| > | | | | rhyme schemes of the song can be seen immediately. |
| Here is a checklist that will maximize your chances of | | | | 6. Make sure there's a copyright notice (© 2003 I.B. |
| getting heard and respect the listener's time. | | | | Cool, All Rights Reserved) on the bottom of the lyric |
| 1. Never send more than three songs unless | | | | sheet and on the tape or CD label. Technically, this isn't |
| specifically requested otherwise. Demo listeners like | | | | necessary but it alerts everyone that your song is |
| watching the "in" pile diminish and the "out" pile grow as | | | | protected, whether it's registered or not. |
| quickly as possible. If the listener has a limited time to | | | | 7. Cover letters should be short and to the point. Let |
| listen, which is usually the case, the tendency is to listen | | | | the music speak for itself and avoid hype. A |
| to a tape/CD they know they can complete. So if you | | | | professional presentation will do more to impress |
| send a demo with ten songs on it and someone else's | | | | someone than "I know these are hit songs because |
| demo has one song, you can bet that the "out" pile will | | | | they're better than anything I've ever heard on the |
| grow quickly with one-song demos. There's also the | | | | radio," or "I just know that we can both make a lot of |
| psychology that implies, "I've sent you the song you | | | | money if you'll publish these songs." Avoid the |
| need!" This is particularly true in pitching songs to | | | | temptation to tell your life story, and don't explain how |
| producers for a specific artist. Along those same lines, | | | | you have a terminal disease, you're the sole support of |
| most people resent getting tapes/CDs with 20 songs | | | | your 10 children and if these songs don't get recorded |
| and a letter that says, "I know you'll like at least one of | | | | they'll all be homeless or worse. In fact, don't plead, |
| these, so just pick out what you want." They want you | | | | apologize or show any hint of desperation. It only gives |
| to do that and send them three songs or less. Songs | | | | the message that you have no confidence in the ability |
| you totally believe in. If you're not far enough along to | | | | of the songs to stand on their own. Here's what should |
| be able to decide, you're not ready. When sending | | | | be in your cover letter:a. it should be addressed to a |
| CDs with more than three songs, highlight three you | | | | specific person in the company.b. It should state your |
| want the listener to focus on first, and include the | | | | purpose in sending the demo. |
| numbers of the cuts in your cover letter and lyric | | | | Are you looking for a publisher, a producer, a record |
| sheets (so they have a reference while the CD is on | | | | deal for you as an artist? Do you want the listener to |
| their player and they can't see the label). If they like | | | | pay special attention to your production, your singing, |
| those, they'll listen to the others. And please, remove | | | | your band, or just the song? Is it targeted for a specific |
| the shrink-wrap! | | | | artist? c. List any significant professional credits that |
| 2. Place your best and most commercial song first. If | | | | apply to the purpose of your submission. If you want |
| you have a strong up-tempo song it's a good bet to | | | | your song published, list other published or recorded |
| start with that. If they don't like the first one, it may be | | | | songs, contests won, etc. If you're a performer |
| the only shot you get. If you're sending a cassette, put | | | | submitting an artist demo, resist the temptation to grab |
| all the songs on the same side and put the label only | | | | at weak credits: "I played at the same club that |
| on the "play" side. | | | | (famous star) played." Tell them what drives you, what |
| 3. Never send your original master tape or CD. You | | | | inspires you. Keep it short. List real sales figure. Don't lie. |
| may never see it again and it's not fair to saddle its | | | | d. Include any casting ideas you might have if you're |
| recipient with responsibility for it. | | | | pitching to other artists. e. Ask for feedback if you |
| 4. Always cue your tape to the beginning of the first | | | | want it. Odds are you won't get it but give it a shot. f. |
| song. You don't want the person to start listening in a | | | | List the songs enclosed and writers' names in the |
| bad mood because you just wasted his time making | | | | order they appear on the tape/CD. (Lyric sheets |
| him rewind your tape. When you make your copies, | | | | should also be enclosed in the same order the songs |
| leave four seconds between songs. Most cassette | | | | appear on the demo.) g. Thank them for their time and |
| decks have an automatic search feature, which finds | | | | attention. h. Include your address, phone number, Web |
| the silence between songs stops the fast-forward and | | | | site URL and e-mail address (if you have one). |
| automatically starts playing the next song. Obviously, | | | | 8. Send a self-addressed stamped envelope (SASE) if |
| this isn't a problem with CDs. If your CD contains more | | | | you want your tape or CD back. There are two |
| than the first four you want heard, clearly mark on the | | | | schools of thought about this. On the pro SASE side, if |
| on the CD and printed insert, which ones you want | | | | you don't want to lose all those tapes/CDs, you can't |
| them to hear. | | | | expect to get them back without it. There's another |
| 5. Send a lyric sheet neatly typed or printed. | | | | school of thought, though, that if you say you want it |
| Letterhead is impressive. It says "This is my business | | | | back, and you’re assuming they won't like it. |
| and I take it seriously." Some don't like to look at lyrics | | | | There's no guarantee that you'll get them back even if |
| while they listen, but most do. It's a time saver to be | | | | you do send a SASE, in which case you're gambling |
| able to see it all at once and to see the structure of | | | | even more money, and worse could happen than your |
| the song graphically laid out on the page. Lead sheets | | | | tape or CD sitting around a producer's office. |
| (with melody and lyric together) are not sent out with | | | | 9. Your name, address and phone number should be |
| demos. They're good to have at the point where a | | | | on every lyric sheet. It seems like such a common |
| producer wants to record your song and you wanted | | | | sense request. In fact it would be embarrassing to |
| to be sure he/she has the correct melody, but since | | | | even suggest that you might forget to do it if I didn't |
| the current copyright law permits tapes/CDs to be | | | | see it happen constantly. The problem on this end is |
| sent for copyright registration, their importance has | | | | that, between listening sessions at the office, the car, |
| diminished. Lead sheets are bulky to mail, it's too difficult | | | | and home, it's so easy to separate the tape from the |
| to follow the lyric and visualize the song's form, and | | | | box or lyric sheet. Once they've gone to the trouble to |
| many industry pros don't read music anyway. It also | | | | find your hit song, not finding you are a fate they don't |
| pegs you as a songwriter over 50 who have no | | | | deserve. |
| experience in submitting demos since this practice | | | | 10. be sure you have adequate postage. Also, don't |
| went out of style about 25 years ago. Separate the | | | | send your tape in an ordinary stationery envelope. It's |
| sections of the songs with a space when you type | | | | risky because rough postal handling could force the |
| out your lyric sheet. Label each one (verse, chorus, | | | | edge of the tape box through the envelope. Use a |
| bridge etc.) at the upper left side of the section. Do not | | | | special envelope with an insulated lining. Some people |
| type your lyrics in prose fashion. Lay them out with the | | | | also prefer the soft "bubble" tape box because it |
| rhymes at the ends of the lines so the structure and | | | | doesn't have sharp edges and it's lighter to mail. |