KEEPING RECORDS

Now that you have read through this and are ready to put into practice everything you have learned, there is still one skill left to master. It is not unique to songwriting or the music industry. Successful people in every field usually have mastered it. In our business, behind creativity and perseverance it is probably the most important element to you attaining your goal. What is it? (Don't let the word scare you.) Organization.
For many musicians, this is a frightening concept. It may be because you feel that it stifles the creative process or that you were born messy. Whatever your excuse is, it is no more than that an excuse! If you intend to seriously pursue your career, you must organize your approach. What you will find in this section are some very simple and practical solutions for getting organized.

THE IMPORTANCE OF ORGANIZATION
As you learned in the previous chapters, there is a considerable number of companies and individuals to whom you can submit your material. It does not take long for the novice to learn that submitting one song to one place one at a time, and then waiting for a reply is a waste of your valuable time. Most, if not all, veterans in the business have a number of projects on the go at any given moment. For some writers it would not be unusual to pitch a song to twenty or so "clients" and do that with ten or fifteen songs a year. But whether they are pitching one song or one hundred, most writers share a common bad habit; they do not keep any formal record of their attempts to place their material.
You can ask almost any writer the details about the process of writing one of their songs, months or even years after the fact, and they will be able to recount to you what the inspiration was for the song, where they were when they wrote it and what they thought to be its chances of success. But ask that same writer when they mailed off their latest tape or even to list all the people to whom they sent it and you will be greeted by a blank stare. How many times have you heard a version of this conversation?
"Are you having any luck with that new song of yours?" "I haven't heard back from anyone yet!"
"When did you send it off? "Oh, it was last week sometime ... No! It was almost two weeks. I think." Another common problem is that if you do receive a reply that has some comments pro or con or just some friendly advice, you tend to carry the letter around for a few days and then file it. Unfortunately for most songwriters, "filing it" means shoving it in the back of some drawer never to be seen again until you move.
What you are losing track of is not just a song, a comment or a name, but an opportunity. Even rejection presents you with the chance to advance your career because you are learning! This method is not just a bookkeeping exercise, it is an educational system. If you follow through on your record keeping you are going to learn a lot about your songs and the people you send them to. This knowledge will allow you to make better use of your time as a writer. Let's see how an organizational method can help.

THE BASIC MATERIALS
Before we actually discuss one particular method of storing your materials, it should be pointed out that in this, too, you can be creative. We have chosen to tell you about the ring binder method because the materials needed are generally available to everyone and the space required is minimal. That is not to say, however, that this is the only method of storing records. You may wish to use an accordion file commonly found in business stores. They can be used alphabetically or you may set up your own filing system based on months, companies, cities or whatever you wish. This also holds true for using large filing cabinets if you have the space.
Another excellent method is the computer. Just as the sample forms at the end of this chapter were created on a computer, you can create your own forms and your own database. There are many excellent database programs that allow you to create your own parameters. If you have a scanner, all you need to do is scan the forms provided in this book and you're off to the races. (A note of caution: Back up all your work. If you put all your forms and information to hard disk and it fails, you are in big trouble without a back-up copy.)
As an example, we will describe the binder method. What you will end up with is a three ring binder with several divider cards in it. The divider cards are going to separate the various categories you have chosen to include in your system. Here is a suggested list of categories. Do not hesitate to create your own!
- Industry Information Sheets - Song History - Call Sheets
- Copyright Registrations - Demo Files

If you do choose to use this method, you can copy the sample forms and use them in your notebook as they are, or you can design your own. Whichever way you do it, you'll be making progress. The more blanks you fill in on your sheets, the closer you are to your goal. Attitude is the name of the game.
The first thing you will need is a regular-sized three-ring binder. Try to buy the kind with the square rather than the round rings. You will find as you fill up your binder that the square rings make it easier to turn the pages and you will not have the problem of tearing some sheets out by accident. Also, you might spend some extra money and buy a binder with a substantial cover to it. It will protect your records much better than a paper or light plastic cover would. Next, buy some file separators for the various categories of records that you will keep. You will find it helpful, once you have marked your separators with the appropriate categories, to go to a printer or even to a local Mailbox franchise and have them laminated. This adds more weight to them, making it easier to turn and find your place, and it also helps to preserve the sheets in-between the different categories. Start out with just the minimum number of categories. It would be a shame to make a mess of the book by trying to keep track of too much at once.
Take your category sheets and place them in your notebook. You will have to decide how many you'll need, but don't overdo it. Ten sheets per category is reasonable. It is also a good idea to use a heavier than usual weight of paper. You want something that can stand up to constant handling.
You will need some way of circulating the active and inactive files. For this purpose, you may want to have a fixed file cabinet or accordion file that is dedicated to your music business. Putting your sheets loose in a drawer or in with other business defeats the whole purpose of this system.
After some time, you may have enough information to rearrange your binder. Every six months is a reasonable time to evaluate how your system is working.
Now let's look at some categories and how they can be used.

THE INDUSTRY INFORMATION SHEET
It's a "Who You Know" business. The first place to store your information has as much to do with people as with songs). This is because it is the people you know who give you the opportunity. You must keep track of them and of their responses to your material on a sheet similar to the industry information sheet. You have heard many stories about how someone got a break because of someone they knew. This is your way to get to know someone. Record each call or meeting that produces an acceptance, rejection or even a "send me some more." Try to collect as many names as possible and keep them up to date.
This is how you start to build your important network of contacts. Because each submission reply will be at your fingertips, you can ask questions based on these replies. For example, if you receive a comment from one person to whom you have submitted several songs that indicates that they like one of your songs except for the bridge, you might ask them to recommend a current song as an example of a good bridge. You then file this in that person's information sheet under "Comments," and the next time you contact them you let them know you followed their advice and have incorporated it into your new song.
When you receive a phone call from someone to whom you have sent your tape, it is usually an indication of strong interest in either you, a song or both. This is another great time to have your files up to date so that you can turn to the person's name and refresh your memory as to who they are, what you sent them and when you sent it. Having this information at your fingertips helps you organize your thoughts and then your questions and comments to them.
Let's assume you have been sending out tapes and receiving replies for six months. This will give you a database of at least ten to fifteen names with a couple of replies from each person. Review the responses to see who has given you the best response (these could be either positive comments or detailed criticisms), remove any names that have not been productive, then add an equal number of new names to your files. Do this every six months or so to get the best results. This way your mailing list won't get out of hand and you will be sending the material where it is doing the most good.
After a few submissions to a certain person, you can study their responses at a glance and decide how valuable or suitable they are for you. If you find that they are consistently complimenting your work, perhaps it is time to give them a call and try to get some first-hand direction. If you see that they have consistently rejected your work with a "no comment" or have indicated a preference for a certain type of material that you are neither interested in or adept at, it is time to take that person off your list and concentrate on those who have given you a positive response.
One last point about the Information Sheet. It can also be used to record personal information on the individual. Career moves, hobbies, favorite acts. All of this is valuable information. It helps you to get to know them and it will provide several conversation starters.
For example, let's say that you send off a tape to a publisher who sent back a note asking you to give him a call. You called but your conversation was interrupted because he had to leave the office early and take his son to a ball game. He said to call back early next week. When you call the next Monday, the conversation could go two ways.
Songwriter. Hello, is Mike Publisher in? Publisher. Speaking.
Songwriter. Yes, Mike, this is Sam Writer calling. I called about my song "Believe in Me."
Publisher. "Believe in Me"? Refresh my memory, Sam.
Songwriter.- You sent me a note saying you liked the chorus.

You see, you are already off to a bad start. You have to reintroduce your- self and try to re-establish the connection you thought you had previously made. Now try this for an alternative.
Songwriter. Hello, is Mike Publisher in? Publisher. Speaking.
Songwriter. Yes, Mike, it's Sam Writer calling. We started to have a discussion about my song "Believe in Me," but you had to rush off and take your son to a ball game. You asked me to ...
Publisher.- Yes, Sam, I remember. Songwriter. Did he win?
Publisher. Worst team in the league, Sam, but they have a lot of fun.

In this conversation, you have accomplished two things. You have refreshed his memory and you are now starting to establish a stronger connection than in the first conversation, when you simply tried to resume your business discussion. Remember, these people have normal lives outside of music, too, and it is in your interest to be able to converse with them about other interests.

PROSPECTS SHEET
You may want to think about starting your "Who You Know" file with local people. Not everyone lives in a music center or even close to one. I know it's very tempting to open an industry source book and start writing to the biggest names you can identify. That may be exciting, and you may be one of the lucky ones to hit pay dirt immediately, but more likely, you will have to pay your dues like everyone else. Part of that payment might
as well be made right in your own area. It will give you some good practice at approaching people and it will probably generate at least several meaningful contracts.
You can find your first "Who You Knows" at your local music stores or through recording studios. Don't just walk in and start pumping them for information. Spend a few dollars. Buy some equipment and ask some questions. Rent some demo time and find out who else is using the studio. Contact the local radio stations and major retail outlets and find out the name of any record company people that they know. The main thing is, it's a beginning. You would be surprised to find out how many major players in the music business made some of their most important contacts at the start of their careers, often in their old hometowns!
To help you out, you may want to include a "Prospects Section" in your notebook. Here you can list artists, record companies, publishers, producers and managers who may prove to be important contacts. As you submit your materials to them and receive their replies, you can move their names from the Prospects Sheet to the Information Sheet.

Song HISTORY SHEET
It is a good idea to keep track of where each song stands on the submissions track. It may seem redundant at first to have two entries for one reply but you will soon understand the advantage of the song history section. Whereas the information and prospect sections will help you keep track of and learn about people in the industry, the song history section will provide you with a snapshot of that song and your efforts on its behalf.
The date at the top should be the first date you actually mail a song out. If you start to fill up your files with songs that you have not yet mailed out, they will simply clutter up your active song file.
After the title, include the style category. This is helpful because some songs can be pitched in more than one category. You may have a different sheet for each incarnation of the song. This will be determined by your song- casting (the art of matching an artist with a song). If your selection of artists is Tanya Tucker, Reba McEntire and Trisha Yearwood, your style of song obviously must be country. You may have a different demo of the song in a rock style that could be pitched to Aflanah Miles, Bonnie Raitt and Melissa Etheridge.
The shares section in the sample Song History Sheet is there to remind you what the writing arrangements were for that particular song. Just underneath those is a check off for whether you have copies of lyrics, tapes, etc. ready for distribution.
Finally, with this section, you will have a place to record the names of those to whom you have pitched your song. At a glance, you will be able to see your progress (or lack thereof) in sending your materials out. "Who did I send that song to?" or "When did I send it?" have both been answered. Most importantly, you will be able to redirect or rework your songs based on the information you compile in just a few months. Your summary of the general reaction to this song can be written at the bottom of the page. Eventually these written comments will help you pinpoint the strengths and weaknesses of your material.

BUSINESS CARDS Most veterans of the music industry have had the pleasure of discovering old business cards in suit jackets, wallets and tape boxes years after having met someone. It is the rare bird in this business who actually has one of those nice, slim business card holders and keeps it up to date. That's a pity because we all seem to waste a lot of time searching for phone numbers and addresses that were literally handed to us. We have a cheap and easy solution for you! Go to any major stationery or office supply outlet and you will find 8V2" x 11" clear plastic sheets made to hold business cards. The sheets usually have three holes to fit into a three-ring notebook. Once again, the reason for this is to have everything organized and in one place. You can organize the sheets into. different categories depending on your preference. This can be done by location (local, national, international), type of business (record company, publisher, producer) or individuals (producers, artist managers).

COPYRIGHT
If you are determined to be organized, you may find all sorts of categories that need looking after. Most of us understand the value of copyright protection, but, once again, we don't seem to keep track of whether we've registered the song, when we registered it and where the registration forms are. Your notebook should contain this information. If you wish to keep the actual documents registering your copyrights in your industry file, then while you are at the stationery store, pick up a plastic sleeve in which to insert each registration. In any case, a simple copyright sheet such as the one we have used as an example will be helpful.

THE DEMO FILE SHEET
One of the great tortures of songwriting is making the demo. Another torture is keeping track of it. How many times have you said, "I know it's around here someplace!" Let's suppose you want to find a song that you started working on last week. Your first chore is to find the tape! Next you begin to search on the tape for the right take. By using your notebook filing system, you are able to zero in on your song in a much faster and less aggravating way. (Have you ever decided not to do some work on a song just because you dread the thought of trying to find your last version?)
Here's a good suggestion for both your works in progress and copies of your finished demo. Instead of buying full-length cassettes and putting your tune who knows where on one of the thousand tapes lying around the room, take time to search out a tape supplier who will provide you with custom length cassettes. Buy a box of c-10s, a bunch of labels and pop a new tape into your machine each time you record a demo. Whip a label on it and file. One tape, one song. It saves a lot of aggravation. Do not try to file by tape number or location; that will eventually lead to a system in disarray! Label all your tapes the moment you have finished recording them. Unmarked cassettes are like rabbits; they multiply at amazing speeds. The hours we have all spent listening to the same tapes over and over again! If you don't know how to label it, it's not worth keeping.
Each individual song should have a sheet of its own, similar to the sample. These sheets should be alphabetically filed in your notebook and will help you keep track of where you have filed each tape. If you must use a regular length tape, this sheet will also help you find the take you are looking for on the tape.

THE BEGINNING No matter how long you are a songwriter, you will always feel thrilled when someone accepts your song. The words "Let's do a deal" or "I got a cover on your tune" are the real music in a songwriter's life. Those opportunities are most often the result of long and careful cultivation by professionals who understand that writing is half the work. Making contacts is what brings it all home. Get going!