H T
� �
� � � M , � � � O � R E C O T H P I A N E S S O L D
N U A L E D D I T A N I O
N
THE MOST TRUSTED GUIDE TO GETTING PUBLISHE D
“Starting out in the music business can be very overwhelming. is an invaluable resource and a must-have Songwriter’s Market is for any aspiring songwriter looking to improve their craft and advance in their career.” — ERNIE HALTER, accomplished indie artist HILLARY SCOTT,
lead singer of Lady Antebellum and 6-time Grammy winner shares her writing journey
AN DY HUNT,
owner of Wide Studios gives advice to novice producers and chats with mentor Jacquire King
SARAH GAVIGAN,
accomplished music supervisor explains how to get your music licensed
INCLUDES MANY NEW EDITORIAL FEATURES
Worksheets • V Venues enues List Lis t • Sidebars • ��-Minute Webinar!
GETTING STARTED
HOW TO U SE SONGWRITER’S MARKET
Before you dive into the Songwr Songwriter’ iter’ss Market listings listings and start sta rt submitting songs willy-nilly, willy-nilly, it’ss a good idea to take it’ t ake the t he time to read the following information. By educating yourself on how to best use this book, you’ll be better prepared when you actually do send off your tape or CD. Let’s take a look at what is actua lly inside Songwriter’s Market , why these articles ar ticles were put into the book in the �rst place, and why they can actual actually ly help you you in your career ca reer.. THE LISTINGS
Beyond the articles, there are eleven sections in this book, from Music Publishers and Record Companies to Contests & Awards. Each section begins with an introduction detailing how the different types of companies function—what part of the music industry the work in, how they make money, and what you need to thin k about when approaching them with your music. Tese listings are the heart of Songwriter’s Market . Tey are the names, addresses and contact information of music biz companies looking for songs and artists, as well as descriptions of the types of music they are looking for. So how do I use
Songwriter’s Market ?
Te quick answer is that you should use the indexes to �nd companies who are interested in your type of music; then read the listings for details on how they want the music submitted. For support and help of all sorts, join a songw riting or other music industry industr y association (see the Organizatio Organizations ns section of this book) b ook).. Read everything every thing you can c an about songwriting songwr iting
(see the Publications o Interest section at the back o this book). alk to other songwriters. Tat’s a good start! How does Songwriter’s Market work? work?
Te listings in Songw in Songwriter’ riter’ss Market are are packed with a lot o inormation. It can be intimidating at �rst, but they are put together in a structu red way to make them easy to work with. ake a ew minutes to get used to how the listings are a re organized, organized , and you’ll have it down in no time. For more detailed inormation i normation about how the listings are a re put together, skip ahead ahea d to the Where Should I Send My Songs? section. Te ollowing are general guidelines about to how to use the listings: 1. READ THE ENTIRE LISTING to
decide whether to submit your music. Please do not use this book as a mass mailing ma iling list. list . I you blindly mail out demos by the hundreds, you’ll waste a lot o money on postage, annoy a lot o people, and your demos will wind up in the t he trash anyway. Tis will wil l tell you what kind o music the company is looking or. or. I they t hey want rockabilly rockabil ly only and you write heavy metal, don’t submit to that company. Tat’s just common sense.
2. PA PAY Y CLOSE ATTENTIO ATTENTIO N TO THE “MUSIC” SECTION IN EACH LISTING.
3. PA PAY Y CLOSE ATTENTION TO SUBMISSION INSTRUCTIONS shown under How to Contact
and ollow them to the letter. A lot o listings are very par ticular about how they want submissions packaged. pack aged. Pay close attention. I you do not ollow their instrucin structions, they will wi ll probably throw your submission in the garbage. I you are conused about their directions, contact the company or clari�cation. 4. IF IN DOUBT, CONTACT CONTACT THE COMPANY COMPANY FOR PERMISSION TO SUBMIT. Tis
is a good general rule. Many companies don’t mind i you send an unsolicited submission, but some will want wa nt you to get special prior permission rom rom them. Contacting a company �rst is also a good way to �nd out their latest music needs. Tis is also a chance to brie�y make contact on a personal level.
5. BE COURTEOUS, BE EFFICIENT AND ALWAYS ALWAYS HAVE A PURPOSE to
your personal contact. Do not waste their time. t ime. I you call, always a lways have a reason or or making maki ng contact— permission to submit, checking on guidelines, ollowing up on a demo, etc. Tese are solid reasons to make personal contact, but once you have their attention, do not wear out your welcome. Always be polite.
6. CHECK FOR A PREFERRED CONTACT. CONTACT. A lot o listings have a
designated contact person shown afer a bolded Contact in the t he heading. Tis is the t he person you should contact contact with questions or to whom you should address your submission.
3
HOW TO USE SONGWRITER’S MARKET
Tis part o the listing provides extra inormation on how to submit or what it might be like to work with the company. Tis is just the beginning. begin ning. For more detai detailed led inormation about the listings, see the next section— sect ion— Where Should I Send My Songs?—and check out the sidebar with the sample listing called A Sample S ample Listing Decoded.
7. READ THE “TIPS” SECTION.
FREQUENT FREQUE NTL LY ASKED QUEST QUESTIONS IONS
How do these companies get listed in the th e book anyway? No company pays to be included—all listings are ree. Te listings listi ngs come rom a combination o research the editor does on the music industry and questionnaires requested by companies who want to be listed (many o them contact us to be included). All questionnaires questionna ires are screened or or known sharks and to make ma ke sure they meet our requirements. requirements.
Why aren’t other companies I know about listed in the book? We may have sent them a questionnaire, but they did not return it, were removed or complaints, went out o business, speci�cally asked not to be listed, could not be contacted or an update, etc.
What’s the deal with companies that don’ don’tt take unsolicited submissions? In the interest o completeness, the editor will sometimes include listings o crucial music companies and major labels she think t hinkss you should be aware o. We want you to at least have some idea o what their policies are.
A company said in their listing that they take unsolicited submissions. But my demo came back unopened. What happened? Some companies needs’ change rapidly rapid ly and may have changed since we contacted contacted them t hem or this edition o the book. Tis is another reason why it’s ofen a good idea to contact a company beore submitting. So that’s that ’s it. You You now have the power at your �ngertips � ngertips to go out and a nd become the t he proessional songwriter songwr iter you’ve you’ve always wanted wa nted to be. Let us k now how how you’re you’re doing. Drop us a line at marketbooks@wmedia.com and and tell us about any successes you have had because you used the materials ound in this book.
Don’t forget your webinar! o access the t he webinar that is included with your book, go to w ritersmarket.com/20 ritersmarket.com/2012sm 12sm and learn how to �nd new placements or your music.
4
GETTING STARTED
W H E R E S H O U L D I WH SEND MY SONGS?
It depends a lot on whether you write wr ite mainly or yoursel as a perormer, or i you only write wr ite and want wa nt someone else to pick up your song or his or her recording recording (ofen the case in i n countryy music, or example). tr example). Are you mainly a perorming perormi ng songwriter songwr iter or a nonperorming nonperorming songwriter? Tis is important impor tant or �guring �guri ng out what kind o companies to contact, contact, as a s well as how you contact them. (For more detail, skip to the Submission Strategies section.)
What if I’I ’m a nonperforming songwriter? Many well-known well-known songwriters songwr iters are not perormers perormers in their t heir own right. Some are not skilled ski lled instrumenta instr umentalists lists or singers, but they understand understa nd melody, melody, lyrics and harmony and how they go together. Tey can write great gre at songs, but they need someone else to bring their music to lie through skilled sk illed musicianship. musicianship. A nonperorming nonperorming songwriter songwr iter will usually u sually approach music publishers publishers �rst or access to artists ar tists looking or songs, as well as artists’ managers, their producers, and their record companies. On the �ip side, many incredibly talented musicians can’t ca n’t write to save their lives and need someone else to provide them with good songs to perorm. (For more details on the different ty pes o companies and the roles they play or nonperorming and perorming songwriters, see the section introductions or Music Publishers, Record Companies, Record Producers, and Managers & Booking Agents.)
What if I am a performing per forming songwriter? Many amous songwriters are also amous perormers. Tey are skilled skil led interpreters o their own material, and they also know how to write to suit their own particular talents as musicians. In this case, their t heir intention intention is also usually usua lly to sell themselves as a perormer in hopes o recording and releasing an album, or they have an album and want to �nd gigs and people who can help guide
WH ER E SH OU LD I SE ND MY SO NG S?
T YPES OF MUSIC COMPANIES
• MUSIC
PUBLISHERS —evaluate
songs for commercial potential, fi nd artists to record them, finds other uses for the songs such as film or TV, collects income from songs, protects copyrights from infringement • RECORD
COMPANIES —sign
art-
ists to their labels, finance record-
their careers. Tey will wil l usually usual ly approach approach record compacompanies or record producers producers �rst, on the basis of recording an album. For gigs and career guidance, they talk to booking agents and managers. A smaller number also al so approach publishers in hopes of getting others to perform their songs, much like nonperforming songwriters. song writers. Some music publishers in recent years have also taken on the role of developing artists artis ts as both songwriters and performers, or are connected to a major record label, so performing songwriters might go to them for these reasons.
ings, promotion and touring, releases songs/albums to radio and TV • RECORD PRODUCERS —works in the studio and records songs (independently or for a record company), may be affi liated with wit h a particular artist, sometimes develop artistss for record labels, locates or artist co-writes songs if an artist does not write their own • MANAGERS
&
AGENTS —works
BOOKING
with artists to
manage their careers, fi nds gigs, locates songs to record if the artist does not write their own
6
How do I use Songwriter’s Market to narrow my search? Once you’ve you’ve identi�ed whether you are primarily primari ly interested in getting others to perform your songs (nonperforming songwriter songw riter)) or you perform your own songs and want a record deal, etc., there are several steps you can take: 1. IDENTI FY WHAT KIND OF MUSIC COMPANY YOU
Based on whether you’re a performing or nonperforming songwriter, song writer, do you want to approach a music publisher for a publishing deal? dea l? Do you want to approach approach a record producer because you need someone to help you record an album in the studio? Maybe you want to approach a producer in hopes that an act he’s performing needs nee ds songs to complete his album.
WISH TO APPROA APPROACH. CH.
Maybe you need a manager located close by. by. Maybe you need to �nd as many Nashville-based companies companie s as you can because you write country music and most country publishers are in Nashville. Nashvil le. In this case, start with the Geographic Index. You You can also tell Canadian and foreign listings by the icons in the t he listing listi ng (see “A “A Sample Listing Listi ng Decoded” on the next page).
2.
CHECK FOR COMPANIES BASED ON LOCATION.
3.
Some companies want country. Some record labels want only punk. Read the listings carefully to make LOOK FOR COMPANIES BASED ON THE TYPE OF MUSIC THEY WANT. WANT.
sure you’re you’re maximizing maxim izing your time and sending your work to the appropriate markets. 4.
ADDITIONAL RESOURCES
LOOK FOR COMPANIES BASED ON HOW OPEN
Songwriter’s Market lists music pub-
Some companies are more open than others to beginning artists and songwriters. Maybe you are a beginner and it would help to approach these companies f irst. Some music publishers are hoping to find that wild card hit song and don’t care if it comes from an u nknown wr iter. Maybe you are just starting out looking for gigs or record deals, and you need a manager willing to help build your band’s career from t he ground up.
lishers, record companies, producers
THEY ARE TO BEGINNERS.
and managers (as well as advertising firms, play producers and classical classic al performing arts organizations organizations)) along with specifications on how to submit your material to each. If you can’t c an’t find a certain person or company you’re interinterested in, there are other sources of information you can tr y. The Recording Industry Sourcebook, an annual directory published
by Norris-Whitney Co mmunications, A SAMPLE LISTING LIST ING DECODED
lists record companies, music pub-
What do the little symbols sym bols at the beginning of the listing mean?
lishers, producers, and managers, as
Tose are called cal led “icons,” and they give you quick information about a listing with once glance. Here is a list of the icons and what they mean:
dia, manufacturers, distributors and re-
well as attorneys, publicity firms, mecording studios around the U.S. Trade publications such as Billboard or Variety, available at most local libraries libr aries and
Openness to Submissions begin ners’ subS means the company is open to beginners’ missions, regardless of past success c ompany is mostly interested in T means the company previously published songwriters/well-established acts*, but will consider begin ners U these companies do not want submissions from beginners, only from previously published songwriters/well-established acts t his icon only accept mateR companies with this rial referred by a reputable industry source
bookstores, bookstor es, are great great sources for up-todate information. These periodicals list new companies as well as the artists, labels, producers and publishers for each song on the charts. CD booklets can also be valuable sources of information, providing the name of the record company, publisher, producer and usually the manager of an artist or group. Use your imagination in your research, and be creative—any contacts you make in the industry can only help your career as a songwriter. See the Publications of Interest section.
7
WH ERE SH OU LD I SE ND MY SO NGS ?
TYPES OF MUSIC COMP COMPANIES ANIES
•
MUSIC PUBLISHERS —evaluate
songs for commercial potential; potential; find artists ar tists to record
them; find other uses for the songs, such as film or T V; collect income from songs; protect copyrights from infringement •
RECORD COMPANIES —sign
artists to their labels, finance recordings, manage pro-
motion and touring, release songs/albums songs/albums to radio and T V •
RECORD PRODUCERS —work
in the studio s tudio and record songs (independently or for a
record company)—may company)—may be affiliated with a particular artist, artis t, sometimes develop artist artistss for record labels, locate or cowrite songs if an artist do es not write his or her own •
MANAGERS & BOOKING AGENTS —work
with artists to manage their careers, find
gigs, locate songs to record if the artist does not wr ite his or her own
Other icons
A means the listing is Canadian loc ated outside of of the U.S. and Canada E means the market is located L means the market is new to this edition J means the market places music in �lm/TV
EASY-TO-USE REFERENCE ICONS E-MAIL AND WEBSITE INFORMTION TERMS OF AGREEMENT DETAILED SUBMISSION GUIDELINES WHAT THEY’RE LOOKING FOR INSIDER ADVICE
T RUSTIC RECORDS 6337 Murray Lane, Lan e, Brentwood, Brentwoo d, TN T N 37027. 37027. (615)371 (615)371-8397 -8397.. Fax: Fax : (615)370-0353. (615)370-0353. E-mail: rust
[email protected]. Website: www.rusticrecordsinc.com. President: President: Jack Schneider. Executive VP & Operations Manager: Nell Schneider. VP Publishing and Cata log Manager: Amanda Mark. VP Marketing Marketi ng and Promotions: Ross Schneider. Videography, Videography, Photography, Photography, and Graphic Design: Wayne Wa yne Hall. Image consultant: Jo Ann Rossi. I ndepende ndependent nt traditional country music label and music publisher (Iron Ski llet Music/ ASCAP, ASC AP, Covered Bridge/ BMI, Old Town Town Square/ SESAC). Estab. 1979. 1979. Staff si ze: 6. Releases 2-3/year. 2-3/year. Pays negotiable royalty to artist s on contracts; statutory royalty to publisher per song on record. DISTRIBUTED BY CD CD
HOW TO CONTACT Submit
professional demo package by mail. Unsolicited submissions are OK. CD only; no mp3s or e-mails. Include I nclude no more than 4 songs with wit h corresponding lyric lyr ic sheets and cover letter. Include appropriately sized SASE. Responds in 4 weeks. Good combination of traditional and modern country . 2008-09 releases: Ready to Ride—debut Ride —debut album from f rom Nikki Nikk i Britt, featu ring “C-O-W-B-O-Y,” “C-O-W-B-O-Y,” “Do I Look Like Him,” “Long Gone Mama,” and “I’m So Lonesome I Could Cry.” MUSIC
TIPS “Professional
8
Baby.com and available on iTunes, MSN Music, Rhapsody, and more.
demo preferred.”
AR TI TICL CL ES � IN TE TERV RV IE WS
HILLARY SCOTT
SESAC Songwriter of the Year by Annie Downs
Hilla ry Scott is best known as “the lady” from Lady Antebellum, Hillary country music’s hottest trio. With four number one hits (“Run to You”, “Need You Now”, “American Honey”, “Our Kind of Love”), six Grammy Awards, and numerous CMA, AMA, and ACM Awards, Lady Antebellum has sealed their spot in music history. Tey have have toured with many of country’s greatest stars, includingg Martina includin Marti na McBride, Kenny Chesney, im im McGraw, and Keith Urban. Tey are now headli headlining ning tours themselves. themse lves. Crowds are pouring into venues around the country to hear the songs that the audience knows by heart. What is lesser known about Hillary is her many accomplishments as a songwriter. At just twenty-four years old, Hil Hillary lary has already a lready garnered much praise pra ise for her writing w riting ability, including being crowned SESAC Writer Writer of the Year in 2008 and 2010. Hillary Hillar y cowrites with her bandmates, Charles Kelley and Dave Haywood, but she also has penned songs with om om Douglas, Dallas Dalla s Davidson, Miranda Lambert, Lamber t, Dave Barnes, and Luke Laird, just to name a few. A young, fresh voice in this historic hi storic genre, Hillary’s songwriting songwriti ng continues to grow and evolve as her career and relationships do the same. She is rede�ning the world of female songwriters, songwr iters, and we are bene�ting from it. Greatly.
Do you enjoy cowriting or do you write better songs alone? I love cowriting. I like that it is collaborative. I like that t hat it is not just your voice and your life experiences. ex periences. You can pull from someone else’s. For me, because I don’t play an instrument well, it’s better for me to write with someone who can.
HILLARY SCOTT
When you started sta rted writing wri ting songs, how did you do that? Since you don’t play p lay… … I would write some by mysel—I play play a little guitar gu itar and piano—but I would also write with high school riends. I remember the �rst song I wrote-—I was six or seven. I wrote it with one o my riends. My story is a little different. I started working with Victoria Shaw when I was sixteen, and started writing when I was seventeen. I had someone mentor me, take me under her wing, and teach me. So a lot o my �rst writing sessions were like going to school. I had never proessionally written beore, and I would be in a room with two amazingly talented ta lented songwriters. songwriters. I would always give input, like, “I would say it like this” or “I wouldn’t say that.” You have to be honest when you write—you can’t sing something or say something that you don’t don’t eel. But I had a mentor who taught me how to do that well.
What makes a good cowriter? A lot o it has to do with being bei ng compatible with the t he person. Being able to carry ca rry on a good conversation brings connection. Other times, there are people that aren’t easy to connect with—you can’t talk or hours and hours about lie—but you start to play music and putting words to that music, the connection comes and it is real ly special. For me, a good cowriter is someone s omeone who listens—I’m always going to come in and a nd talk about what is going on and what is inspiring me. And I like to hear what is going on with them t hem as well—so an open-hearted person. person. Someone who will bear it all al l at times, lyrica lyrically, lly, because I just appreciate honesty. Dave Haywood [member [member o Lady Antebellum] is one o my avorite cowriters. He is a very melodic guitar player and a very melodic piano player. And or me, me, since I don’t play an instrument instru ment well, to have someone like him who does play well and has a really special way o playing those instruments, it opens up a lot o different vocal melodies or direc tions that you could go with the instrumentation. It’ss talent, but it is also It’ a lso chemistry. chemistr y.
So can you teach someone to write wri te a great song? I think you can teach someone to get better at writing songs. Anyone can read a book and learn, but I truly believe that it is a gif. But it is a gif that you can improve, that you can hone and make better. be tter. It’ss like It’ li ke a muscle—i you don’t write or two months, you are out o shape—you get rust y.
How often is personal experience involved in your songwriting? Probably 90 percent o the time. I don’t eel comortable writing songs about things I do not know about or haven’t experienced �rsthand. Tat’s the other thing about cowriting. We can start to tal k about someone someone else’s lie experiences, so you can see rom someone else’s point o view. v iew.
40
ANNIE DOWNS
Te best example exa mple is that I don’t know how to write a song about how to change the world because I am just trying tr ying to love people and treat them t hem well. I’ve been in love, I’ve been out of love, but I’m not going to write a huge political statement about how we should change the t he world. I’m I’m only twenty-four years old. Tere are many people p eople who are smarter and know k now more about about that than tha n I do. I would rather write about what love has been for me. And what brokenness, hearthear tbrokenness, has been for me. Te songs I look back at from over the years, the ones I gravitate toward and love, are the ones that expressed how I felt in a moment or a situation better than I ever could.
So when you write a song, are you thinking about yourself yourse lf performing performi ng it? Not really. I get into the story more when writing the song. s ong. I get lost in it. If it is about something I personally have been through, I will go back there. I will go back to that place. It takes a willing wil lingness ness to re-feel emotions. You You have to allow yourself yoursel f to go there again even if you are in a different place now. I am in love today, but tomorrow, we might write a song about being heartbroken, hea rtbroken, and I have to let myself go back to that place to pull from those emotions. It’ss the same for performing. It’ performi ng. “Need You You Now” is the furthest furt hest thing thi ng from my personal life, but every night n ight I have to �nd those old emotions to feel what I’m singing.
Which do you prefer, then? The songwriting or the performing? per forming? Songwriting, for sure. Tere is nothing better tha n being there and helping create a song from the infantile stages. stages . Performing is a very rewarding feeling, especial ly when people know the words and sing along. But the actual songwriting, the song creation process, is what I love the most.
Do you know a great song when you write it? For example, did you know “Need You Y ou Now” would be a huge hit? No, honestly. We liked “Need You Now”. I remember that—I remember liking it. But it wasn’t until we got into i nto the studio and got into preproduction, where we work out out the arrangea rrangements, when it really took on a life li fe of its own. Tat song is special. spec ial. It is a combination of a relatable lyric, a singable melody, and the instrumentation exudes so much emotion. We have have our producer and the musicians to t hank for that.
The three of you [in Lady Antebellum] write songs all the time. So how do you decide what is a good song and what wha t is a great song? Because we write, record, and perform these songs—you know pretty quickly when you put an arrangement behind a song and put our voices on it. It makes itself evident what works and what does not work. Everyone says, “Te last thing you write is your
41
HILLARY SCOTT
favorite” because it is what is fresh, but that isn’t always the case when you get into a studio environment. Sometimes a song is better acoustic; sometimes it needs a full band to take it to the next level. Tere are times you just know—when the song is something you love and believe in and the power is undeniable. Tere are other times, like “Need You Now”, that it wasn’t until we recorded it that we knew. knew. And that was literally litera lly the last song we played for the label when we were making the record—and it ended up being the single and changed our career!
Are there advantages to being a female songwriter? Yes. I think thi nk we have more freedom and can take ta ke more liberties with wit h our emotions—to not be ashamed or afraid to say that we are feeling emotions. We can also be strong. Women can be strong in songs. We can in our everyday lives, but there is something so empowering about singing a song. For example, I wrote “Long Gone”, G one”, a song from our �rst album, before Lady Antebellum ever formed. Every night I sing that song from stage, it is t he most empowering moment— ment — I am able to say these t hese things thi ngs in a song that I never had the guts g uts to say to the dude’s face. Like, “I’ “I’m m long gone. You You missed the t he boat. Our ship has sailed.” sa iled.” I would never have the guts to look at a boy and say, “OUR “OUR SHIP HAS SAILED” and slam the t he door in his face. So you have the opportunity opportunit y to be really honest and really real ly strong and gutsy.
What is your biggest moment as a songwriter thus far? When “Need You Now” won the 2011 Grammy for the Song of the Year, because that award honors the writer of the song. But, you know, the other thing that is right up there was at the CM Artist A rtist of the t he Year Year Awards in 2010. Adele Adele and Darius Rucker sang “Need You You Now”. Now”. We got to sit in the audience and listen. It was really cool to have your song performed to you. I am so used use d to performing it myself that t hat when that happened, that was a really cool moment. As a songwriter, hearing it and it not being our voices but someone else’s else’s in�ection in�ect ion and delivery, that was amazing.
Will you write songs after your performance career slows down (if it ever does)? For sure. Tat has always been my plan.
Thinking into in to your future as a songwriter, songw riter, what are some goals you have? I would love to write with other artists ar tists for their projects. I would love to write music for a movie or a soundtrack. We [Lady [Lady Antebellum] had the opportunity to write songs for a movie one time, and it was so neat to be given thirty pages of the script and a synopsis of the �lm � lm and have to write about it. It mixes up the everyday routine of just sitting down and writing a song. It was fun, like a puzzle. You are given tools, information, and hints to make the songs speci�cally about the �lm.
42
ANNIE DOWNS
What would you say to new songwriters who are looking to make it in the industry? Come to Nashville and ma ke friends. Write with people. Tis is such a friendly place— it’ss like it’ li ke one big neighborhood. Tat’s one of the coolest t hings about Nashville—the Nashvil le—the songwriting community. Tere isn’t isn’t anywhere like this. Nashville is in a league of its own as far as cowriting goes; there are so many collaborations. collaborations. Te songwriting community in Nashville unites together and supports each other. So I would say, move to Nashville and make friends fr iends and write and continue to write on your own, but get out and write with your friends.
What about the people pe ople who don’t want to write country countr y music? Is Nashville still the town for them? th em? Hands down, yes. For sure. It’s Music Music City. Not Country Countr y Music City. Tere are tons of rock writers—lots of rock bands are coming out of here; there’s a huge Christian market, a huge alternative/indie/singer-songwriter scene. Tere is everything. I de�nitely think it is the t he place to be.
t r a w o C y m e r e J : O T O H P
ANNIE DOWNS is
a freelance writer in Nashville, Tennessee. With several Bible studies and many articles under her literar y belt, Annie also writes books for teen girls and women braving college and the years after. Her first book, From Head to 2010. 0. She is a huge fan of the Internet, singer/songwriters, wafFoot, released in 201 fles with peanut but ter ter,, and sports spor ts of all kinds, especially four square. Read more at annieblogs.com.
43
WRITING REFERENCE
The Most Trusted Guide to Songwriting Success For 35 years, Songwriter’s Market has provided the most complete and up-to-date information songwriters need to place their songs with music publishers, record companies, record producers, managers, booking agents, music firms and more. In the 2012 edition you also gain access to: •
Hundreds of songwriting placement opportunities
•
Power-packed articles on taking charge of your career—including how to navigate the constantly evolving world of social media and discover alternative routes to songwriting success
•
Listings for songwriting organizations, conferences, conferences, workshops, retreats, colonies, contests, and venues (a brand new addition to the listings; a helpful tool for indie artists booking their own tours)
Take charge of your songwriting career today with the 2012 Songwriter’s Market.
Includes an exclusive 60-minute FREE WEBINAR with music licensing expert Sarah Gavigan that will teach you how to find new placements for your music (see the “How to Use Songwriter’s Market ” section for URL access details).
“Songwriter’s Market is is a valuable resource for songwriters, especially those living away from traditional music centers. It’s stuf fed full of useful information.” — Pat Pattison, author of Songwriting Without Boundaries and and Writing Writing Better Lyrics
“Learn how to create buzz as an artist. This is an excellent resource to determine the kind of entrance you want to make into the world of singer-songwriters.” —Amy Stroup, indie artist, The Other Side of Love Sessions
US $29.99 Visitt WritersMarket.com to sign up for a free e-newslet ter Visi ter.. Be sure to check out WritersMarket.com, WritersDigestShop.com , and WritersDigest.com for more helpful resources.
X969 X9 693 3
(CAN $31.50)
ISBN-13: 978-1-59963-232-2 ISBN-10: 1-59963-232-2
52999 N A E
C P U
0
D V B o A y Y S E B F L e y I E l 9 w A u T = s M l Z T A 2 R D 3 M J n b Q l v z d i k T M j P G l b C N j U h M v c a p n s z W 2 9 w E W 2 1 J 5 M a z X Z y 2 Q B A D M k E 0 d y s 4 V B Y Z M S 2 0 1 n 1 r W V l U Y E 9 0 1 2 3 4 J S n c F L 0
35313 65324
7
9
A y L k V o B B x l e = S u Y I s 2 A E = 9 y I z n J M l A y 4 Z M y G R u N 3 A l b v h b T N j A M d i k P 2 E c s W T N k l M 5 v N x J Z 5 p a s i 4 d k E N g z 2 a W X B y 1 S V 0 A 2 5 Q M x 0 r 9 l V Y s 4 w Z 2 n c L J S T V W i U 1 Y 0 F 0 n 1 2 3 4
781599
632322
