|How To Submit Material
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
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
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:
"Don't Dream It, DO It" - http://www.goodnightkiss.com/dream.html
"The Blue Dress" - http://www.goodnightkiss.com/dress.html
We also occasionally
list other publishers looking for things in the
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
It is from those
earnings that new projects are created, and new music
might be licensed -- so that is where we must spend our
What we do (so you know
what we will be looking for):
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:
If you are looking for a
consultation, evaluation, or class, please look here:
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
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,
Goodnight Kiss Music Newsletter: SUBSCRIBE
for songs in film is FIERCE.
After Your Material Is Submitted
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.
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.
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
- 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
- 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
- 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
- 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
- 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.