Can I be totally honest? This will most likely get me into that never found but often heard of “banned list” - but I’ve just have to say it. I hate workshops. There. I said it.
I grew up in Nashville (you can find out more about me here) and as a songwriter I’ve attended many of the workshops that are offered. As I’ve stated, it was at one of those workshops that I was “discovered” (I suppose you could call it that) - but that was simply an accident I believe. I believe that because at each and every subsequent workshop, I turned out to be totally invisable.
The biggest problem with workshops are how pretentious the people who run them (and contribute to them) are. It literally borders on condescension.
I haven’t been to one in years, so maybe they’ve changed quite a bit, but I happened upon some pictures of one of these workshops on a website, and needless to say - was revulsed. I don’t say that lightly - so revulsed that I immediately began typing this commentary.
Let me tell you a little of what happens.
(continue reading after the jump)
First, you’re either in a large setting or a small setting, but make no mistake, either way - you’re sheep. You might get a nametag, might not. You might pay for the privilege of being belittled (schooled) in front of a crowd - and then again you might just get that “privilege” for free.
In a large setting you’re sitting in stadium seats with up to a hundred others. In the small, it’s generally around a conference table or something similar.
The Nashville workshop community caters to the poor - the new writer who needs to learn structure, vocabulary, meter, and melody. The Nashville professional community caters to the rich - those songwriters who have made it by getting their songs placed on others albums - and it’s these that “run” the workshops - given that because they had a song placed, now have the knowledge to “school” the rest. The great divide in the middle is most of us - trying to get from poor to rich - the one’s who know everything the rich know and yet, are not so ignorant that we don’t know how to properly write a song. That’s the vast majority and who I’m talking to right now.
And what is there for us? Do we need another workshop? Do we need one more book on songwriting? One more “schooling” session? Do we need to be trying to write with middle-class or poor writers - our own peer group? I don’t think so.
When I was younger, around 10, I watched as a kid about five years old jump off the highboard into the swimming pool. I admit, I was a little afraid being so high - but this kid, he just did it. I think about that when I see a 14 year old get signed. Do you realise that as I write this now, there are people in town who believe in a 14 year olds abilities to write more than most of you combined? And more belief than any of you could ever dream? I’m not saying that mean or negative - certainly not in the way that it means just give up. I’m saying that because it’s just the bare facts. A 14 year old can write 3 songs and score something you’ve worked a lifetime at perfecting. That’s reality. No need to be bitter, or hate the 14 year old - no need to even complain, it’s just the way things are. No years and years of workshops. No huge “neworking” opportunities. They simply write what they write. They just do it. From the womb to the signing, all in 2.5 seconds. That alone should really tell you something.
I’ve told this story before - but it’s a true story - that happened to me - and it’s one of my favorites.
Several years ago, after I’d written with several of the towns top songwriters, I went around to some publishers. I met with one guy, played him some songs, he said “we’re looking for another Bob Carlyle” (at the time “Butterfly Kisses” was a huge song). A time later I met with another guy, played him some songs, he said, “we’re looking for another Craig Wiseman”. A time later I went to yet another publisher and played some songs - this guy says, “we’re looking for another John Rich”. I’m not making it up - at each of those times I thought to myself - when will you be looking for another “Paul King”?
I could try more workshops I suppose. Learn to write a better song. I prefer the mentorship of one on one - not a classroom setting where the greatest thing you can contribute is to the oversized heads of many of those on the “one hit wonder” panel. Hey, we’d all like to have that one hit! But my advice - stay away from workshops - even when you get yours. Hey, if it works for a 14 year old…
Because what is it that they do with a 14 year old when they’re signed? Do they then say - “I know, you should go to workshops! and learn how to write a better song?” NO WAY! The first thing they do is set them up with hit WRITERS to WRITE with!
Never forget that.
And that’s my advice if you are a songwriter - or an artists. Just do what you do, search for people who are better than you and can help you become better at what you do, and let the chips fall where they may. Work hard, harder than everyone else - and don’t get stuck in the rut of attending workshops. Some of you long ago needed to move from one side of the table to the other - you just haven’t found your believer yet.
Ultimately, we all hope to find a believer. I discuss that with the people I interview for a reason. Everyone has one. Some just take longer at finding theirs. Take comfort in knowing that.
And if you want help writing songs - you need a place to learn or want an honest opinion - visit one our sponsors - Tunesmith.net - good people, good writers, and willing to help.
4 Comments until now.
Great article. It sounds like you have been to a few of those. I’ve contemplated attending one or two myself. I know there are lots of Blogging Muses readers that run songwriting workshops so I would love to hear their feedback. I have NEVER been to a workshop, so I have no experience to contribute to the discussion.
However, I know there are cases where attending a workshop has turned people’s lives around and made them incredibly focused. Jeff Oxenford has nothing but great things to say about songwriting workshops, because they keep him inspired. I also remember reading a story about Matt Damon and Ben Afleck meeting at a scriptwriting workshop.
The bottom line is that Songwriting Workshops are moneymaking opportunities for those that run them. Teaching people how to write good songs is second place (in a best case scenario).
I agree Paul, sitting down one on one with songwriters you admire and working on songs seems to be the best long-term strategy.
I’ve attended a few workshops in the non-music, artistic world and the general consensus of everyone there is not that you’re there to be “schooled”, although you might learn a few things — you’re there to meet people and network.
Every time I’ve gone to one of these workshops, the money I paid was worth it for the relationships and contacts I got out of it. As mostly a photographer (I do this music thing on the side), I might meet a designer who remembers me and my work and calls me up for a job.
Yeah, they are definitely there to make money, but what are any of us doing this for? I’m glad I don’t rely on songwriting to make money, but if I did, I might like to meet those in the business. And, although it might be romantic, I’d like to think those experienced musicians aren’t there to “school” you, but to give back to everyone else from their experience on the business side of the art.
One on one is cool too.. I wonder why more musicians don’t do apprenticeships?
Steve Seskin is an exceptionally insightful teacher. He teaches a Nashville workshop per year, and I thought I was all workshopped out, but he gave us great insights, with humility. Absolutely worthwhile.
I strive to be someone on whom nothing is wasted. Sometimes learning environments don’t pay off because people don’t ask intelligent, purposeful questions, don’t have a plan for what they want to get out of the workshop, don’t examine their own work and process deeply enough to know what it is that they could be getting help with from the workshop leader.
They sit there passively and expect the information they need to come at them by chance.
If there’s a writer who’s mastered what you haven’t, who you know can articulate his/her process…go after that knowledge wherever it is.
No one way for everyone. That’s the real Nashville curse, people who tell you THE way to do things, what you should or shouldn’t do. It’s good to try on stuff, and see if it fits YOU. But there are pompous pontificators aplenty in workshops, in offices, on barstools, even online. I think people need to figure out what works for themselves…as people, as writers…
Our mileages vary.
Here’s more praise for Steve Seskin’s Nashville workshop. When I attended his ASCAP weekly workshop he brought a song that he was working on and every week he would play us his rewrite for the week. This accomplished several things: first, it put us on equal footing as writers who struggle everyday how to best express an emotion, and second it showed us that even after an amazing first draft (that anyone there would have been happy to settle for) Seskin kept pushing to make it better.
I guess the point here is that the right intention of the facilitator/teacher has a lot to do with the success of the workshop.