1) Verb tenses changing or going back and forth in a weird way. This is one of the mistakes I see most often when critiquing song lyrics. Switching between past, present and future can really mess your lyric up if you are not super clear about what is going on. Let someone else read your lyric and have them tell you what they think is going on. They will often express confusion if your tenses are messed up.
Let me tell you a tale of two cowrites, both from my early “pro” days. First… the bad cowrite.
I was signed with Major Bob Music at the time, and “Monday Morning Church” had recently been a top 5 country hit for Alan Jackson. But in spite of having a publishing deal and a hit under my belt, I was still pretty much a newbie trying to figure things out. (I still feel that way to be honest.) Anyway, Major Bob hooked me up to cowrite with a legit hit songwriter. This guy had many cuts and hits to his credit, and I was honored to get in a room with him.
One of the things we are involved in more and more are open mics, talent shows, writers nights, open stages, etc. Some are poorly organized, just a few people getting together, doing a few cover songs for the other writers in the audience waiting their turn, some are very rigidly organized and controlled. Some are "show up and get on stage" many have a long waiting line to get on and are very sought after. They all are important on our way to testing out our material and abilities.
Ask a Music Lawyer: Is the Poor Man's Copyright Enough to Protect Your Songs?
The traditional "poor man’s copyright" is a practice where you take a work you've created, put it in an envelope, and mail it to yourself via the United States Postal Service. Because the Postal Service would stamp the envelope with a postmark that had the date of mailing, it's argued that the date on the envelope proves that the work was created on or before that date. Otherwise, if you hadn’t created it yet, how would you have mailed it to yourself?
The landscape of the music industry, though constantly changing, remains steady on several key ingredients that consistently produce the songs we hear every day. Reversing the steps from songwriting to radio-ready, one element we tend to see commonly is the collaboration of several songwriters. While there is no concrete outline to achieve a successful chemistry in this type of writing, there are a number of things a solo writer will want to take into account before setting out to broaden the scope of possibilities as a co-writer.
I ran across this on the MusicConsultant.com website. Great points if you want to make a living as a songwriter and musician in Nashville.
Build a solid business foundation.
Figure out how money is made in this industry and how publishing works. Register with ASCAP, BMI or SESAC and SoundExchange. Make sure you have a business entity established and trademark your name.
I’ve been asked several times about my experiences in Nashville. So, from the prospective of a fledgling songwriter, who lives 2500 miles from Nashville, and who tries to make the trek a couple of times a year, here’s what I discovered.
When you come to Nashville, if you want to make connections in the music industry, don’t go around handing out CDs of your music to anyone who will take one. It will make you look like an amateur and you won’t be taken seriously. There are many, many singers and writers and people in the music business are too busy to listen to something from a total stranger. It won’t be easy to get heard, but it will be a little less difficult if you use the right approach.
Southern California born singer/songwriter Chris Iverson picked up a guitar at nineteen, wrote his first song three months later and continues his songwriting journey today some 700 songs down the line.