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| Introduction | |
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| How Did I Learn What I Know? | |
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| Songwriting Principles | |
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| Can Songwriting Be Taught? | |
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| What's New in This Edition? | |
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| Find Ongoing Updates to This Book at www.johnbraheny.com | |
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| The Craft | |
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| Creativity and Inspiration | |
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| Creativity: What Is It and Do You Have It? | |
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| Developing Your Creativity | |
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| Motivation: Overcoming the Barriers | |
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| Craft vs. Inspiration | |
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| Developing a Songwriter's Consciousness | |
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| Finding Your Own Creative Process | |
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| Breaking Writer's Block | |
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| Stream of Consciousness | |
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| Problem Solving | |
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| Developing Good Work Habits | |
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| Subject Matter | |
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| Finding Ideas | |
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| The Commerciality of Subject Matter: Mass Appeal | |
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| Writing From Emotion | |
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| Message Songs | |
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| Novelty Songs | |
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| Lifestyle Songs | |
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| Christmas Songs | |
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| The Media and Listeners | |
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| The Media | |
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| A Poem Is Not a Lyric | |
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| A Song Is Not a Record | |
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| Writing for Radio | |
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| Song Length | |
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| Singles, Albums, Live Performances, Video | |
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| The Listener: Know Your Audience | |
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| Writing Lyrics | |
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| Simplicity | |
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| Focus | |
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| Attitude | |
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| Titles | |
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| First Lines | |
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| Second Verse Curse (a.k.a. Second Verse Hell) | |
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| Rhyme | |
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| Poetic Devices | |
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| Pronouns | |
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| Prosody and Meter | |
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| Lyric Context | |
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| Cliches | |
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| Constructing a Song | |
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| Basic Principles of Commercial Songwriting | |
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| Words and Music Together | |
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| Hooks | |
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| Chorus Construction | |
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| Repetition | |
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| Song Dynamics | |
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| Rewriting | |
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| Writing Music | |
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| Melody | |
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| Completing Songs | |
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| Range | |
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| Scale Context | |
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| Harmony | |
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| Groove | |
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| Collaboration | |
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| Why Two (Or More) Heads Can Be Better Than One | |
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| Finding Your Match | |
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| Can This Marriage Work? | |
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| Collaboration Business | |
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| Preliminary Business Meeting | |
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| Writing As a Band-Working It Out | |
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| The Business | |
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| Protecting Your Songs | |
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| The Importance of Taking Care of Business | |
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| Your Song Is Your Property | |
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| Copyright Registration | |
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| Copyright Infringement | |
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| Public Domain | |
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| Online Resources | |
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| Avoiding the Songsharks | |
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| Where Your Money Comes From | |
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| Methods of Payment | |
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| Split Publishing or Co-Publishing | |
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| Mechanical Royalties | |
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| The Cumpulsory License | |
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| Controlled Composition Clauses | |
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| Samples | |
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| Performance Royalties: BMI, ASCAP, and SESAC | |
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| Synchronization Royalties | |
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| Music in Print | |
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| Researching Print Music Deals | |
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| Income From Digital Sources and the Home Recording Act | |
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| Soundexchange | |
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| Royalty Logic | |
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| Royalties From the Home Recording Act of 1992 | |
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| AFM & AFTRA Intellectual Property Rights Distribution Fund | |
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| Publishing | |
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| What Publishers Do | |
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| Exploring the Possibilities | |
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| Finding a Publisher | |
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| Getting Feedback From Publishers | |
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| Uncontracted Songplugging | |
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| Single Song Contracts | |
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| Your Chances For Advances | |
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| Exclusive Staff Writing Positions | |
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| Writing on Assignment | |
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| Self-Publishing | |
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| Why Publish Your Own Songs? | |
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| How to Start Your Own Publishing Company | |
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| Business Expenses and the IRS | |
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| Casting: The Right Song for the Right Artist | |
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| Successful Pitching Strategies | |
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| Negotiating | |
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| Holds | |
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| Foreign Sub-Publishing | |
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| Administration Deals | |
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| Independent Songpluggers | |
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| Demos | |
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| Why You Need Demos | |
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| Types of Demos | |
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| Who Gets What and How Elaborate Does It Need to Be? | |
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| What You Can Do at Home | |
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| Choosing a Studio | |
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| The Recording Process | |
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| Arrangements | |
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| Demo Production Services | |
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| CDs vs. Digital Audio Files vs. Cassettes | |
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| Presenting Your Demo | |
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| Using the Internet: Your Demo As Audio File | |
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| Marketing Yourself and Your Songs | |
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| Where Do You Start? | |
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| Writers, Writer/Artists, and Writer/Producers in the Marketplace | |
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| Reading Your Road Map: Researching the Music Industry | |
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| Getting Ready to Face the Industry | |
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| Dealing With Rejection | |
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| In-Person Interviews | |
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| Getting Heard in a "No Unsolicited Material" World | |
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| Getting Through the Doors | |
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| Making the Calls | |
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| Survival | |
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| The Options of an Out-of-Towner | |
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| Marketing Your Lyrics | |
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| Organize Your Song Shopping | |
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| Showcasing | |
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| Contests | |
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| Your Home on the Web | |
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| Blogs | |
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| Legal Questions About Podcasts | |
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| Free Music Marketing Advice and Newsletters | |
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| Additional Markets | |
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| Writing for Audio-Visual Media | |
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| Production Music Libraries | |
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| Children's Music | |
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| Music for Video Games | |
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| Cell Phone Ringtones and Master Tones | |
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| Music for Commercials | |
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| Musical Theater | |
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| Organizations | |
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| Getting a Record Deal | |
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| The Artist vs. The Writer/Artist | |
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| How Record Companies Listen to your Music | |
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| Market-ability | |
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| The Professional Team | |
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| The Campaign | |
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| Your Web Site Is a Critical Factor | |
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| Why a Major Label Deal May Not Be Best for You | |
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| Should You Do It Yourself? | |
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| The Future of the Music Revolution | |
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| Songwriter's Resources | |
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| For Industry Contacts | |
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| For Getting Your Demos Directly to Music Industry Pros No Matter Where You Live | |
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| Online Pitch Services | |
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| Local Organizations | |
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| National Organizations | |
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| Local Newsletters | |
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| Performing Rights Organizations: BMI, ASCAP, and SESAC | |
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| Online Songwriters Resources | |
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| Music Industry Information Sites | |
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| Tipsheets | |
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| The Trade Magazines | |
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| Songwriters Print Periodicals | |
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| Film and TV Trades | |
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| Audio-Visual Media Tip Sheets | |
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| Bibliography | |
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| Additional Recommended Books | |
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| Index | |