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Inspirations For Songwriters (I F S)
IFS aims to INSPIRE YOU into ACTION
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DID YOU KNOW THAT All IFS messages are archived on
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Once you're in the IFS archive, if you're looking for something in
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Wanna know the easy way to find the IFS home page?
Type in
www.SongwriterBlog.com
or
www.SongwritingBlog.com

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Dear IFS Friends,

I hope this email finds you well.
What's new with you and your songwriting?
Let me know I'm always looking for great things to write about.

Here's a few of my updates

I'm going to spend much of this weekend at the ACL Fest in Austin.
www.ACLFest.com
say hi if you see me there.

I've got 3 cuts coming out with Jen Rathbun,
www.JenRathbun.com
They happened because I started writing songs with her about a year
ago. We've written 6 or 7 songs now.
Her CD release party is Sat Oct 2nd in Houston.
I plan on being there and I hope to see you there.

I've got several other cuts in the works,
but I tend to not say much about them till
they are recorded and the CD is pressed.
Till it's WAL-Marted.

Here's some info that might help you

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FILM MUSIC JOB NEWS
August 2, 2004

===================================

TOP FIVE COMPLAINTS FROM JOB POSTERS ABOUT SUBMISSIONS

One of the things we discuss with the music supervisors, filmmakers,
and producers who place job listings with the Film Music Network is
their level of satisfaction with the submissions they receive. The
good news is that the overwhelming majority of job posters are
thrilled with the amount and type of submissions they receive - in
fact, between 70 and 80 percent of our jobs posted are filled with
someone who submitted from a Film Music JobWire listing.

When we asked our job posters what things members could do to improve
their chances of getting hired or their music licensed for jobs, we
got a lot of answers! But in the end, we boiled it down to the five
most common complaints of job posters - basically these are "turn-
offs" where if the job poster sees this kind of thing, it makes them
less likely to consider the person submitting. They are:

#1 - SUBMISSION NOT IN THE SPECIFIED MUSIC GENRE/STYLE - Posters hate
it when they advertise for one type of music, yet receive CDs for
other types. There is absolutely no point in trying to impress
someone with your "wide variety" of skills when they're looking for a
very specific musical style or genre. It tends to be perceived as a
lack of respect for the poster in that the submitter seems to be
ignoring what is requested (muscially) and instead sends whatever
music they think is "their best" hoping it will generate a positive
result. In conversations with music supervisors especially, this was
a real turn-off to the extent that in some cases, they no longer even
bother to listen to submissions by some people who they've seen do
this again and again.This was the top complaint of job posters.

Solution: Always submit music as close to the musical genre/style as
is possible. If you don't have that type of music, save your energy
(and money) and submit for other postings that better match your
musical

#2 - POOR PRODUCTION QUALITY/"DEMO" RECORDINGS SUBMITTED - Most of
our job postings are for immediate music needs, and many times there
simply isn't time available to go back and request a finished quality
recording from someone submitting for a job. With today's top digital
samplers, the bar has been raised quite high in terms of the quality
and level of production values that are expected, to the point that
in our industry submitting "demo quality" recordings is no longer
practical.

Solution: Always submit finished quality music, and avoid low-
resolution or demo quality recordings. Your music will be listened to
and judged as if it were finished quality.

#3 - TOO MUCH MUSIC SUBMITTED - Ideally submitting between 1 and 10
tracks on a single CD is a good fit for today's music supervisors who
have very limited time available to listen to submissions. Sending
huge CDs (10+ tracks) or even worse sets of CDs quickly gets your
music not listened to - the supervisors simply don't have the time.

Solution: Submit your best music, no more than 10 songs/cues/tracks.
If the supervisor wants to hear more, they'll contact you and request
it. TIP: Make the first 5-10 seconds of each track compelling enough
to entice the listener to hear the remainder of the track. It's
during the first 5-10 seconds that a listener typically decides
whether to skip the track or listen to more of it. Avoid repetitious
or unexciting intros to music - get to the heart of the music quickly
in the track. You can always create a version later with an intro,
etc..

#4 - INADEQUATE OR UNCERTAIN CONTACT INFO - Believe it or not, people
often do not include adequate contact information that is easily
identifiable and allows for quick contact between a job poster and a
submitter if the poster is interested in hiring or licensing music
from the submitter. Burying the contact info in small print on the
inside liner card of the CD case is not a good idea!

Solution: Always list your name, phone, and email on the CD itself
and on the front cover of the CD packaging. Make it easy to read, and
avoid burying it along with other information. TIP: Include your cell
phone number if you can, as the need to make immediate contact is
typical of job posters. Also, put your CD in a standard jewel case
with your name showing through the spine in large letters so when the
CD is placed on a bookshelf along with others, it can easily be
identified. Avoid "slimline" CD cases as there is no way to identify
the CD once it's placed on a bookshelf and all you can see is the
spine.

#5 - UNPROFESSIONAL SUBMISSIONS - This covers a variety of other
problems with submissions that negatively affect the perception of
the composer or songwriter submitting. Specifics include:

* Cover Letters with Inappropriate/Unprofessional information - this
includes information such as strongly worded "warnings" from the
submitter about how well their music is protected and what penalties
the job poster will endure should he/she use the music "without
permission", unnecessary and/or inappropriate personal information
such as age/political preferences/how much a submitter "wants the
job", etc.

* Weird Art or Pictures - this especially includes CD covers or song
titles with sexually explicit or profane art or language.

* Misspellings and grammatical errors - often makes the writer look
amateurish and inexperienced.

* Sloppy Artwork - If your artwork is not great quality, consider
just having text on your CD cover and label - for music supervisors
and filmmakers, it's not necessary to have snazzy pictures that would
attract CD buyers in a music store.


2003-2004 Music Supervisor Directory
http://store.yahoo.com/fmstore/20mussupdir.html

-------------------------------------

We hope you found this week's Film Music Job News helpful, and
welcome any feedback at jobfeedback@....

=====================================================
(c) 2004 Film Music Media Group, Inc.
Note: This information is posted as news only and no endorsement is
made
of the job opportunities or information contained herein.
=====================================================
Film Music Channel - Industry Webcasts, News, Music and Information
http://www.filmmusicchannel.com
MusicForYourFilm.com - Music Resources for Filmmakers
http://www.musicforyourfilm.com
Film Music Magazine - The Professional Voice of Music for Film and
Television
http://www.filmmusicmag.com
Film Music Network - Bringing the Film Music Community Together
http://www.filmmusic.net
Film Music Institute - Education for the Digital Age
http://www.filmmusicinstitute.com
Film Music Store - Books, CDs, and Information for the Industry
http://store.yahoo.com/fmstore
Film Music Directory - Listings for Industry Professionals,
Companies, and More
http://www.filmmusicmag.com/links/pages/
Film Music FAQ - Frequently Asked Questions About the Industry,
Contracts, Rates, and More
http://www.filmmusicmag.com/faq/

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WRITING FROM THE HEART

By Jason Blume

In beginning my seventh year of teaching the BMI Nashville Songwriter
Workshops I've been reflecting back over the years. I'm excited to
report that some of my students are well on the road to achieving the
successes they've dreamed of and worked so hard for. In the past
year, I've had students sign staff writing deals and get their first
cuts with artists including Randy Travis, Martina McBride, Reba
McEntire, and Lila McCann (and believe me nothing can compare with
that first time!) I also had a student sign a major production and
publishing deal with one of Nashville's top decision-makers. So,
what's the lesson here? That success is NOT impossible even though
it sometimes feels as if it is.

Those writers and artists who are currently basking in their
successes spent years honing the tools and techniques that are
consistently found in successful songs. They worked hard to master
their craft, remained open to feedback, rewrote their songs and most
importantly, were willing to risk writing from a vulnerable, genuine
place within their hearts. Yes, writing from the heart matters even
when we're writing commercial songs.

Yesterday, I heard Bonnie Raitt's voice coming out of the radio
singing "I Can't Make You Love Me." I remembered what it feels like
to be deeply and profoundly affected by a song and I resolved to
encourage writers to be vulnerable and to express feelings that
matter to them.

One of the shortcomings I've most frequently noted in the hundreds,
if not thousands, of songs I've critiqued is that they sound as if
their hungry, aspiring writers are chasing the radio by trying to
craft what they believe the powers that be are looking for. It
occurred to me that I rarely critique songs that sound as if they
emanated from deep within a writer's heart; songs that needed and
even demanded to be written. Instead, I hear craft; perfectly
written songs that evoke no genuine emotion in me. Don't get me
wrong; craft is important -- I'd even go so far as to say that it's
crucial. But it's only part of the equation.

Writing from your heart doesn't necessarily mean writing only deep,
self-absorbed, autobiographical songs and hoping that millions of
others will relate. It means writing what you feel instead of
writing what you hope you can have success with. Our job as
songwriters is to communicate emotions not to disperse information.
Successful songs effectively evoke the emotions we hope to induce in
our listeners. Write because you love to write; because you need to
write and these will be the songs that touch and move people. Write
fluff when you feel fluffy; write fun, silly songs when that's how
you feel and write songs that break our hearts when yours is broken.

There seems to be this widespread misconception that country music is
built on clever, cutesy twists on words. While this was often the
case twenty years ago, the vast majority of today's biggest country
hits are based on honest emotion. Listen to the hits by Lonestar,
Faith Hill, Shania Twain, Tim McGraw, Diamond Rio, Keith Urban, Toby
Keith, Alan Jackson, Martina McBride and any of the other current
Nashville superstars and it's likely you'll hear songs that feel
real -- with lyrics and concepts that mattered to the writers.

While it's absolutely true that we need to find ways to distinguish
our music if it is to stand out from the pack, I promise that you can
still find unique, fresh ways to present your ideas without
sacrificing the emotion if you dig for them. Regardless of what
genre of music you write, write it from your heart and you'll have a
much better shot at reaching the millions of hearts we aim for.

PS. You're all invited to attend Jason Blume's FREE monthly BMI
songwriter workshops in Nashville. In addition to the lecture and
networking, each participant gets a constructive song critique or, on
alternating months, has an opportunity to pitch a song to a Music Row
publisher. The workshops fill up early and you've got to register in
advance by sending Michelle an e-mail to MWright@.... (And you
do not have to be a BMI member to attend.)

www.jasonblume.com

for additional info about the workshop dates, seminars, tips, and
info re: purchasing books and instructional CDs.

About Jason:

JPFolks mentor Jason Blume's songs are on albums that have sold more
than 45 million copies. He is one of only a few writers to ever have
singles on Billboard's Pop, Country, and R&B charts all at the same
time. Blume is the author of the best-selling 6 Steps to Songwriting
Success: The Comprehensive Guide to Writing and Marketing Hit Songs
and Inside Songwriting: Getting to the Heart of Creativity, both
published by Billboard Books. Visit his site at

www.jasonblume.com

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Molly-Ann Leikin has written themes and songs for thirty-five TV
shows and movies, including the Oscar-winning "Violet."

Molly said
"The songs in a film should be the sub-text, and
it shouldn't have anything at all to do with the dialogue, and
it SHOULD have to do with WHAT THEY DIDN'T SAY."

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PRWeb might help you.
http://www.prweb.com/

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Check out
www.CDBaby.org
It contains some excellent articles

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10 questions to ask before a collaboration, A 'business' guide
http://www.musesmuse.com/forums/index.php?showtopic=2578


First, I found out Jimmie Dale Gilmore will take only 22 students at
The Crossings in November. To date, 5 participants are registered.
We're confident his workshop will fill up fast as it has in the past.


Secondly, I'm resending the description for Jimmie Dale Gilmore's
SONGWRITING workshop. It's as follows:

November 14 19, 2004

Songwriting with Jimmie Dale Gilmore at Omega at The Crossings,
November 14 "19, 2004: Forging a style uniquely his own, Grammy-
nominee and Rolling Stone's Country Artist of the Year for two
straight years, Gilmore creates alluring, elusive, and deeply
resonant music that blends a lifelong interest in esoteric
philosophy, literature, psychology, and spirituality with elements of
country, folk, pop, blues, and rock music. This workshop, for
beginning and advanced songwriters, focuses on songwriting as a tool
for self-discovery. Tuition $360 (Accommodations fees
additional/Commuter options available). 877.944.3003 or
omegacrossings.com.

Thirdly, Jimmie Dale Gilmore will present a Tuesday Evening Sampler
Workshop at The Crossings on Tuesday, October 26 at 7:30pm. All
Tuesday Evening Workshop Samplers are free and open to the public. I
hope you will join us…and bring your songwriting friends with you!
To find out more, please visit our Events page at:
http://www.thecrossingsaustin.com/events/cat_tuesday.html

I look forward to meeting you soon.
Thanks for your support!

Warm Regards,

Teresa

Teresa M. Gross
Online Marketing Coordinator
The Crossings
p 512-258-7243 Ext. 4131
f 512-506-9737
www.omegacrossings.com
---------------------------
Growth. Balance. Sanctuary.
---------------------------

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check out to the Indie News
Indie-Music.com

they offer a twice-monthly newsletter for the independent musician,
with educational, promotional, and general information to help in your
quest for musical success.

Indie-Music.com - Where Serious Musicians Surf

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Write on!
Ande Rasmussen
Editor and Publisher of I F S, Inspirations For Songwriters

Contact info is:

Ande Rasmussen
835 Martindale Falls
Martindale, TX 78655
AndeRasmussen@...

You can read my Bio at:
http://www.AndeRasmussen.com/

You can hear a few of my tunes at:
http://songramp.com/ande
http://www.soundclick.com/anders

If you want receive IFS or change your email address with IFS
send an email to
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FORWARD IFS to your songwriting friends!

IFS home page is
http://groups.yahoo.com/group/DIFS

I F S stands for Inspirations for Songwriters,
I F S is an ezine for songwriters filled with
inspirational and practical information about
the art, craft, and business of songwriting.
We want to help YOU become a more successful songwriter.

COPYRIGHT INFORMATION
The entire text of
"Inspirations for Songwriters"
(c) 2004 Anders Rasmussen

Does anyone ever read IFS to the very end?