I sometimes hear songwriters say co-writing is just too much hassle to be worthwhile. Disagreements come up over ideas, lyrics, money, pitching, money, who's in charge, money...did I mention money?
More than one well intentioned writing partnership has found itself on the rocks because there wasn't a clear understanding between the writers before the song was written. Some great songs have never seen the light of day because the writers didn't agree on the basics.
The importance of a clear understanding before beginning a writing project can't be over emphasized. Here are a few tips to help avoid the train wrecks that can occur without clear communications:
- It seems simple, but there needs to be clear understanding about each writer's ownership of the song. The generally accepted rule, at least in Nashville, is that each writer shares equally in the song(s)' ownership. But not everyone understands this, and it needs to be clearly agreed upon at the beginning. If for some reason there is to be a (heaven forbid) unequal ownership arrangement, it should be formalized in writing to avoid future disputes. Some writers use formal agreements anyway, just to be on the safe side. But beware: In Nashville, some veteran writers consider it extremely poor taste and a sign of mistrust to want a written agreement.
- The flip side of the ownership issue is how much each writer contributes to the song. The true value of co-writing is bringing together different skills and perspectives to write better songs. Again, the general rule is the share is the same regardless of the individual writer's contribution. A writer may only contribute the song's hook, or one line in the song, but he/she is entitled to an equal share unless otherwise agreed and specified at the beginning. Reducing shares is pretty thin ice, and there better be something in writing to support it if the song becomes a hit! In most cases, such an agreement wouldn't make for a very conducive working arrangement, and few if any writers would agree to it.
Shared contributions applies to monetary considerations as well. If the writers are working independently of a publisher, there needs to be a clear understanding about sharing costs for demos and any other expenses. Again, anything other than equal sharing should be put in writing to avoid later confusion.
- Operating guidelines: It needs to be clear how the writers will work through the process. Questions such as when is the song complete, should it be demoed, how it should be demoed, how much to spend on a demo, where to have it done, who will have the lead, and where the song should be pitched are extremely important. These things need to be decided and agreed upon by all the song's co-writers.
One writer acting on his/her own can sour a relationship in a hurry. These things all affect the quality of the finished product, and they cost money. If the writer's are signed to a publisher(s), the publisher(s) will have a large say (maybe the final say!) about these things as well.
- Remember, its a business. Most of us would like to focus only on the creative aspects of writing songs. But in the end, it is a business if there are any aspirations of the song going anywhere other than a file drawer. You must consider the business side of things to be successful. Co-writing is a business arrangement as well as a creative endeavor. It is a partnership with the goal of producing a specific product. As in any business, communications among the partners is essential to make it work well.
Bottom line: Get all the details out of the way first, then you can enjoy the train ride without fear of a sudden derailment!
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