Songwriter Tips

This is an old article that I wrote about 20 years ago and it can almost be considered a historical document. I wrote it in 2001, and the industry has changed so much, but it is an interesting read from a historical point of view. Gives some perspective on the good old days….

SONGWRITING TIPS FROM THE 1990s

If there is one misconception I would like to pound out of every new songwriter's head, it's this You DO NOT sell your songs. Ever. Ever. Ever. Let me repeat that. You do not sell your songs ever. If you want to look like an amateur from Podunkville, go ahead and call up your favorite music label and tell them you have a bunch of songs you want to sell, and that you want to drop on by. You won't get past the receptionist who will think you are a dumbass. (And trust me, in the long run, you don't want the receptionists or secretaries or admins ever thinking you are a dumbass these people can be your best friends in the future. Keep that in mind. ALWAYS BE NICE TO THE SECRETARIES.)

So how does a genius such as yourself make money as a songwriter? Well, for the most part, you don't. It's an exceptionally tough business and only a small percentage of one percent of folks who call themselves songwriters actually make money at it. Yep, POP! I just burst your bubble. You most likely aren't going to get rich writing songs. So if you don't love it and can't appreciate the process, then you probably want to figure out a different line of work.

But, that doesn't mean that you can't be the small percentage of one percent to make it. The key is persistence, patience, having an open mind, being willing to listen and accept criticism, and the willingness and drive to learn the business and everything you can about it. And again, persistence.

If you are strictly a songwriter, you will make money via royalties. There are four types of royalties in the music business: Mechanical, Performance, Synchronization and Print royalties. This is how you will make money. You don't make money selling your songs.

Mechanical Royalties: These are royalties made from the actual recordings made. These cover tape recordings, music videos, ringtones, MIDI files, downloaded tracks, DVDs, VHS, computer games, musical toys, etc. If you get a song recorded, put on a DVD, and some of the DVDs are sold you will receive mechanical royalties from the song.

Performance Royalties: These come from the actual performance of the song whether on stage or television through artists and bands. These are monitored through performance rights agencies. An example of this would be you get one of your songs recorded, and the radio plays it or an artist performs it or even your favorite bar plays it for their patrons, you will receive a performance royalty. Performance royalties are monitored and tracked by performing rights societies, i.e., ASCAP, BMI and SESAC. These societies track the songs, collect payment for you and issue you checks usually every quarter.

Synchronization royalties: These are royalties from using or adapting a musical score for movies , television, commercials, etc. The history of synchronization royalties goes back to the time when music was first synchronized to go with movies. This is not something most songwriters are going to deal with, although it is something many composers will become familiar with.

Print Royalties: This is not as big of a money maker as it used to be. But this is from the sale of sheet music.

As a songwriter in today's world, you will be primarily dealing with Mechanical Royalties and Performance Royalties. These monies are distributed through a publisher (assigning publishing is a whole nuther can of worms!) in the case of mechanical royalties and a performing rights association in the case of performances.

So in a nutshell, if you are a songwriter (not a singer/songwriter), this is how you make your moolah. You never sell your songs! REMEMBER THAT!

-Julie O’Hara -2001

- Julie O'Hara 2023

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