Editor’s Note: This is Part 4 of a 4-part series on reinventing the songwriting camp with NYU’s Clive Davis Institute and Songtrust. Check out Part 1 and Part 2, and Part 3.
When NYU’s Clive Davis Institute teamed up with Songtrust to rethink the songwriting camp model, we established ground rules that campers could apply not just to our camp, but to any of their future collaborations. By following them, campers can sidestep any challenges and get to the important thing—songwriting.
You may know the saying, but in case you don’t: If you're early, you're on time. If you're on time, you're late. If you're late, you're fired.
I've interviewed some very big writers, and punctuality always comes up. Every time. Plan your trip to the session to take twice as long as you think it will. Be there early…and hey: Bring snacks! Or bring something that can be left behind after you leave. Something thoughtful and non-promotional—as in, flyers for your next show don’t count.
Splits are the way you divide, or “split,” the ownership of the song. There are two areas to consider on the songwriting side, the “writer’s share” and “publisher’s share,” and I won’t get into all of that because it’s easy to look up.
All I can do is strongly recommend that you mutually decide on “Nashville splits,” which is to say, split the song’s rights evenly between the people in the room.
Before you say, “Yeah, but I did most of the work,” or “I came up with the coolest part,” let me respond: It’s not about the song. You’re not negotiating for the rights of the song. You’re negotiating a relationship you’re hoping to have over the long haul. Don’t get caught up on fractions of one song; keep your eyes on the many, many songs that could be possible as long as the relationship remains intact and fruitful. You may have done 70% of a given song, but you may give 40% of the fifteenth song you write.
Strong, strong recommendation: Work out even splits before the session starts.
(Here is a sample songwriting split sheet, courtesy of Songtrust. Download it, print it, and sign it with your co-writers.)
Since everyone on the team is a stakeholder in the journey of the song, it’s in everyone’s best interest to give their best. “Good enough” is not “good enough” in these situations. There’s a very pernicious songwriting saying: “It’s good enough for pitch.” This is another way of saying, “It’s not good enough for me. So toss it at Addison Rae, or a Netflix show, or a sync agent, and maybe we’ll get lucky.”
Problem: There’s no shortage in supply of “good enough” songs. And the pile you’re throwing your “good enough” song into includes songs from the biggest writers in the world.
Also: Turns out, the temptation to settle for “good enough” decreases dramatically when the artist is staring straight at you.
Creative spaces require vulnerability, and introducing unnecessary distractions or uncomfortable situations can kill that very delicate vibe. Being mindful of that, and acting accordingly, can make or break a session or—worse—a long-term writing relationship.
Example: I was in a writing session with someone, once. He was talented, with an impressive resume; I had a record deal. We sat in a converted wooden barn with a high peaked ceiling and expensive mics that angled over a vintage drum kit. The vibes were good. He pulled out a glass pipe, packed it, and asked if I wanted some. When I politely declined, he asked if I mind if he smoked inside.
When I asked him not to, he dropped the pipe from his lips, stood up, and walked into the vocal booth. I watched him through the soundproof glass that slowly fogged as he exhaled.
Sometimes I wonder where that guy went. But honestly? Not that often.
Please don’t get me wrong: This is not an anti-drug rant. This is a pro-session, pro-camp rant. You never know what baggage people are walking around with, so tread lightly, respect boundaries, and keep the focus on the music.
Collaborative songwriting can feel intimidating, especially when working with someone new. Once in the room, a final recommendation: Try and make each other laugh. The sooner people feel loose enough to laugh, the sooner they become open and comfortable enough to share their best, most vulnerable ideas.
The ultimate goal of the CDI x Songtrust Songwriting Camp was to build relationships that would outlive the camp itself. With this in mind, we prioritized good people who could communicate clearly and respect the vulnerability of a writing room. We gave them resources, time…and even lunch! And we treated every song as a finished asset bound for a public life.
We can’t wait for you to hear them.
Mike Errico is the author of “Music, Lyrics, and Life: A Field Guide for the Advancing Songwriter” and a professor at the Clive Davis Institute of Recorded Music at New York University.