New Library

[annayarbrough]

woohoo congrats, Anna!

Nothing new to add - I agree with most of what was already said. I would send 2-4 more in the next batch and see how they're feeling. After that you'll probably have a better feel for what they need/want from you. If all is well and they want more, crank em out! Strike while the iron is hot.

Thanks, Mark! Some post-Rally magic in the air!

[funsongs]

WTG, Anna.
To your question, awhile back Henry Winckel wrote a thread about his method of having (at least?) 10 tracks to offer as follow up to a nibble from a source.
That's not in my wheelhouse, but he writes piano pieces. Wish I could magically find and repost the link to that for you; maybe someone else will.

[ComposerLDG]

Since everyone else has already chimed in with excellent advice, I won't add to it, but I will say congratulations on the deal and offer!

[andygabrys]

......considering they're exclusive......!

This is common fear - that exclusive signing of your tracks will lead to.....them being locked up forever and if they don't get used then you feel down.

That has some weight behind it as most writers have signed music to libraries (exclusive or non) that doesn't seem to get used. There is a perception that "keeping your options open" is better management of your intellectual property.

Consider this opinion:

1) It sometimes takes several years after signing to get any action on your track for the first time. Sometimes it happens the same week. We really have no impact on that (except writing truly excellent music) except to make sure your pieces are signed in a timely manner to some place that CAN get a placement.

2) You could also see yourself as a endless well of creativity, and that what you write this month doesn't deplete you but rather strengthens you for future projects.

If that is all true, that you can only write the best music you can, and keep on doing it for a long time - then you keep on making the best decisions you can of who to work with, and keep on SIGNING YOUR BEST MUSIC

If it were me, I would be interested in writing as many as I could in the next month and get them signed - assuming the style of this track is contemporary and you could possibly sign it somewhere else if this library doesn't want it.

There are a lot of things about exclusive libraries that make them attractive parts of your "diversified music portfolio" - like they often work with foreign sub-publishers which increases the chance of getting your track used.

[Danny]

Anna,

That's great news! Whatever you decide to give them, I wish you success moving forward.

[LOCK88]

Nothing to add Anna, but congrats! I'm sure there are many more right behind this one in your future.

[annayarbrough]

WTG, Anna.
To your question, awhile back Henry Winckel wrote a thread about his method of having (at least?) 10 tracks to offer as follow up to a nibble from a source.
That's not in my wheelhouse, but he writes piano pieces. Wish I could magically find and repost the link to that for you; maybe someone else will.

Will have to dig that up—thanks Peter! Strangely enough, this wasn't even piano work. Funny how things pan out!

[annayarbrough]

Since everyone else has already chimed in with excellent advice, I won't add to it, but I will say congratulations on the deal and offer!

Thanks, Loren! Nothing signed just yet but I am awaiting paperwork let's hope it all goes smoothly.

[annayarbrough]

......considering they're exclusive......!

This is common fear - that exclusive signing of your tracks will lead to.....them being locked up forever and if they don't get used then you feel down.

That has some weight behind it as most writers have signed music to libraries (exclusive or non) that doesn't seem to get used. There is a perception that "keeping your options open" is better management of your intellectual property.

Consider this opinion:

1) It sometimes takes several years after signing to get any action on your track for the first time. Sometimes it happens the same week. We really have no impact on that (except writing truly excellent music) except to make sure your pieces are signed in a timely manner to some place that CAN get a placement.

2) You could also see yourself as a endless well of creativity, and that what you write this month doesn't deplete you but rather strengthens you for future projects.

If that is all true, that you can only write the best music you can, and keep on doing it for a long time - then you keep on making the best decisions you can of who to work with, and keep on SIGNING YOUR BEST MUSIC

If it were me, I would be interested in writing as many as I could in the next month and get them signed - assuming the style of this track is contemporary and you could possibly sign it somewhere else if this library doesn't want it.

There are a lot of things about exclusive libraries that make them attractive parts of your "diversified music portfolio" - like they often work with foreign sub-publishers which increases the chance of getting your track used.

Thanks for all of the info, Andy! Yeah I guess I'm not really worried that they're exclusive, just more so that in conjunction with the fact that this particular style isn't one I'm consistently writing. (Although maybe I should be, seeing as there seems to be a demand!) Good note on the depletion though—that hit the nail on the head!

[annayarbrough]

Anna,

That's great news! Whatever you decide to give them, I wish you success moving forward.

Thank you, Danny!