\n<\/p>\n
Editor\u2019s Note<\/span>: This is Part 4 of a 4-part series on reinventing the songwriting camp with NYU\u2019s Clive Davis Institute and Songtrust. Check out Part 1<\/a> and Part 2<\/a>, and Part 3<\/a>.<\/em><\/p>\n <\/p>\n When NYU\u2019s Clive Davis Institute teamed up with Songtrust to rethink the songwriting camp model, we established ground rules that campers could apply not just to our camp, but to any of their future collaborations. By following them, campers can sidestep any challenges and get to the important thing\u2014songwriting.<\/p>\n You may know the saying, but in case you don\u2019t: If you’re early, you’re on time. If you’re on time, you’re late. If you’re late, you’re fired<\/em>.<\/p>\n I’ve interviewed some very big writers, and punctuality always comes up. Every time. Plan your trip to the session to take twice as long as you think it will. Be there early\u2026and hey: Bring snacks! Or bring something that can be left behind after you leave. Something thoughtful and non-promotional\u2014as in, flyers for your next show don\u2019t count.<\/p>\n Splits are the way you divide, or \u201csplit,\u201d the ownership of the song. There are two areas to consider on the songwriting side, the \u201cwriter\u2019s share\u201d and \u201cpublisher\u2019s share,\u201d and I won\u2019t get into all of that because it\u2019s easy to look up.<\/p>\n All I can do is strongly recommend that you mutually decide on \u201cNashville splits<\/span>,\u201d which is to say, split the song\u2019s rights evenly between the people in the room.<\/p>\n Before you say, \u201cYeah, but I did most of the work,\u201d or \u201cI came up with the coolest part,\u201d let me respond: It\u2019s not about the song. You\u2019re not negotiating for the rights of the song. You\u2019re negotiating a relationship you\u2019re hoping to have over the long haul. Don\u2019t get caught up on fractions of one song; keep your eyes on the many, many songs that could be possible as long as the relationship remains intact and fruitful. You may have done 70% of a given song, but you may give 40% of the fifteenth song you write.<\/p>\n Strong, strong recommendation: Work out even splits before the session starts.<\/p>\n (Here is a sample songwriting split sheet<\/a>, courtesy of Songtrust. Download it, print it, and sign it with your co-writers.)<\/em><\/p>\n Since everyone on the team is a stakeholder in the journey of the song, it\u2019s in everyone\u2019s best interest to give their best. \u201cGood enough\u201d is not \u201cgood enough\u201d in these situations. There\u2019s a very pernicious songwriting saying: \u201cIt\u2019s good enough for pitch.\u201d<\/em> This is another way of saying, \u201cIt\u2019s not good enough for me. So toss it at Addison Rae, or a Netflix show, or a sync agent, and maybe we\u2019ll get lucky.\u201d<\/em><\/p>\n Problem<\/span>: There\u2019s no shortage in supply of \u201cgood enough\u201d songs. And the pile you\u2019re throwing your \u201cgood enough\u201d song into includes songs from the biggest writers in the world.<\/p>\n Also: Turns out, the temptation to settle for \u201cgood enough\u201d decreases dramatically when the artist is staring straight at you.<\/p>\n Creative spaces require vulnerability, and introducing unnecessary distractions or uncomfortable situations can kill that very delicate vibe. Being mindful of that, and acting accordingly, can make or break a session or\u2014worse\u2014a long-term writing relationship.<\/p>\n Example: I was in a writing session with someone, once. He was talented, with an impressive resume; I had a record deal. We sat in a converted wooden barn with a high peaked ceiling and expensive mics that angled over a vintage drum kit. The vibes were good. He pulled out a glass pipe, packed it, and asked if I wanted some. When I politely declined, he asked if I mind if he smoked inside.<\/p>\n When I asked him not to, he dropped the pipe from his lips, stood up, and walked into the vocal booth. I watched him through the soundproof glass that slowly fogged as he exhaled.<\/p>\n Sometimes I wonder where that guy went. But honestly? Not that often.<\/p>\n Please don\u2019t get me wrong: This is not an anti-drug rant. This is a pro-session, pro-camp rant. You never know what baggage people are walking around with, so tread lightly, respect boundaries, and keep the focus on the music.<\/p>\n Collaborative songwriting can feel intimidating, especially when working with someone new. Once in the room, a final recommendation: Try and make each other laugh. The sooner people feel loose enough to laugh, the sooner they become open and comfortable enough to share their best, most vulnerable ideas.<\/p>\n The ultimate goal of the CDI x Songtrust Songwriting Camp was to build relationships that would \u00a0outlive the camp itself. With this in mind, we prioritized good people who could communicate clearly and respect the vulnerability of a writing room. We gave them resources, time\u2026and even lunch! And we treated every song as a finished asset bound for a public life.<\/p>\n We can\u2019t wait for you to hear them.<\/p>\n Mike Errico<\/span> is the author of \u201cMusic, Lyrics, and Life: A Field Guide for the Advancing Songwriter\u201d<\/a> and a professor at the Clive Davis Institute of Recorded Music at New York University.<\/em><\/p>\n \u00a0<\/p>\n<\/div>\n1. Be. On. Time.<\/h2>\n
2. Agree on Splits Before You Start<\/h2>\n
3. Eliminate “Good Enough for Pitch”<\/h2>\n
4. Read the Room & Protect Creative Safety<\/h2>\n
5. Make Each Other Laugh<\/h2>\n
Building for the Long Haul<\/h2>\n