This is because a title reveals the angle or the flavor of  what you intend to write about, and it becomes much easier to write your song with a laser-targeted idea or plot.

Therefore, once you have the name of the song in place, listen to the words of the title and start conjuring up images and options of what the song could be about.

For example, if you named your song something simple like, “I Think I Understand,” it could be a song about a lover who believes he or she understands the other doesn’t want them anymore, or it may be a song about finally understanding a big life’s lesson of some sort, etc. – possibilities are many!

Song titles are everywhere; the first thing you need to do is train yourself to listen for a great phrase or line from a variety of the following sources:

Television Shows and Movies

Many hit songs have been inspired from watching a television show and using phrases from their scripts – this is perfectly legit as long as you don’t swipe a few lines, obviously.  Remember, what you’re looking for are phrases (between 2 to 6 words max).

The same goes for the watching movies, which is what I recommend highly.  Here’s a simple one I heard the other day -”You Don’t Have To Do Anything”  – sounds like a great title for a country song to me!  Note this is a simple line we’ve probably heard a few times in our lives, but now, while you’re training your ears to pick out song titles, it sticks out at you for the first time!

Listening Intently To Conversation With Other People

You’ll find them either while you’re  participating or just listening (try not to look like you’re eavesdropping).  This is another great way to find song title gems; someone always says something that’ll cry to be part of a song!

Other Songs

These are also a great source for song titles; try to pick out words in the lines of the songs other than the actual titles themselves.

Books

They are a great resource – this should come easy to you if like to read novels especially, because the words tend to be more colorful.

Finally, make a list on a writing pad or database on your computer (I use a text file) every time you come up with a song title; this way, once you have a fairly long list, you can pick and choose a song title with ease.

The trick to training yourself to pick out song titles is to be in a dormant songwriting mode and be a good listener.  For the first few times, don’t be afraid to shake someone’s hand, have a conversation with them, and in the back of your mind think; c’mon dude, I know you’re about to say something I can use as a song title!  You’ll find one.

While watching TV or movies, sit there waiting for the darn title to pop out!  It gets easier with practice.

Amateur songwriters sometimes also impose deadlines upon themselves or band members when they’ve committed themselves to writing and performing original songs for a variety of reasons.

Sting recalls how he woke up in the middle of the night with the line, “Every breath you take, every move you make dancing in his head, so he sat down at the piano and wrote the million-seller “Every Breath You Take” in 30 minutes.  Countless other songwriters talk about a short phrase or melody suddenly and unexpectedly taking over their brains and hit songs literally “writing themselves” with little effort!

So how does this happen?  It certainly doesn’t happen by accident to just anybody who has no interest in writing a song.  It happens to songwriters who put themselves in what I call “Songwriting Mode,” which is the ability to train your brain to subconsciously create any of the following:

1. a great original song title
2. a catchy melody (usually a short musical phrase)
3. an interesting lyric
4. an infectious rhythm
5. a pleasing harmony
6. any other song component; and
to instantaneously translate that idea or ideas into the making of a great song by allowing your mind to literally take off in different musical directions!  Usually, musical ideas from being in “songwriting mode” come in short phrases or spurts, and they can be any part or section of the song (i.e., the last line of a verse, the middle of a chorus, etc.)

On Thursday, August 14, 2008, Part 2 of this series will begin to disclose how to condition your mind to reach the stage of being in “songwriting mode.”

The advice you’ve just read about blindly pitching your material to music publishers listed in various publications as “accepting unsolicited material” or even after getting permission through phone calls from various music publishers before sending $200.00 worth of demos to 100 different companies is what you should do ONLY AS A LAST RESORT!!!!!!

The secret to getting a real music publishing deal lies in how hard you want to work at exposing your music to the right people by relentlessly and shamelessly networking-IN PERSON!  Yep, that’s the music industry secret few people are mentioning. 

So, the same unjust and unfair scenario repeats itself over and over to very talented songwriters all over the world.  They hit a brick wall wondering why no one wants to sign them to music publishing deals.  They’re not misinformed, they’re simply not receiving all the information they need. 

Your goal when chasing any type of music publishing deal is to have the publisher or company representative  listen to your demo IN PERSON!

NOW YOU HAVE THE INFORMATION, AND HERE IT IS!!!

If you’re seriously going after a music publishing deal whether it be a single song agreement to a full-fledged exclusive (staff) songwriting deal, follow these steps:

1.  Research music publishing companies in your area no matter how small of a company you think they are.  Young companies can turn out to be a gold mine if they match your great songs with great artists who start out locally, then regionally, then nationally and/or worldwide.  Many success stories in the music business happened this way because these are simply the goals of most independent music publishers and record companies!

2.  Once you have a list of independent and major label music publishers, start calling people listed as contacts (such as A&R reps, etc.) in various music industry up-to-date resources such as The Musician’s Atlas or The Music Registry, and make real appointments so they can hear your music.  These people may be hard to contact but your efforts will pay off if you have the goods!  Remember, the music industry revolves around talent.  Believe this; the music industry is aways looking for talent and it’s your job to find out who in the company is presently trying to find that talent!!!!

3.  Once you’ve made some appointments, it’s time to hit the road with your demo packages  containing your masterpieces!  If your music industry contacts break or cancel an appointment by letting you know ahead of time (consider yourself lucky if this occurs), politely reschedule over the phone. 

If you’re standing at the reception area of a music publishing company and the receptionist tells you, “He/she is not available, just leave the demo here,” a big red flag should go up in your brain!  Don’t settle for hearing, “I’ll make sure they receive the demo, we’ll get back to you.”  Do your best to graciously decline and insist you’d rather give it to them in person, and, once again, do everything to politely reschedule.  You’ll be taken far more seriously .

4.  Once a music publisher or staff member has actually sat down to hear your demo in your presence, congratulations.  If you get a favorable response, you’ve made a contact!  One good contact can make or break you in the music business when you’re starting out.

5.  Now it’s time to use a “call to action.”  Don’t be afraid to ask the music publishing representative if they’re interested in your music.  You’ll usually get an immediate response.  If they say yes, you can start building your relationship further and more seriously by perhaps inviting them to see you perform,  or by asking them if you may submit more songs for consideration in the next three to four weeks.  This is how you build relationships in the music industry-by being straightforward and sincere.  When you feel like you’ve made some type of connection with the music publishing rep or the actual company, ask if they’re willing to offer you a music publishing deal.

If the music publishing company representative is not willing to offer any type of music publishing deal at the moment, and you have a gut feeling that they like something about you and/or your music, ask them if they can recommend another music publisher who might be interested in your music.   

If you’re right and they like your music, they’ll become worried and jealous that you’ll eventually go and find a music publishing deal somewhere else!  You’ll have incredible leverage.

6.  Repeat steps 1-5 and keep building relationships.  Be realistic.  If you build 1 solid contact every 2 months, you should have 6 of them in a year!  That may sound like it’s not enough, but chances are, each of those contacts has numerous contacts, and that’s where your networking comes in through attending industry events, workshops, parties,etc.  You’ll be well on your way to to a chance at having success! 

When you begin your song-pitching campaign, keep the following points in mind:

(a).  Remember, if you make it your job to find music publishing companies and you don’t make the mistake of trying to let them find you, your chances of success will go up dramatically.

(b).  Dress appropriately, and better yet, create a contemporary, unique image for yourself in the way you dress and carry yourself.

(c).  Don’t let rejection affect you negatively.  Virtually every major star has been rejected once or many times before they actually “made it.”  Accept constructive criticism and keep moving forward.

(d).  If you don’t live in a city with prospective music publishing companies, you’ll either have to make a trip to one of the major music hubs (In the US-Los Angeles, NY, Miami, Nashville, etc.) or use services such as Taxi to get results. 

(e).  Unless you’re a proven, successful songwriter, music publishing companies don’t generally sign songwriters to music publishing deals unless they’ve established some type of rapport or professional relationship with them.

Good luck!