t’s so hard to write a song. To come up with that great idea and a clever hook that sums it up. To find just the right words and just the right melody and make them fit perfectly together. But as a dedicated songwriter, you work and work at it, and finally you’ve done it. There’s your wonderful song, so full of life and ready to dazzle the world. And then, if you’re like me, you start to imagine it beautifully produced and being sung by whichever hot recording artist is lucky enough to find it first.

So being smart enough to be a member of NSAI, you know just what to do. You send it off to the Song Evaluation Service so that they can discover it and pass it on to a publisher who will jump at the chance to pitch it to all the biggest stars. Well, there’s good news and there’s bad news. I know most people want to hear the good news first, but I’m gonna start with the bad news because I want to end on a positive note.

The bad news is, that it’s probably not gonna impress the pro-writer who evaluates it. And if it does, it’s probably not gonna get the majority vote from the whole group of evaluators that it needs in order to be passed on to “Pitch-to-a-Publisher” night. And if it does, the chance of the publisher taking it is slim. And if he does, the chance of it getting cut is minuscule.

Why is that? You know the song is great. It’s the sixth re-write and you’ve faithfully taken every suggestion from the evaluations you got on each version. Everyone that you’ve played it for thinks it’s better than half of what you hear on the radio. You’ve performed it live and people were in tears they were so moved by it.

To answer that, I’d like to use a sports analogy. Imagine it’s the play-off game of the season and the two best high-school teams in the state are vying for the championship The quarter back for your team is brilliant and he’s playing the game of his life. In one spectacular play after another he leads his team to victory. The crowd goes wild. The local sports writers all rave about him the next day and every college scout in the country makes plans to check him out. There is no doubt in your mind that he’s a superb athlete and you know he is destined for greatness. But now ask yourself, what would happen if you put him out on the field in a NFL game? And then ask yourself, how many brilliant players around the country dazzled their hometown crowds that year, and how many of them will ever make it to the NFL?

The Nashville market is the NFL for songwriters. The ratio of songs written to songs recorded is mind boggling. Even the best of the best hit writers with songs on the charts every week are lucky to get one out of ten of their songs recorded. I have hosted the Open Mic at the Bluebird Café for over thirteen years and have heard twenty or more writers every week. I can’t think of more than ten or fifteen in all those years who have actually had any significant success. This town is so flooded with creativity that it takes something extraordinary to break through and stand out in the crowd. That hook that you thought was so original may have been written hundreds of times. Those lines that sound so fresh to you and your local audience may sound trite and cliché to the producers and A&R people who listen to songs all day long. Unless you have spent some time immersing yourself in the scene here in Nashville, it’s hard to get a real sense of what is ordinary and what is special and unique. And believe me, ordinary doesn’t stand a chance unless the artist wrote it or the producer has the publishing.

So if it’s that bad, then what’s the good news? Having worked for so many years with writers most of whom have never had a cut, and being a writer who has had only one major cut in sixteen years, I have found my own personal answer to that question and that’s what I’d like to share with you now.

To me the good news is that being a songwriter isn’t just about getting cuts. It’s about expressing yourself. It’s about understanding yourself better through the process of putting your observations of life into words. It’s about dealing with difficult emotions by putting them into a melody. It’s about the confidence you gain any time you finish a song and accomplish what you set out to do. And the fun you have doing it.

It’s about communicating with other people, revealing something about yourself that someone else can identify with and bridging the gap that separates us from each other. You don’t have to be Paul McCartney or Gary Burr to do that. There are times I have sat behind the soundboard and heard a song that had just the message I needed to hear to cheer me up or help me deal with something I was going through, even though the melody was awkward and the lyrics were trite. And there are many times that I have been amazed and delighted by someone’s unique, creative way of expressing themselves even though their songs would never fit another artist.  Going back to my sports analogy, I don’t think the fans in the bleachers had any less fun watching their quarterback make his spectacular plays because it wasn’t an NFL game. And if he never even makes it onto the college team, I don’t think he wasted the time he spent playing.

So if you’re out there writing songs, doing your best to grow and improve, I say bravo! And if visions of hearing your song on the radio and getting big fat royalty checks help motivate you to do that, I say go for it! But don’t forget to notice all the other rewards that you are reaping along the way, because those you can count on, unlike the rewards of commercial success.

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Networking

How many times in discussions about the music business have you heard someone say "It's all who you know?" Guess what? It's true. Well, it may not be ALL who you know. Even if you play golf with Tony Brown or live next door to Vince Gill you'll have a tough time getting a cut if your songs aren't good. But then, if you have great songs and excellent demos sitting on your shelf at home, they are not likely to get cut either. Connections are essential.

So, what if you don't know anyone in the music business? Is it hopeless? Of course not. It just means that you need to get to know some people. You need to develop a network of relationships so that, whatever you need, you can find someone to help. To do this you need to develop the skill known (in the modern vernacular of turning nouns into verbs) as networking.

One aspect of networking involves getting to know people who are already in positions of power. It is very difficult to get an appointment or even get your call returned if they don't know you. They are just too busy to give their time to everyone who wants it. A referral from someone they know and trust can sometimes get you through the door. If you get such an opportunity, be prepared and professional. State your business clearly, don't take up too much of their time, and don't be defensive or pushy no matter what answer you get. If you do this, you increase your chances of getting through the door the next time.

Sometimes you will be around successful music professionals at seminars, showcases or other such functions, and sometimes you even meet them by chance at the hardware store or in line at the bank. If you do, don't jump in and start talking about yourself or asking for help. These people are hit on so often they tend to resent the intrusion. If you try to initiate a conversation and the other person obviously wants to be left alone, don't push. Also, don't be overly familiar and try to act as if there is more of a relationship than there really is between you. These behaviors fall under the category of being a gherm (pronounced with a hard 'g', rhymes with germ and has the same popularity.) 

If the other person seems open to talking with you be pleasant, show interest in what is going on at the event you are attending, talk about projects that person is involved in or just chat about a neutral topic. You will make a much better impression if you don't come across as self-absorbed. If they like you, they will ask you about yourself. Speak positively about what you do and never put yourself down even if you are feeling insecure. But don't brag or hype yourself too much either. Balancing confidence with humility is the most effective strategy in forming positive alliances with people who can help you.

Now I want to talk about another extremely important and often overlooked aspect of networking, and that is forming a network of your peers. It is essential to surround yourself with people whose creativity and diligence excite and inspire you regardless of their level of success. You need friends and allies who are readily available to you who can give you feedback, encouragement, advice and information. You will help each other learn and grow. By associating with the best and the brightest you become better in the same way that you become a better tennis player if you play with good players.

A strong peer network is also helpful because talented, hard-working writers get noticed by the industry, and as you and your friends make contacts in the business you can introduce each other to them. Recently I was talking about this to Chris Oglesby, who has been a plugger for major Nashville publishers for many years. He commented, "Somehow the talented ones find each other and hang together." He said that when he signs one new writer he often ends up working with their friends and co-writers as well.

It is also said that the process of becoming successful in the business is like "moving up with your class." If you are only concerned with trying to meet those who are already successful you'll miss the chance to get in on the ground floor, so to speak, with the future movers and shakers. Woody Bomar, head of Sony Tree Publishing, once told me that by the time he was running a publishing company many of the producers and A&R representatives he needed to pitch to were friends he had hit the writers nights with when he was new in town.

It will help you tremendously if you can remember that careers don't happen over-night and that relationships take time to build. One of my favorite quotes about the music business came from an interview in The Tennessean years ago with Susan Longacre who wrote "Is There Life Out There" as well as many other hits. She talked to the interviewer at length about her career and ended by saying, "It all takes so much longer than you ever think it will." Don't ever miss an opportunity to network, but don't try to force your own agenda. If you let people get to know you gradually over time without always asking for something, they will be more likely to want to help you and won't run when they see you coming.

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Nobody Makes It Alone

I've been observing songwriters in Nashville since 1983 and have seen many very talented ones who never got a publishing deal or a cut. I've pondered why this is. I've concluded that there are lots of reasons why writers who move here full of ambition and determination fail to achieve their goals. Many of them simply don't have the exceptional level of talent and creativity necessary to rise above the crowd. Of the ones who do have the talent, many don't work at it hard enough, either because the demands of life get in the way or because they don't accept how much work it takes. Some have such arrogant or negative attitudes that they alienate the people who could help them. Some just get discouraged and give up.

But even writers who don't fall into any of the above categories don't always make it, and right now I want to discuss one particular mistake that, in my observation, has held back many wonderful writers. That mistake is working in isolation. There are some people who, either alone or with co-writers, work diligently and frequently on their writing. They carefully ponder every note, every chord, every word. When they are done they slave over the demo. Many of them get home studios and spend hours and hours getting the perfect sound. Then when their masterpiece is finished they are ready to offer it to the world.

So what's the problem? The problem is that they are the only ones reflecting on how the song should be written and recorded. They are relying completely on their own judgment, their own insights. They aren't taking classes to learn the craft, they aren't attending workshops where they listen to songs being evaluated by knowledgeable people, they aren't playing the first draft for anyone whose judgment they trust or getting feedback from people who are working successfully in the business.

This holds them back in several ways. First of all, there is a lot to learn about the craft of writing. Beyond even the basics like structure and rhyme there are many elements that go into a great song, such as using fresh imagery, having a good payoff and creating appealing characters to name a few. A novice writer who is not listening (or even an experienced writer who has never listened) to professionals pick apart songs may not understand all that goes into a great song. Some writers have good basic instincts right from the start, but I've never met one who didn't have some weaknesses they needed to have pointed out to them. It is sad to me how many people with genuine talent move to Nashville full of dreams and confidence, and end up bitter at the raw deal they got from Music Row, when the problem was that their songs were weak.

Secondly, and this is so important, no writer ever has an objective view of his or her own song.  Trying to write a good song without hearing anyone else's reaction is like a woman trying to put on make-up without looking in a mirror. Writers are too close to their own creations. They may miss mistakes that are obvious to an outsider with knowledge of the craft and the market. Someone else's insights can sometimes push a song to a whole new level. A publisher friend of mine told me that he has seen a pattern with the writers he has worked with over the years. When they are new and hungry, according to him, they listen to what he has to say and use his help to polish their songs. Once they've had a string of hits they quit listening. Then when they stop getting cuts, they're back in his office asking for his help. Even hit writers need a mirror.

Before I go on I want to clarify two points about getting feedback. First, I am not talking about getting the reactions of your friends and family who love everything you do. Of course, it's wonderful to have that kind of support. It can keep you going when the struggle gets overwhelming. But you need to find people who know what they're talking about who will tell you the truth. Second, I am not suggesting that you take every bit of advice you get. Don't change your song because someone told you to. But be open-minded to what they're saying and if you believe they're right, then re-write.

Another thing a writer needs in order to be successful is strong relationships with people active in the industry. The best song in the world sitting on your shelf at home won't make you any money. The novice writer who finds professionals willing to help him or her grow into a commercially viable writer already has contacts by the time the songs are strong enough to be pitched. The ones spending all their time by themselves or with their co-writers are strangers to the people who can get songs to producers and artists.

I realize it is not easy for new writers to get appointments with publishers and established writers, but there are ways to develop contacts and get feedback. There are workshops all over the country staffed by professionals. There are critique services like the Nashville Songwriters Association's, (www.nashvillesongwriters.com), Kim Copeland's (www.journeypublishing.com), Jason Blume's (www.jasonblume.com) and mine (www.barbaracloyd.com) that give recorded evaluations through the mail. Taxi gives feedback to those who send in songs for consideration. ASCAP, BMI and SEASAC have well connected staff members who will listen to new writers and who will refer them to publishers if they think they're ready. There are also less formal ways to meet music business people like attending writers nights or other industry functions open to the public. You have to be careful not to alienate your potential allies by trying to impose on them when you are a total stranger, but the more you put yourself around the industry the better chance you have of getting to know someone who may become willing to help.

As a songwriter myself I know that it is much more fun to write a song than it is to listen to someone criticize it and pick it apart. But I also know that even Stephen King has an editor and gold-medal athletes all have coaches. The venerable songwriter and publisher Bob Morrison has been quoted as saying,  "To be a songwriter you need the heart of a poet and the hide of a rhino." It takes a tremendous amount of confidence to be willing to look at what you're doing wrong. If you're so emotionally invested in your creations that you can't bear to see any flaws in them, you'll never grow. The music business is grueling and competitive, but it's also full of smart, fun, generous and creative people. Find some who are willing to help you, and let them. If you're trying to make it on your own, you're not only lowering your chances, but you're missing half the fun.

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Rockin' a Writers Night

For a songwriter who is new to Nashville and just starting out, writer’s nights and open mics can be a valuable tool. They are a place to network and meet other writers, a place to find out which of your songs get a good response and which don’t, and a place to begin building a reputation for what you do. It is rare to find people from the industry with the power to cut your song or sign you to a deal at a writer’s night. Because of how busy those people are they generally prefer to listen only to songs and singers recommended to them by people whose judgment they trust and with whom they already have an established relationship. However, it is possible at a writer’s night to meet people who know people in the business and to begin the process of working your way towards the inner circles where decisions are made. Therefore it is important to present yourself in the best possible light. Here are some hints to help you make the best use of the time you spend playing out.

First, I want to explain the difference between a “writer’s night” and an “open mic.” The term

“writer’s night” is generally used in Nashville to refer to a show where the writers are scheduled ahead of time. An “open mic” is, as the name suggests, a show that is open to anyone who wants to perform. Many of the writer’s nights in town have an open mic at the end of the night which can sometimes serve as an audition for the writer’s night. As I give you some helpful hints, I am going to present them as if you will be playing at open mics, since that is where you will most likely have to start until you become known to the hosts and the other writers.

1. Learn the procedures.

Find out how and when to sign up. If you don’t you will most likely lose your chance to play. Find out if you will be the only writer on stage or if you will be “in the round.” (Many writer’s nights and open mics in Nashville use the “in the round” format where several writers take the stage at one time and take turns doing their songs.) Find out how many songs you will be expected to perform, how you will know when it is your turn, if there is a time limit on your performance and if there are any restrictions on the type of material you can do. Make sure you know what equipment is available, which microphone to use, where to plug in your guitar, what to do if your guitar does not have a pick-up, what to do if you have a keyboard, etc.  If you perform as a group, be sure to let the host know and verify that there will be an adequate number of microphones and instrument inputs.

2. Follow the procedures.

This may seem obvious, but you would be surprised how many writers don’t pay attention or want special treatment. Listen when the host explains how the night runs. Be ready when it is your turn. If you have a special request, ask politely; don’t demand. Remember that the host has everyone’s needs to consider and procedures are set to allow the night to run smoothly. If you find the policies and procedures to be inconvenient to you, find a different place to play, or accept that as a newcomer you will have to pay your dues. Arguing with the host will rarely get you what you want and will work against you in the long run.

3. Tune your guitar.

Tune it perfectly. Do not assume that close is good enough. If you cannot tune perfectly by ear, get an electronic tuner. If you can’t afford one (they’re not that expensive, really!) then borrow one. Tune BEFORE you get on stage. Tuning on stage is boring to the audience and it will be harder because you will be nervous. Check it just before it is your turn. Whenever possible do not change your strings right before you plan to play. If you do, stretch them out so they will stay in tune. Does it seem like I am spending too much time on this point? I am stressing this because I have found in all my years of hosting that the best way to make a bad impression is to play out of tune and so many people do.

4. Present yourself in the best possible light.

Dress attractively. Casual attire is the norm for writer’s nights in Nashville so there is no need to dress up, but a sloppy appearance doesn’t win you any admirers. Do songs you are comfortable with. It’s perfectly appropriate to try out a new one at an open mic, but practice it first. Don’t subject the audience to a  rehearsal full of mistakes.

5. Be confident but humble.

If you are nervous and afraid, act as if you are comfortable and confident. It will put your audience at ease, and will help you feel better too. Don’t apologize for anything you are going to do. If you need to apologize for it, don’t do it. Don’t say anything negative about your song or your performance. If you don’t tell the audience that your voice isn’t in good shape or that you’re not a very good writer yet, they might not know any better and they might just go ahead and enjoy what you do! But don’t go overboard and broadcast how great you think you are. I find that when people drop names or brag about their accomplishments it tends to alienate the audience. Wow them with your performance, not with your credentials. A mediocre performance presented with unassuming sincerity is generally better received that a stronger performance from someone who seems arrogant.

If you follow these suggestions it can help you have a positive experience playing the open mics in Nashville and assure that you will be welcomed back to play again. If you live in Nashville or come on a regular basis, you may eventually be able to play during a scheduled writer’s night. One way to achieve this is to be invited by another writer to be in a round they have lined up. Be friendly and get to know the other writers. Show up to support them when they play out. Not only can this make it easier for you to get to play, but the camaraderie and support of other writers is one of the greatest gifts this town has to offer.

Another way to get scheduled ahead of time is to be invited by the host. It is perfectly appropriate to ask the host if you can be scheduled, but bear in mind that a host has many factors to consider when arranging their line-up and every host has a different process of selection. Some are happy to book you simply because they like you or like your music. Others have limited slots and need to reserve them for those who regularly support their nights. Unfortunately, every host has to consider the bottom line. They are paid by the club owners and if you are an incredible writer with no following, you may have a much harder time getting booked than a less talented writer with a lot of friends who spend money.  Yes, even at this entry level where you are giving your music away for free, it is still a business.

Speaking of business, I want to put in a word for the club owners who give us a place to perform our songs and for the people who work there. It is true that you are coming in and donating your music free of charge But please realize that the club is providing you, free of charge, with a stage, a sound engineer and an audience. In my way of thinking, that is an even trade. Past that point, you are a customer. If you do not plan to spend any money, do not expect to be served anything. If a waiter or bartender is kind enough to bring you a free glass of water, TIP THEM! They are there to earn a living from the tips they make and it is grossly unfair to expect them to serve you for nothing. If the place is crowded, do not take up a good seat that could be given to a paying customer. If you are scheduled to play out, tell your friends and fans and help generate some business. If you are going to eat out that night, eat at the club where you are playing. This will not only help you get more bookings, but it will help keep the writer’s nights profitable for the club owners who have no reason to hold them if they don’t make money.

I hope these hints will help you have a positive experience playing in Nashville. A writer’s night or open mic where the energy is high and the music is good can be tremendously inspiring and lots of fun. There is a wonderful, supportive community of writers here and anyone with a good attitude and a love of music can be a part of it.

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Getting Booked
(This article was written when I still booked the early shows at The Bluebird Cafe, but I have stepped down from that position. If you are interested in playing at The Bluebird, please go to our website, www.bluebirdcafe.com, click on "Play the Bluebird" and read the section carefully .. It will explain the different shows we offer, who is eligible to play them and who to contact to get involved in them.)

Along with hosting the Monday Open Mic at The Bluebird Cafe in Nashville, I have the pleasure and privilege of being the person hired to book the Early Shows and Sunday Spotlights for this very special club. Amy Kurland, the owner of the club, books the late shows, which are reserved for major hit writers and well established acts with a large following. The shows I book are for the up-and-coming local writers and lesser known touring artists. Brian Whitney, the head of the online independent music community Just Palin Folks,  suggested that I share some insights on getting booked from the perspective of someone who does booking. So here are some suggestions gleaned from my experience. I hope they will help you save time and money and make your efforts more effective.

Before I get into specifics, let me begin with a basic concept that can be very helpful if you understand it. That concept is, we are all the center of our own universe. As a singer/songwriter myself I know that, for me, my music is the most important thing in the world. But when I sit down to screen press kits, the most important thing is to bring great music and large crowds into The Bluebird Cafe. So, when you approach people to get bookings, try to remember that to them you are just a speck in orbit around them and not the center of their universe. If you think about what they need and approach them from an angle of "here's how I can help you" rather than "here's how you can help me" it is much more effective.

Now, some concrete suggestions:

RESEARCH

Before you approach a venue, find out what kind of music they book. This may sound painfully obvious, but The Bluebird is a folk/acoustic songwriters' club that features only original music, yet I regularly get press kits from jazz bands, country cover bands, show bands - you name it. I look at these packages and ponder the cost of the CD, the folder, the printed material and the mailing, and I feel bad for the struggling artists who just wasted the price of a hot meal, when a quick trip to our web site would have saved them the trouble. If a club you want to check out doesn't have a web site, find the club listings in a local paper and see if any of the artists booked there have websites you can go to. If you have no other source of information, call the club and ask questions. But here's an inside tip. Call during off-hours and talk to a bartender, waiter or someone other than the person who books. I am much more receptive to people who call me already educated about our club than I am to those who make me spend my time explaining our format.

INCLUDE YOUR CONTACT INFORMATION

Yes, I have actually gotten submissions with no contact information at all. Occasionally even from artists I liked. Obviously, this renders all efforts totally fruitless. Put your phone number and e-mail address on everything. If you could see the clutter on my desk right now, the reason for that would be apparent. Your beautifully worded cover letter may have disappeared, but if your information is on the CD I can get back to you right away.

WRITE A COVER LETTER

I'd guess that at least half of the submissions I get come with no cover letter. Many of those are CD's only with no other information whatsoever. Since I am hired to screen packages I feel obligated to skim through them and make a few notes in my database, but I rarely respond. Now, if you sing better than Wynonna and write better than Gary Burr, I'll probably call you. But there are many decent artists who might have gotten a booking from me if they had let me know when they'd be available and what type of spot they were looking for (our shows have several different formats at The Bluebird.) And those I can't use will at least get a response from me if they address me with a direct request. Amy has told me that she personally feels no obligation to listen to any submission that comes without a cover letter.

If your submission is not your first contact, it's a good idea to refer to any previous conversations or correspondence. Rather than presuming that someone will remember you (I try, really, but I meet a LOT of songwriters), jog their memory with a statement like "As per our phone conversation of last week" or "It was nice running into you at The Just Plain Folks meeting."

MAKE A PROFESSIONAL PRESENTATION

Just as it wouldn't be a good idea to  show up for a job interview with uncombed hair and wrinkled clothes, it's not a good idea to submit a sloppy package for consideration. A hand written note wrapped around a cassette recorded on a boom box with a snapshot of you on vacation makes the statement that you are not a professional. If you can't afford a recording studio for a top quality demo, make the best possible recording you can at home or at a friend's home. Or find someone with a studio and trade out for some service you can offer. CD's are now the standard format for the music industry so submitting your music on cassette gives the impression that you are not serious about your career. If you can't afford a professional head shot, at least have your best available photo printed in black and white on 8 X 10 paper with a white border around it and your name type-set at the bottom. And please, one photo only. I've gotten press kits with six or seven different ones, which only leads me to the conclusion that the performer is rather vain. If you are asking to play for free at writers' night or some other type of performance open to beginners, sending a hand labeled a cassette and no photo can be fine. But at least show that you care about your music by typing your correspondence.

HAVE AN EFFECTIVE PRESS KIT

The standard tool for securing bookings is a press kit, also know as a promo package. The typical components of a press kit are:

1.       a cover letter (sorry, I had to say it again, it's a pet peeve)

2.       a bio

3.       a photo

4.       a venue list

5.       press clippings

6.       a recording of the music

 

When I sit down to go through that pile of submissions on my desk, here's what I want to know:

·         What kind of music do you play?

·         What type of image do you project?

·         Where have you played before?

·         With whom are you or have you been associated?

·         What do other people say about you?

·         What do you sound like?

And what I really want is to get that information as quickly and clearly as possible.  When you write your bio or work with the person who's writing it for you, keep that in mind. Okay, I have a confession to make. I really don't care that you played the trumpet in your grade school orchestra or that you won the choral music prize your junior year in college. If you were in the original cast of Rent or have been touring New England for the last ten years, that means something to me. I don't need your life story. I need to get an overall impression of your level and breadth of experience. And if you have done projects with notable people, by all means, drop names. If a successful  person was willing to work with you, I assume that you must have something to offer.

I'll tell you another secret about me. I get really bored by long, involved descriptions of your style and artistry. If you give me a concise description of what you do, like "pop-alternative" or "acoustic blues" or "Madonna meets Allison Krauss", that's about as much as I need to know to determine if you're appropriate for my venue. Let the music tell me the rest. You may be fascinated by in depth analyses of the psychological overtones of your lyrics or flowery descriptions of the resonance of your guitar tunings (as many people who submit packages to me seem to be) but that's because you are the center of your universe. Me, I have twenty-five more press kits to screen before I can take my dog to the park and it's a really nice day. (He's a Border collie named Ralph.)

It also doesn't do a lot of good for you to tell me about how good you are. Of course you think you're good. But press clippings, print or on-line, carry a lot of weight with me. I am not a fan of all types of music and someone's style may leave me cold. But as long as the music is well presented I may book that person based on opinions of others who do like their style. Quotes from appropriate people are better than nothing if you don't have anything in print, but I always wonder a little if the person quoted is a close friend or felt put on the spot or was just being nice (been there, done that). But if an unbiased journalist is willing to print his or her name next to a favorable review, I take it to heart. And if you are working hard to get reviews and articles about you published, it tells me that you are a dedicated, serious professional who realizes the value of promotion.

I also look closely at where else you've played, and when and how often. If you played once at a prestigious club three years ago, I wonder why they didn't have you back. If you have played regularly at a place, even if I haven't heard of it, I assume they must really like you and you're good for business. I am more impressed by a well-chosen synopsis of your playing history than an exhaustive list. And I love to look at your current schedule so I know where you are in your career right now. Don't be afraid to drop names. If you're a Kerrville New Folk Finalist or went on tour with  Nancy Griffith, I'm impressed. On the other hand, a long list of famous names you've opened for once doesn't impress me as much as you might think. I know that opening acts are often sacrificial lambs sent out there to kill time. And I think (maybe I shouldn't admit this) "If you've been around that many famous people and you haven't been discovered yet, why not?"

Of course, while I'm skimming through your bio, press clippings and venue list, I'm popping your CD in to give it a listen. Please note that I said CD, not CD's. I am amazed by people who send me two or three full length CD's. I guess they don't realize how badly Ralph wants to get to the park. The truth is I'm only going to listen to enough to make a decision. If I love what I hear that's probably going to be one or two complete songs and parts of a few more. If I hate it, that might be half of a song and small bits of a few more to be sure. If I'm on the fence I may listen to three complete songs and part of a couple more. If you knock me out, I'll keep the CD and listen to the rest later. (Uh-oh, did I just let it slip that I throw most of them away when I'm done. Sorry - I know it hurts.) If you haven't yet produced a full length CD, choose three to five of your best songs and put them together on one CD.

ONE-SHEETS AND WEB SITES

Remember how I said that what I really want is to get your information as quickly and clearly as possible? One-sheets are a great tool for that. If you put your photo, bio, venue list and a few good quotes on one nicely printed page, you can save yourself a lot of money on printing and postage. I love them because they give me the information I need in a focused, concise way and Ralph loves them because he gets a longer walk. Some performers don't put their photo on their one sheet but include an 8 X 10 instead. Some also send separate printouts of press articles.

Another way to simplify the process is by posting everything you'd put in a press kit on your website. I know there are a lot of talent buyers who don't like them and want the package in their hand, but find out what someone's preference is. I personally have a very fast Internet connection and a very small office, so if you can save me the clutter I'd much rather just check you out on line. I prefer to be able to listen to complete songs, but will be satisfied with short samples if the lyrics are made available.

FOLLOW UP YOUR ORIGINAL SUBMISSION

After you've made your initial submission if you don't hear back from the club, follow up with a phone call or e-mail. I can attest to the fact that no response doesn't necessarily mean "no thanks." Often if you haven't heard from me it's because I haven't listened to your package yet or because getting back to you hasn't yet been more important than all the other things I've had to do each day. If you will only be available to a club during a certain time period it is doubly important to follow through promptly. Sometimes I take a long time before I listen to a package, but if I'm almost done with July's schedule and you let me know that you'll only be here in July, I will dig yours out of the pile and listen to it in time. You may have to call or e-mail several times before someone responds. I know what a drag that is, but most talent buyers are probably like me in that they're juggling a dozen other duties as well as booking performers. Try to strike the balance between being persistent and being a pest.

REMEMBER THE BOTTOM LINE

Whatever type of gig you're after, you'll get booked more easily if you can convince the talent buyer that you will be good for business. If you're looking for a gig at a local bar and your softball team comes out to hear you whenever you play, tell the bar owner that. If you're wanting to play a music festival and you have a mailing list of 1000 people who love that kind of music, that's a good selling point. If you always hold the crowd and create high sales for the clubs where you play, emphasize that in your communication with club owners you contact. Or better yet, ask club owners you've done well for to attest to that in a letter and include those letters in your press kit. It's that basic principle. The people you want to get booked by are the center of their own universe. They will book you because of what can you do for them.

I realize that this article is nowhere near a comprehensive discussion of all the factors that go into booking a career. I haven't even touched on the subject of money, but that's because the shows I book don't pay and I have no insight at all to offer in this area. I hope, though, that seeing things from my point of view will help you accomplish your goals. I know how difficult and demanding the life a performer is and I have tremendous respect for all of you striving to express yourselves to live audiences. I wish you well.

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