You MUST be a SUBSCRIBER to our online NEWSLETTER before you do anything else. This is truly the only way we have to communicate with the thousands of writers who want to send material to us.

• We list all progress on various projects in the news.
• We list who has made final cuts in the news.
• We list all new calls for material in the news.
• You must be a subscriber to work with our company.

Our company works with single songs of master quality, and style is determined by what the Industry calls us for at the time.   Since we publish mainly for Film, TV, and our own special projects that we produce, our needs are varied, but time-oriented and specific.  

We do occasionally use instrumental songs. (We can only place what the Industry is requesting at the time.)  We sometimes license a master without any publishing interest; other times we ask for material as music publishers, for our own catalog. 

All requests are truly a case-by-case basis, depending on what is requested from us.   To see what we are looking for and when we are looking, you need to subscribe to our email Newsletter. It is the ONLY sane way of communicating with all the writers who send us inquires. It comes 1-3 times per month, by request only, and is loaded with pro articles, great Q&A, special software links, and often a pretty good opportunity or two for pitching material.   It is truly the only way we can quickly inform everyone when an immediate call is requested. 

We charge a $8 per year subscription fee, as it's about the only way to avoid all the spam.
http://www.goodnightkiss.com/subsc.html     

There are no charges to pitch us, but we only listen to the styles we request before posted deadlines.  All requests have a deadline and specific submission information.

Beginning writers and artists should read through the articles listed at:   www.goodnightkiss.com/articles.html  

I recommend:
"Don't Dream It, DO It"  -  http://www.goodnightkiss.com/dream.html
and
"The Blue Dress"  -  http://www.goodnightkiss.com/dress.html  

We also occasionally list other publishers looking for things in the newsletter.  

Sorry, but please do NOT send anything we don't specifically ask for.   Understand that we get, literally, 350 - 700 emails per DAY, asking career questions, discussing industry practices, requesting that we review material -- and the truth is, it is ONLY the paid uses of our song catalog, along with the sales of our fine products, that keeps our company alive.  

It is from those earnings that new projects are created, and new music might be licensed -- so that is where we must spend our time.  

What we do (so you know what we will be looking for): 
http://www.goodnightkiss.com/compi.html 
or my own bio: http://www.goodnightkiss.com/janet.html  
Or, if you want to see what we have signed and/or invested in, from independent writers and artists, see:
http://www.goodnightkiss.com/product.html and: 
www.cdbaby.com/goodnightkiss .  

If you are looking for a consultation, evaluation, or class, please look here:
http://www.goodnightkiss.com/class.html  
If you want to make an appointment for 1-on-1 time, you'll need to call the office to set a time.

If you've inquired about becoming a friend on MySpace, our site there is:  www.myspace.com/music4tvandfilm  and we're happy to approve all musicians requests.  

If you are advertising a product, service or show, ask about our affordable ad rates in our music newsletter that goes to over 6,500 loyal double-opt-in subscribers.  Ads start at $50.00.   Thanks again for considering Goodnight Kiss.

ANY SUBMISSIONS NOT CODED OR
IMPROPERLY CODED ARE DISREGARDED.

We no longer accept "generic" sends, as our business is built around the SPECIFIC requests that we receive from our contacts in the Industry. We can only use what we ASK for.

ANYTHING THAT IS UNSOLICITED WILL BE DISCARDED. This is any package without a code.
Thanks for understanding.

IF WE HAVE actively posted a specific call, and you feel your song is worthy and APPROPRIATE, be sure your current phone number, and other information is included in the email and on lyric sheet. Follow the deadline and specific instructions listed for each separate request in the news. If we think we can work with your song, we will call you.

Only newsletter subscribers may submit (requested) material.

If you want to examine what songs, writers, and artists we felt were strong enough to invest in, not only with publishing contracts, but also producing commercial product with, see our CDs and other products HERE.

NO MATERIALS ARE RETURNED UNLESS SPECIFICALLY STATED IN THE CALL, and then only with properly prepaid postage on your return materials.

BE SURE TO CHECK YOUR WORK AGAINST OUR SONG CRITIQUE SHEET CHECKLIST BEFORE YOU SEND IT! The music business is like any other money-earning business. The competition is Professional and FIERCE.

Do not send ANYTHING that is not ready for competition in the real world. Our office number is (808) 331-0707. Please explore our pages to learn more about our Company. They are updated frequently.

PLEASE CALL US FOR OUR ADDRESS.

For current song needs, see the
Goodnight Kiss Music Newsletter: SUBSCRIBE

Home - Newsletter - Company Info - Janet Fisher - Privacy Policy

Competition for songs in film is FIERCE.

After Your Material Is Submitted

When we post a request in our newsletter, we list the contact to send it to and a deadline. If the requestor likes what he or she hears, they will contact you. At this level, they will not contact you to tell you that they received the material or how they felt about your submission. They simply don't have the time.

If it's something we request as publishers, or for one of our in-house projects, the same response applies. We will contact you if your song fits perfectly to the project.

Just for policy information, we collect all the submissions, put them on the iPod and listen to them all at once. We don't look to see who wrote them, just whether the song works or not. Once a project is over, we clear all submissions off the iPod, they are not posted to the web or left "floating" somewhere. You may submit the same song to as many projects as you think it fits perfectly. We usually only accept one song for one pitch at it's offering, unless otherwise listed. We do not charge to pitch a project.

Song Critique Checklist
?1988-2011 Janet Fisher NO REPRINTS WITHOUT PERMISSION (just email us for permission to use any of our articles or other work.

• Are your lyrics too repetitive? Do the same words (or phrases or ideas or melody) repeat in the chorus that are already in your verses? If so, replace them with more storyline or more aspects of the situation.

• Are your lyrics really special? Get rid of fluff and tired rhymes. (How many times can we hear about the rain?) Paint unique but acceptable pictures, and remember a song must be more than just a "list" of pictures or feelings. Make sure there's some action and a bit of story to support all the descriptions!

• I am a stickler for true rhymes, and I am here to swear it is part of being a great songwriter. That doesn't mean all hit songs have true rhymes. But if you want to explore and experience the most professional and artistic aspects of songwriting, you will be capable of employing true rhymes. (No, not every song has to rhyme, and certainly not at the cost of the feeling of the song.) You should know how to do both, to do either one well. If you examine the most successful songs, that have lasted for years, that are purchased and re-recorded over and over, you will find that almost each one of them has great rhyme form.

• Lots of people write good songs that are not competitive with what is being played on the radio today. Even if you are pitching to Film and TV, 90% of what's asked for is compared to hit groups that we hear over the airwaves. Remember, your competition is NOT the bad songs and unskilled artists you hear. YOUR COMPETITION IS THE BEST OF WHAT IS BEING AIRED.

• Make sure your song is targetable. By that, I mean that there are artists with major record deals at this moment who do not write their own material. Those are the ones Publishers seek. Be sure you are acquainted with the artist (and their material) to whom you wish to pitch your song. The worst thing you can do is pitch someone a song totally wrong for them. Consider not only the musical sound and style, but lyric stance and artist image. Be sure the artist doesn't write their own material. Suggest appropriate artists to your publisher when you present your song.

• You think of a target like Celine Dion or Faith Hill (either could sing the phone book and it would sound like a hit...but they don't). Mostly, the question is, WOULD they sing that song? The other aspect of trying to pitch MEGA stars, is they are being pitched by writers with much better track records than you (no offense), so your percentages are very low. If you can find an emerging act on a major label, you have a better chance of placement.

• A GREAT song is a GREAT song, regardless of whether its style happens to be in vogue or not. On rare occasions, I have signed GREAT songs, all the while telling the writer(s) that we would probably never get a cut on it, but I was honored to work with it. (We almost never got cuts on them.) If you have one of these, celebrate it. Know in your heart what you have done, thank God for your talent, enjoy it, demo it up for posterity (if you can), and maybe the day will come around for its use. If not, it's still a GREAT song.

• Make sure that your song is likable melodically! It's easy (especially in country or ballads) to fall prey to a pedantic and unimaginative melody or chord structure. Changes need to be fresh, but comfortable. Lead melody lines (and therefore lyric lines of verses) need to be as consistent as possible in structure, but should have some surprises for us. Sometimes writing a melody without the confines of your instrument helps, or if you are not an experienced or trained musician, find a collaborator who is. Your competition has studied everywhere and worked all venues.

• Review your songs (HONESTLY, please), before you spend money demoing them. Run them by other writers you respect or a meeting at your local songwriter organizations.

• I know you have artistic longing in you. I know everyone must start somewhere. However, the grim reality is that the Music Business is a Business, like any other type. You must be a Professional in all aspects. It takes money for computers and media, postage, singers, studio time, reference material, association dues, etc., as well as a long study of what a good song is in structure and emotion, AS WELL AS a familiarity of the types of artists and songs being cut today. Keep writing (if that is TRULY your heart's dream), but you will have to accept who and what your real-world competition is, and have the time and finances to keep up.

• You spend time and money making good demos of your songs. Use high quality digital media to reflect that.

• Always include a typewritten lyric sheet for a Publisher.

• Always put your name and number and song title (minimum) on all submitted material, CDs, and lyric sheets.

• Don't send bios and pictures and copies of newspaper clippings unless they are Major Credits (unless you are an act/artist, pitching yourself). A Publisher just wants a Great Song.

• If you send a CD, highlight one or two selections. If the Publisher likes them, they will skip around and hear more. To send a 10-20 song CD without a suggestion is overwhelming, and will probably get set aside.

• To learn more about Professional Songwriting, inquire about our classes, or our Private Tutoring Sessions held in person, in telephone conference, or by mail.

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