To Co-Write or Not to Co-Write? Part II by Wayne Cohen

Wayne Cohen is a songwriter, record producer and song tutor whose songs include Top 10 hit singles, downloads and #1 albums, which have sold more than 5 million, in the U.S., UK, Europe, Australia and Asia. He works from his NYC studio Stand Up Sound, as well as in London and Los Angeles. Wayne's 30 years experience as a songwriter and educator has also given him the ability to turn his toolkit into a song tutoring course that benefits songwriters around the world, in individual and group tutoring sessions, via Skype and at his midtown Manhattan, NYC studio Stand Up Sound.


To Co-Write or Not to Co-Write? Part II 

In part I of this article, we discussed something I call the “collaborator’s code”. This week I’ll explain in more detail my own ground rules for collaborative songwriting.

Collaborator’s Code (by Wayne Cohen):
1) Come with an idea (aka ‘preview and imagine the result’):

Before I even step into the room with my collaborator, I imagine the result I want to achieve. Part of the magic of the creative process is not knowing exactly what’s going to happen, but if I have a general idea of what I want to come out of the room it’s usually a good starting point.

2) Get (not too) comfortable, celebrate your differences:

a) Before working begins I start by putting myself in my collaborator’s place. On first meeting, what would make my collaborator comfortable? If we’re working at my studio I like to make it a comfortable (although not TOO comfortable) physical environment, pleasant, minimal, and stimulating, not too relaxed. It’s a place where work, not chilling out, gets done.

b) If time permits, I’ll suggest a chat over a cup of coffee or a meal. We both know the work is at hand, but I think we will achieve a better result if we can get to know one another. I might start by asking how their trip was, or what they’ve been up to, ask them about their impressions, and share my own. I like to show my respect and appreciation for my collaborators’ talents and culture, yet I’m also not afraid to mention a few of my recent accomplishments (without being obnoxious about it). I find that strong co-writers respect self-respect. I also try to find common ground in 3rd party songwriting accomplishments that my collaborator and I both admire.

c) Right before starting to write I like to listen to and discuss some songs we both have a passion for, it’s an inspiring moment for me. This is particularly valuable when writing with an artist, as it breaks the ice and is also a good barometer for where the artist’s taste and goals are. I will ask my collaborator what it is about those songs they admire. I like to get a feel for what they value, and I try to share what I value with them. While I think it’s important to find common ground with my collaborator, I like to celebrate our differences as well, as that can often make for good results. For example, I may be great with titles, concepts and lyrics, and my collaborator may be great with melodies. Now that’s a good team!

3) Discuss objectives (Why does this song need to exist?):
I like to introduce and discuss our objectives for the days’ work, before actually working. I find it useful for us to agree to not waste time developing mediocre ideas before getting to work. No need for hurt feelings, simply agree before the writing process begins that you will each share a bunch of ideas and then mutually agree on what has the most breakthrough potential (lyrically, melodically, and track wise). The world has way too many mediocre songs so it’s of paramount importance to set up ground rules. Don’t fall into a situation that is needlessly confrontational or overly polite. To use a fishing metaphor by way of Steely Dan, don’t be afraid to ‘Throw Back The Little Ones’. Decide why this song needs to be, before you and your co-writer invest time and energy developing it. If you have a good answer to this, proceed to the next step!

4) Collaborate on creation:

a) Present ideas: Though I’ll start by mentioning I have ideas that I’d like to share, I’ll usually ask my collaborator to share their ideas first to make them more comfortable: “So whaddya got for me?” I might say, playfully, although it depends on the situation. I try to think about what would be the most appropriate mode for getting the job done. I find phrases like “what if we tried this” or “how about this as a possibility” are valuable for introducing ideas without making your collaborator feel insecure about their own.

b) Who’s doing what?: It’s usually pretty obvious, but sometimes a short conversation about this can make things be more productive For example, is somebody on guitar and somebody on piano, but more importantly who’s writing the melody, the lyrics, the track?

5) Dig down, stir it up, prove your passion:

Bend but don’t break when it comes to accepting or rejecting your ideas and your collaborator’s ideas. I think it’s essential that each collaborator is in the habit of pushing themselves and the other to come up with the best they can, while always cultivating a positive atmosphere.


6) Keep the ball rolling (with a whisper, not a scream…”):

Brainstorming an idea, melody or title that either of us brings to the day is where the process usually starts. I like to begin with a title, or an emotional truth that has yet to be formulated into a title. Next we work on a chorus melody, then the verse melody, then the chorus lyric, then an arresting first lyric line of the song, and so on. I like to keep us on our toes by not getting bogged down in any one area. It may appear we are jumping around, but in fact in my mind is a clear picture of the order of business. I find that the creative voice often starts as ‘a whisper, not a scream’ – it needs to be encouraged without being put on the spot. I can’t get too much good work done if I feel like a deer caught in headlights. I imagine my collaborator is the same way.

7) Strive for a tangible result:

I strive to end the session with something we can walk away from the room with. Perhaps there’s just enough time to write a melody or lyric but not enough to write the whole song. It’s important to set realistic time/space goals in co-writing. I always make sure we have a recording, even if it’s just on a hand held Dictaphone or a Word document of the entire melody and/or lyric – something to remember where you left off and where you can start from next time if you decide to continue.

8) Steps for next time:

If I respect the work we did together and think that it merits further attention, I think it’s essential before parting ways to schedule a follow up session so we can finish the idea, start a new one, or if it’s finished already, demo it! But to me the most important thing to remember is to consciously decide and be ruthless with one’s self about whether the days’ work is worth moving forward with. You can’t rely on anyone else to have the quality control that you can have.

And when the song is done (and you believe it merits a demo)…

9) Define collaborators’ contributions:

Once the song is complete, have a conversation and get closure on what the songwriter splits are. In my experience I think it’s a good idea to define these splits (in writing if possible) after the song is complete but before the demo is recorded. Email confirmation of the splits is useful so that there’s a record of the agreement. My rule of thumb is if two people are in a room and a song results, each person gets 50% of the song. If I write to someone’s track I get 50% and they get 50%. If somebody writes the entire lyric and somebody writes the entire melody each party receives 50% of the song. There can be exceptions. If the artist wrote two words in the song I believe they can be entitled to receive as little as 10% or as much as 50% depending on the effect their contribution had on the song. I personally subscribe to the ‘let them go first’ philosophy, so you can get a sense of where your co-writer is with the splits, but in my experience it’s usually pretty obvious how it should go down.

10) Decide how to demo it:
First step is to decide what the purpose of the demo is.

If you’re pitching to an outside artist it needs to sound as much like that artist’s record as possible. You and your collaborator need to discuss how that will be achieved (will you be hiring programmers, musicians, singers, studios, etc.) Producing outside song demos can cost anywhere between $500 and $1500 to produce once all the talent is paid, the cost of which should be split proportionally by the writers. I find that it’s better to go for a similar emotional content in the demo singer and NOT to try to make the singer sound just like the artist you’re pitching it to. The artist and their A&R person know very well what the artist sounds like! If I’m writing with an artist, I usually ask them to do a reference vocal, then I or people we hire create the track. But in the case of an artist co-write the demo, at least for initial presentation purposes, usually doesn’t have to be as produced as when you’re pitching an outside song.

If you’re writing with a track writer, and you’re the singer than you need to have a conversation about whether you are the right singer to sell the song. It’s all about vocal intention being appropriate for the song pitch. I find that it’s usually a good idea to lay down a very quick guide demo of vocal, one instrument, and a beat with the correct tempo, arrangement and key. After we spend some time building the track, then we lay down the keeper vocals. If you’re writing with a track writer, it is their job to provide the backing track and production of the demo. Tag team vocal production between co-writers can be advantageous although it’s usually best if all directions to the demo singer are filtered through one person – this way the singer won’t feel like they’re in a tug-of-war between two producers.

To summarize, effective co-writing is basically an extension of the golden rule: "Treat others only in ways that you're willing to be treated in the same exact situation." If you had any previous hesitations about co-writing before, I hope you have found these articles helpful in overcoming your hesitation. Leave any questions/comments here on the blog or feel free to drop me a line.

To Co-Write or Not to Co-Write? Part I by Wayne Cohen

Wayne Cohen is a songwriter, record producer and song tutor whose songs include Top 10 hit singles, downloads and #1 albums, which have sold more than 5 million, in the U.S., UK, Europe, Australia and Asia. He works from his NYC studio Stand Up Sound, as well as in London and Los Angeles. Wayne's 30 years experience as a songwriter and educator has also given him the ability to turn his toolkit into a song tutoring course that benefits songwriters around the world, in individual and group tutoring sessions, via Skype and at his midtown Manhattan, NYC studio Stand Up Sound.

Part I: To Co-Write or Not to Co-Write, that is the question...
...Whether it is nobler to toil by one’s self, or share your gift with another writer, thereby potentially exponentially expanding your songwriting and song networking reach. Well, the good news is that you can do both, which I like to do for several reasons.

I like to write by myself so that I feel I can really explore every aspect of an idea, so I won’t get lazy, and obviously, because it can be twice as lucrative if you write a hit alone.

But maybe you come up with a million melodies and no lyrics, or you have lyric ideas but no melodies, or maybe you’ve got a million melody and lyric ideas and can’t organize them enough to pull together a coherent song easily, or you’re a visionary producer/track writer/multi-instrumentalist but you need help with lyrics and or melodies; maybe you’re all of these and you just want a break from yourself. Have no fear, co-writing can be good for you. At worst, it might be a good way to get out of your own face for a while.

So I co-write, because it can be invigorating and create surprising results, and there are some obvious advantages: it expands your network for pitching, and expands your mind about the kinds of songs you can write. For me the beautiful thing about co-writing is that I don’t have to be all the people in the band I’m not (the female singer, the drummer, the amazing guitarist, etc.), and still can come up with something to be proud of – something I could never have predicted, or that either of us might have written, without a collaborator.

These days co-writing can come in several forms:

• Melodist meets lyricist
• Melodist meets lyricist meets track writer
• Melodist/lyricist meets track writer

With who and how to co-write:

I’ve always found it wise to collaborate with people who complement what my strengths. As much fun as it could be to be in the room writing with someone who does what I do, I find it’s more productive if you work with someone who does NOT do what you do (although I have written great songs with people who share my same strenghts and weaknesses, so go figure). The greatest thing about co-writing for me is that you generally can never predict what will come out of the experience.

An effective co-write requires mutual trust and respect between collaborators. To foster 'singing the same song’ with my collaborators, after years of co-writing, I’ve found it useful to develop some simple ground rules which I call the COLLABORATOR’S CODE. Much of this is unspoken, but I find things go much better, and faster, if I have this in the back of my mind while working with a partner. Here in part one I’ll give you a preview of the code, and in part two I will delve into more code detail, and examine options for how to demo a co-written song.

But before we get to the code, I wanted to mention that when I collaborate I always like to think of it like I’m going to a party (which my mother taught me I should never do empty handed). So, rule number one is to always show up with an idea. This could be a subject, a title, a lyric, a melodic fragment (a hook is always good), basically anything that you feel passionate about that could be the basis of a breakthrough song. Having said that, I’ve shown up to plenty of co-writing sessions with an idea only to end up writing something completely unrelated. But it’s all good, ‘cuz if I don’t use an idea I just file it away, and the good ones always have a way of coming back to haunt me until they write themselves. If they don’t come back to me they probably weren’t worth much in the first place. But I find it’s better if you always bring SOMETHING to a co-write, even if you discard it.

This brings me to one of the trickiest, challenging, yet potentially rewarding aspects of co-writing, which is selling an idea to your co-writer. He or she, in effect, is the first audience for your song idea. It’s tricky because you want your co-writer to respect your ideas but to contribute as well. So my suggestion is to start by having some respect for your self and your collaborator by bringing an idea to a co-writing session that YOU like, so you can get behind selling it to your co-writer.

If you’re, deathly afraid of sharing what you think are ‘stupid’, ‘irrelevant’, ‘inconsequential’ or the ‘only great ideas I’ll ever have’, or if you think you’re ‘too good’ to co-write, check your ego at the door and GET ON WITH IT. Because, here’s the deal, no matter whether you write a #1 single or another song that sits on a shelf, you will LEARN something from the experience. Keep in mind, your co-writer is probably just as insecure or as much of an egomaniac as you are, so don’t be shy, you will still be who you are after you leave the room. And if worst comes to worst if you’re not happy with the results of the co-write you are within your rights to say, politely, to your co-writer (preferably followed by acknowledgement from them) that you’re going to take your idea back so you can write it by yourself or with someone else. So, even if all you learn is that you don’t want to co-write with that particular person again, you will gain an invaluable perspective on your place in the songwriting firmament, simply because you are sharing YOUR ideas with someone else who is listening and responding. But it’s also possible you will get something more from the experience, a great song.

But watch out, co-writing can inspire friendly (and sometimes not so friendly) competition. Some of my best work has come from passionate yelling and screaming interactions with co-writers fighting over a particular lyric or melody phrase. The right kind of creative tension can produce good work, but it has to have mutual respect at its' core, otherwise it ends up being a grandstanding session that DOES NOT work.

I’m willing to try any collaboration once, if I or someone I respect (like a publisher, manager, producer, A&R person, music supervisor or artist) has a positive instinct about it. If you decide you want to co-write, I find it’s usually good to go with your gut about whether you think you’ll click with the other writer, however you should allow a small percentage of your co-writers to be with talents that you never thought would be compatible with yours, just to keep you on your toes. Some of the greatest records have resulted from unconventional hybrids, so for example, if you’re an acoustic singer/songwriter why not see if you can vibe with an urban track writer? You may end up with a hit record that neither of you could have written by yourself.

When I was signed to Sony Music I was put together with lots of co-writers and artists. Most of these bore good-not-great songs, but I still believe ‘nothing ventured nothing gained’. You just need to be sensible about your choices, before you make them.

Even if you do all the ‘right stuff’ to prepare for a co-write, don’t be too hard on yourself. There will be days when it just doesn’t happen, even if ‘on paper’ a co-write looks like it should work just fine. I find that I usually know within the first 30 minutes whether it’s going to work. A word to the wise: if it ain’t happening I think it’s better to politely say something like “It’s great to see you today, but I have to say I think we’ve both written better songs, so I’d like to call this complete, and move on to something else.” Be smart and size up the situation in advance. If you’re both track writers and neither of you write lyrics, it’s pretty clear that you either need to not collaborate, or to include a lyricist!

So, in summary, some advantages of co-writing:

Coming up with something you would never have thought of on your own and potentially expanding your creative and song networking scope. If, for example, if you’re a country songwriter, you might be able to expand your song networking scope by writing with an urban music track writer.

And here at long last, in usual order of my experience is the…

COLLABORATOR’S CODE:
1) Come with an idea (Preview and imagine the result)
2) Get (not too) comfortable, celebrate your differences
3) Discuss objectives (Why does this song need to exist?)
4) Collaborate on creation
a) Present ideas (let them go first!)
b) Decide who’s doing what? (melody, lyrics, track)
5) Dig down, stir it up, prove your passion
6) Keep the ball rolling (“ideas are usually a whisper, not a scream…”)
7) Strive for a tangible result (I like to know that I at least have a complete melody when I walk out of the room, with a title, so it does not have to be a complete song, just something that you can build on in the next session.)
8) Steps for next time

And when the song is done:

9) Define collaborators’ contributions (songwriter splits)
10) Decide how to demo it

New Developments in co-writing:

Lately the internet programs like Skype have made it possible to get the benefit of instant feedback and the spark of collaboration without having to spend time and money to travel. For example, I’ve been working with Riccardo Foresi, an artist from Italy. The first time we worked together he was in NY but lately he’s been back in Italy and we’ve been writing utilizing the video capability of Skype as if we’re in the same room. I find that it’s still better if you start the relationship (or the song) in the same room, but with our most recent song, the collaboration took place entirely online. Riccardo sent me some melodies and a track that he had started in Italy, for which I wrote a hook, title and lyric for the melodies in NYC, and then we tweaked it together over Skype. Truly an amazing experience.

By the way, you can hear some of these Skype session results by clicking here. And we chose tunecore to get Riccardo’s music out.

Next week:

The COLLABORATOR’S CODE in greater detail, including how to define collaborator’s songwriting contributions, and options for how to demo the co-written song.

Thoughts, questions or comments? Share them here!

You can contact Wayne here or by writing to wayne@waynecohensongs.com