of course! Don't get stuck trying to get a record deal. Consider going the independent route. Remember, if you get an advance from a record company, you have to pay every penny back in record sales before you see any money coming in. For more info on the Indie way, read "I am a Professional Artist" by Gilli Moon. Also check out www.indiespace.com. Subscribe to their newsletter; it's great! For info about record company scams, read "Confessions of a Record Producer" by Moses Avalon.

• Set aside time each week to write. If you have time to watch TV, you have time to write. Take yourself out on "artist dates"—read "The Artist's Way" by Julia Cameron. Set aside time each week to write. Sometimes we don't write because we want everything to be "perfect." Let go of perfectionism and let your creativity flow. Get your ideas down as they happen, with no judgment; and go back and polish them later! Julia Cameron's books will really help you if you are blocked.

• Keep your instrument/vocal skills strong by studying with a good private teacher, or consider some of the music programs in L.A., such as the L.A. Recording Academy or Musicians Institute, UCLA or SCU. Music Connection Magazine lists schools and teachers in most issues. Subscribe at www.musicconnection.com. For excellent songwriting methods, read "The Craft and Business of Songwriting" by John Braheny, "Becoming Remarkable" by Harriet Schock or "Secrets of Successful Songwriting" by Jai Josefs. Schedule regular collaboration sessions; make a joint commitment with your collaborator.
   

Recommended Books/Newsletters

• "The Craft and Business of Songwriting" by John Braheny
• "Music, Money and Success" by Jeff and Todd Brabec
• "The Musician's Handbook" by Bobby Borg
• "The Indie Contact Newsletter: 43 Places to Promote Your Music!" (Subscribe at www.indiespace.com)
• "Confessions of a Record Producer" by Moses Avalon
• "I am a Professional Artist" by Gilli Moon
• "Your First Cut" by Jerry Vandiver and Gracie Hollombe
• "Going Pro" by Kenny Kerner
• "Becoming Remarkable" by Harriet Schock
• "Secrets of Successful Songwriting" by Jai Josefs
• "The Artist's Way" by Julia Cameron
• Hundreds of songwriter resources: www.songwritersdirectory.com
   

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