How I’m Building a Career as a Songwriter

You know what I would have loved? I would have loved to have been part of the Brill Building history between the 1940s and the 1960s – where some of America’s most popular songs were written. If you don’t know the history, check it out on Wikipedia.

Just a taste:

By 1962 the Brill Building contained 165 music businesses: A musician could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building.

Or you know what also would be have great? Jingle writing between the 1940s and 1980s. What a sweet time to be a songwriter or a studio musician. Writing songs, recording them, hearing yourself on the radio, collecting big royalty checks – man, that would have been cool.

But, alas, that era was very short-lived and we were not lucky enough to be a part of it. So what do we do?

I’m not satisfied to just throw my hat in and say that it’s too hard to work as a songwriter. There are people out there doing it, and if they can do it so can I.

I’m going for it.

The Goal and Strategy

Let me be clear: I don’t want to be a singer-songwriter. I want to be a songwriter. I want other people to perform my songs. I know full well that I have limited skills as an entertainer, and I know my place.

My goal is to have recording artists cover my songs on their albums, secure film and television placements for my music, and to work professionally as a songwriter and composer. A difficult goal, to be sure.

People don’t know what you want unless you tell them. So that’s what I figured I’d do. I decided I would show people my music, tell them what I want, ask them to help me, and see what happens.

The Tools

I know about how to build a website, so I started there. I searched for the right URL to purchase and, to my complete surprise, I was lucky enough to secure I can’t believe that URL had not already been taken by a Silicon Valley start up, but I’m glad to have it.

I build a site there using WordPress and a $30 theme from The theme has a nice structure featuring a portfolio, a contact form and a blog. I added an “About” page, found some photos to use and set it all up. The website took me about a day to put together.

In the portfolio section I put all of the songs I want to showcase. For many of them I included a free mp3 download, lyrics, chords and even sheet music. I used Soundcloud players for the recordings – and made sure I used the HTML5 players so that they would work on iPads, iPods and iPhones.

Autoresponder Email List

Next I set up an email list through

I want people to listen to my music, but I can’t expect to just put it on a website and have people listen through it one by one. People are busy.

So I set up an “autoresponder” email list that would help. Everyone on the email list is sent a free download of one of my songs – complete with a little description, photo, lyrics, chords and sheet music – once a week.

Everyone on the list gets the songs in the same order, one at a time, once a week. It’s a playlist of songs, but doled out in a way that’s not overwhelming to listeners busy schedules. People may not sit on and listen to every one of my songs in an afternoon – but, sure, they’ll listen to one of my songs once a week.

In each email I make sure to reiterate my goal. If the reader likes it – consider covering it on your next album. Would it fit in a film or commercial you’re putting together? Great, hit reply. Know anyone that could help place this song? Pass it on.

Soundcloud, YouTube, Twitter, Facebook, blogging, RSS feeds

Sure, I’m not an entertainer. Hell, I’m not even much of a singer. But unless I sing my songs and get them out in the world – no one’s going to ever know about them.

So guess who’s singing now?

I put my tunes on Soundcloud. I set up a Facebook page. I make videos for YouTube.

When I find a song I like, or a record a new demo of a work-in-progress, I put it up on the blog. The blog posts feed to Twitter and Facebook through

Getting Involved in the Community

The best way to get a gig as a songwriter is to know other people who are gigging as songwriters. I know I need to get involved in the community.

I sang a few weeks ago at the Sunday night singer-songwriter open mic at the Bitter End in NYC. Boy, that made me nervous. For a guy who’s used to performing 8 shows a week on Broadway you’d think I’d be cooler about it, but I was shaking in my boots.

I tried to think of resources that might be helpful to other songwriters. When American Songwriter magazine comes out I like to make a Spotify playlist of all the music mentioned in the issue, then post a link to the playlist on the blog.

I put my songwriting friends new songs up on the blog – and those posts, too, get sent out through Twitter and Facebook.

Making Quality Recordings

The recordings I have of most of my songs are demo quality. Creating radio quality recordings is much easier today than it was 20 years ago – so much easier that it’s become expected. I know that most of my demos aren’t going to cut it.

So I’ve started reaching out to producers in Chicago, Nashville and New York (to start). I’m hiring them to arrange, produce and record my songs in their studios. I leave the song treatment completely up to them. I tell them only this: Our goal here is to get a film or TV placement. Make me a recording of this song that I can pitch to FTV.

I give them a lump sum upfront and, if the song is placed in FTV, I promise them a higher-than-average percentage of the gross income on the master side. My hope is that it gives the producers a higher-than-average incentive to pitch their recording to their FTV contacts as well.

Submitting Recordings to Placement Services

I’ve submitted music to PumpAudio, YouLicense and similar services. I find the process incredibly tedious and (especially with PumpAudio) painfully slow. It feels a lot like throwing a penny into a well and hoping to one day get your wish.

I have not joined Taxi, and I suspect I never will. Their claims are just too good to be true, and there is too much noise about their service being a complete scam. It’s too expensive of a service to take a chance on. It’s like throwing $300 into the well instead of a penny.

There are better placement services out there, but it will take me some time to garner their attention. I’m hoping that the portfolio I’ve built at will help me pitch to them when the time comes.

Submitting to Songwriting Competitions

This is a tough one, because it costs money. Most competitions cost between $15 and $35 to submit a song. It’s difficult to know which songs might work in which competition, so it’s tempting to submit multiple songs to each competition.

This part of the strategy seems like an expensive crap shoot to me. The quality of a song is a really subjective thing, and if I win one of these things it might just be because the gods smiled on me that day. Who knows?

But if I do win…well, that would be great. There’s always a chance – so I do it (sparingly).

A few months ago I submitted a song to the Song of the Year competition. I received the Suggested Artist Award, which I understand puts me in the top 5% of the contest.

But, I ask rhetorically: who cares? Unless you win the top prize on one of these competitions it doesn’t mean much.

Writing for Musical Theatre

Consider this:

  • The movie Titanic, since it’s release in 1997, has grossed $658 million in box office results. Very impressive.
  • The musical Mamma Mia, since it’s opening in Toronto in 2000, has grossed over $2 billion worldwide. Much more impressive.

I’m not saying that I can write the next Mamma Mia or Wicked, all I’m saying is that it’s worth trying. I’d settle for 0.1% of the financial success of Mamma Mia ($2 million, for those of you adding it up in your heads).

I’ve worked in musical theatre a long time. I’ve studied the form and tradition. I’ve conducted shows on Broadway. I write music – why not write a musical?

I have two in the works right now. Why not? The best way to fail at writing a musical would be never to try at all.

Next Steps

Songwriting & composition is what I’ve always wanted to do. Nothing compares to the elevated feeling that accompanies creation, and for me that feeling is strongest when I write music.

Becoming a professional songwriter seems like an impossible challenge, but I think with the plan and tools that I’ve described above will help me start the journey.

I hope you’ll visit and let me know what you think. If you are a performer or recording artist I hope you’ll check out my songs. If you are a songwriter I hope you’ll get in touch with me.

How Do I Get a Job After Music School?

T., a guitarist and soon-to-be music school grad, wrote us last week with this question:

I’m getting my degree soon, but I feel that I don’t really have a lot of actual work experience to flesh out my resume. How far do you think a degree can take me and where would be the best place to help get some work with my skills?

That’s a good question, T., and I’m sure there are other MW readers that are in the same boat.

So, you’re about to leave music school and you need a job. You don’t have a lot of credits on your resume and you’re not sure how to get started.

Let’s start off with what jobs are available these days. I often think about jobs in the musician industry split into to categories:

  1. Your music
  2. Other people’s music

Your Music

There are two of us that maintain – Cameron Mizell and myself. Cameron is an expert in category #1, so instead of rambling on about things I don’t know, I’ll defer to his incredible breadth of knowledge.

Here are some of Cameron’s articles that will help you create a career with your own music:

Also read the archives of Cameron’s articles, I’m sure you’ll find a ton of useful information.

Other People’s Music

Although I do write and record my own music, I make my living playing other people’s music. I freelance as a Broadway musician, a church musician, a for-hire accompanist, a music director for theatre, a vocal coach, and many other things.

So let’s say you’re like T. and you’re about to graduate college and you want to be a freelance musician like me. Aside from experience (which I’ll get to later), what do you need to succeed?

  • Sight-reading

    I would say that this is the real value that I give to my employers – if you take everything else away, this is the one thing that they are really paying me for. I show up and I play whatever they put in front of me. It saves them time and money – it cuts down on prep and rehearsal time, it allows them the convenience of thinking about other things, and allows them the flexibility of changing music at the last minute.

    If you’re sight-reading isn’t up to par, you can improve it. I’ve written about the subject before, and it basically boils down to practice. The more you sight-read the better you’ll become.

  • Recommendations

    I never audition or apply for positions in my business, all work is passed around through word-of-mouth. That can be really frustrating for someone starting out, but I promise it gets easier. Make sure that you keep in touch with your fellow classmates from your music school – those will be your first contacts. As they find work, they will pass work to you and vice versa.

    Giving away work is worth pointing out – you should have a small list of colleagues that you pass work to now and then. They’ll do the same for you when they have gigs they can’t take.

    There are some colleagues that will take the work and never pass anything back to you – and those are probably the wrong colleagues to have on the list. Generally, creating a sense of generosity and community around you is much more effective than creating a sense of competition.

  • Geography

    Look, if there isn’t any work where you are, you should move somewhere else. If you want to work as a freelance musician, I’m very sorry, but you just can’t live anywhere you want. You’re career will always be limited by the amount of work available (divided by the number of musicians) in your city. I just don’t see any way around that.

    When I was just out of college I moved back to my home town in the suburbs of Chicago. I took all the gigs I could get. I music directed local theatre shows, I played cocktail music at the country club, I accompanied at the local schools, I joined a band, I taught lessons. I made about the same amount of money as my friends that had entry-level day jobs. It was cool for awhile.

    But check it out – I was playing every gig in town. I’d already hit an income ceiling and I was 25. I tried Chicago for awhile, but I felt like the scene in that city was locked up tight and paid worse than the suburbs. So I left.

    I worked the regional theatre market for awhile, and eventually settled in New York – not because I necessarily wanted to live in New York – but because there was a lot of work here for my skill set.

    I think I’ll always live in New York. I can make a living here. Other players like me are making a living here. It’s not a musician utopia or anything like that – but there is a need here for musicians and I am a musician – so this is where I ended up. Luckily, I’ve also grown to really enjoy living here.

    You don’t have to live in New York. There’s a good discussion in our forums about the best cities for musicians. See what other musicians have to say.


Ok, so now on to your actual question – how far can a degree get you and how can you get more experience.

Your degree is a piece of paper, and it won’t get you a gig. What you really paid for at your college, as I touched on before, is the connections you have with your faculty and fellow students. This is for real – stay in touch with your fellow students. That’s where your work will first come from.

There are several entry-level positions for freelance musicians. None of them are particularly well-paid or comfortable, which is why they are relatively easy to get.

  • Cruise Ship Musician

    Cruise ship musician is the route I took. It’s pretty easy to get a cruise ship job – you take an audition with a talent agency and then wait for a call. Read this article for more info on how to book the job.

    If working on a cruise was a totally amazing, satisfying, well-paying gig, nobody would ever leave it. But in reality, it can burn you out within a few contracts (see: What Was There To Be Dark About?). But if you are just looking for some experience, it’s perfect. Take a contract or two and hone your chops in the real world. Think of it as your internship.

  • Theme Parks

    There are other gigs like the cruise gig. There are summer gigs at theme parks. Try this link at and search for “Theme Parks”. Expect the gigs to be long, hot and poorly paid. But don’t worry, just work the gig and get the credit on your resume. You gotta pay your dues.

  • Non-Union Broadway Tours

    Non-union musical theatre tours are a step or two up from entry-level. They can be pretty cool gigs if you get on a good tour. They can be brutal if you don’t.

    Jobs at this level start to be word-of-mouth placements for musicians, but you can submit your stuff. Networks is a major non-union touring company. Bookmark their jobs page and send your resume and website to You can also visit (search for “Musical” under the Departments category), they sometimes list these kinds of jobs.

    Also, dive into this discussion in the forums for more info about non-equity tours.

  • Jobs Board

    I have to give a plug to our musician jobs board here at MW. We have a growing list of musician jobs categorized by instrument and location. Subscribe to the RSS feed and have the jobs sent to your feed reader. I moderate that list myself, so it’s only good stuff going up. You might find a gig there.

I hope that helps – good luck T!