Some songwriter’s may think their efforts end with writing the song. Or they believe that by signing a record contract, or a publishing contract, they’re home free Waiting for the royalty checks to start rolling in. Unfortunately that’s not the case. Every step along the way to a successful record takes a team effort, and the songwriter needs to be a knowledgeable member of the team. Others know that it is necessary to go on to get their song(s) distributed, (marketed) promoted, and in the media, through, radio, television, and now over the Internet!
Like all artists, songwriters are vulnerable and sensitive. When they create, and the creative phase of the work is over, it’s time to do the business of the music business. Recognizing the need to change gears before entering the business cycle is one of the major ingredients in successful artistic careers. We don’t want to go out there fragile and unprotected and immediately get squashed. For more information on changing gears go to publishers page. Gibson Hill Music
When it comes to doing the business end of music, you must get your music into the right hands. People that want to hear your songs, and show them what you have to offer. The tool of the music industry is a demonstration recording—Or demo.
Nowadays most prefer compact discs. Songwriter’s make demos showcasing their songs and then pitch them to artists, producers (because they pick the songs for the artist’s), publishers, managers, and anyone else who is willing to listen. It’s acceptable to submit your songs to more than one person at a time (this is called simultaneous submission). Choose an appropriate artist (one that is best fitted for the song that you are trying to market), and surround that person with your CD’s.
That is, send a demo to his/her producer, manager, publisher, record company, anyone in a position to recommend your song to the artist, however this may not be financially feasible for every songwriter. This method requires a lot of postage for just one artist, when you could be submitting to several artists for the cost of one. Also, you can never really bank on getting those materials back. Most try their best to return submitted materials if a self addressed, stamped envelope is included in the submission, but even with the best of intentions in the real world sometimes it just doesn’t happen. A person screening demos might open a dozen packages a day put them all in a box or a bag and listen to them on their way to, and from the office, thus separating them from their S.A.S.E. Always put your name, address and phone number on every item in your submission package, including the tape or CD itself.
The only exception to simultaneous submissions is when someone asks if he may put a song of yours on “hold” This means he intends on recording it and doesn’t want you to give the song to someone else. Sometimes he/she will give a song back to you without recording it, even if it’s been “on Hold” for months. Sometimes he/she will record your song, but then decide that it’s not as strong as his/her other material and so he/she won’t include it on their recording project. If either of things happens, you’re free to pitch that song to other people again. You can protect yourself against having a song put on hold indefinitely by either establishing a deadline for the person who asks the hold, i.e., “You can put my song on hold for x number of months.” Or modify the hold to specify that you will pitch the song to other people, but you will not sign a deal without the person who has the song “on hold” to make you an offer. When someone publishes your song, you grant the publisher exclusive rights to your song and you may not pitch it to other publishers (though you have the right to pitch it to artists, or producers who are interested in recording without publishing it themselves.
If you hire a demo service, you’ve technically hired a producer—someone to direct the session and shape the sound of the demo—and pert of the fee you pay could be considered a producers fee. No problem there, but what if you want to be a singer as well as a successful songwriter? You will want more than just a song demo; you want a demo that showcases you as a singer. You want something more than what most demo services can offer (actually you want a master recording at a demo budget), but you don’t have enough studio experience to produce it. Should you hire a producer?
The range of situations is too broad for a simple answer. On one end, you’re back to the old custom recording business, where you pay someone to do a session on you. You may or may not get what you pay for nevertheless. On the other end, if you are very talented as a singer/songwriter, you might attract an independent producer who, if he’s legitimate, pay for the sessions himself in exchange for something—a percentage of your future record or the right to publish your songs for example.(This would be a good time to get in touch with a good entertainment lawyer)
In the middle is the songwriter who just needs help in the studio. The question now is, “How much should I spend on demo services?” Demo services are exactly what the term implies. You send in a work tape and a fee, and the service promises to send you back a professional demo. It sounds like a variation on the custom recording business, and technically it is. The difference between the two is a monumental one, however. With a demo service you stand a good chance of getting what you pay for—a pitchable demo; with the custom recording service (and the distribution and promotion that is often included in the package) you may get a professional quality recording, but you have no realistic chance of getting a hit.
The rise of demo services is tied directly to technological developments in the last few years—specifically the development of low—cost studio equipment: multi-track recorders, mixing boards, digital delay units (reverb or echo) and other “outboard” sound processing equipment. Also, the technology of the instruments—synthesizers, drum machines, sequencers, etc.—advanced while the prices dropped. Consequently, studios have sprung up everywhere. All you need is $10,000 and a walk in closet and you’re in business!
It didn’t take songwriter’s long to discover that with all this technology, you don’t always need an actual bass player to have bass on your demo. The human abilities required for a demo were reduced to singing, guitar playing and programming. Anyone who could sing and play guitar and had enough knowledge of the other instruments to program effectively could reduce the cost of a demo to nothing but the cost of the tape. From there, the next step was obvious`--generate some cash by selling those abilities in the form of a demo service.
(Before we get into cost comparisons and other issues, it should be noted that, not all demo services are one—man band operations. Some are more like the traditional custom recording situation—a group of musicians who work together efficiently and can crank out demos at a rate that is both profitable to them and economical to the client).
Who needs these services? Obviously, a writer living in an area where there aren’t enough musicians or recording equipment to do a decent session. Or a writer who may have access to musicians, singers and equipment and may even have unlimited time and money but does not have the slightest idea of how to book or direct a recording session. Or, increasingly, a writer who may be quite experienced in producing sessions but who finds a demo service to be cheaper!
Let’s start there—the money. A session with live musicians can be costly, even on a per song basis. Say you have four songs that demand demos (I myself only do three at a time, because that is all that most artists will listen to at one time) (A piano/vocal or a guitar/vocal wouldn’t be effective on these tunes. You need four musicians—bass, drums, keyboards, guitar, and a vocalist. And you need a studio. Let’s cut corners and operate under these conditions: the songs are all in the same general style so there is little or no mixing time necessary, after the first one is mixed; the vocalist sings as the tracks are being laid down (with no overdubs) and the session is in Nashville, where there is a separate demo scale (Half the master scale) for musician’s and singer’s (Includes background vocal’s). (L.A. musician’s union has recently instituted a demo scale also) We’ll not cut one corner, although it is a corner many people do cut, and that is hiring and paying through the union. Paying musicians union scale (Including double-scale for whomsoever you designate session leader) including taxes, cartage, and other surcharges, will cost you around $600.00 Let’s then say that the cost of the studio time was $50.00 an hour, including engineer (plus the cost of the tape, which is probably a little unrealistic). We’re going to get all of this done—four songs, recorded and mixed—in four hours (caution don’t expect this even at home) that’s over $900.00, or $225.00 per song. And that’s assuming that you know exactly what you want musically; you know exactly how to get it, nothing goes wrong, and you’re lucky to boot, (or blessed as I would rather say).
How to prepare for a songwriting career
(From the songwriter’s market handbook)
There is a song that God gives to all of us (Psalm 40:3)
Some great philosopher made this statement before our time. It was true then, and it still true for today. However, as in the case with any broad statement, there are variances. There are those of us who can produce that one song inside us, and there are those who search deeper inside for more. Those of us, who seek and continue to delve inside our very souls to say something on a song that has never been said, can and do call our selves songwriters. The songwriter who hears what has been recorded, who can carefully analyze it and say to himself (Without deceiving himself) “My songs are good, and I’m capable of even better,” is the writer who is ready for a career in songwriting.
One cannot be expected to be a “song factory” within him-self, nor does anyone expect each and every song to be a commercial piece of art. But those of us who “hang in there” can and do expect to one day reap the rewards of our labors! However we must constantly watch and learn. If we watch we learn. If we learn, we write. And if we write often enough, the law of averages will soon take over, and we will attain success! Some of us more than others surely, but the measure of success in the music industry is only a matter of money. (By Billy Arr. Writer of “The Green Beret”)
Now I must say that where I do agree with a lot of Billy said here the last part is not necessarily true for a Christian artist. It is God who promotes those who are faithful to him. He lifts one up to this status and sets another at naught. The rest is from “The songwriter’s market”
First of all you will need great songs. You have to write and rewrite, polish and rewrite some more! Listen to the radio and see what kind of styles (Types of music) is popular. And judge how your songs will stack up against the hits (Objectively of course). Most of it you will find is from inspiration and anointing when you first start writing. But it’s only after you have wrote all these practice songs that you start to understand how to shape your ideas into a good song. You have to dig deep inside your-self, and that’s a hands on experience, sitting down and writing songs.
Analyze today’s songs with regard to classification:
Contrast: Who is man that God would be mindful of him? Heaven and Hell.
Clichés and sayings: You’ll never miss that living water till your well runs dry.
Moods: Describing a mood
Series: (Can be a story line or ballad)
Suggestive: Suggest an idea on how you would handle a situation or circumstance.
Names and places: Jesus, or other Biblical characters, Heaven or Hell.
Holiday, seasonal, or colors: That would remind someone of their religious beliefs.
Be alert for lyric ideas at all times, look and listen with a song in mind. Carry a pad of paper with you wherever you go and immediately write down any lyric ideas that would occur to you, because you may be momentarily distracted and lose a hit song forever (The devil is a thief)! At home keep a notebook that is divided into sections for titles, words, and phrases, as well as story ideas, then transfer the contents of your pad to your notebook daily. Modern technology has made it much easier for you the old timers, to remember ideas that would come in the still of the night, we have computers to keep better track of these things right? Also now we can capture melodic or lyric ideas by singing or speaking into mini cassette recorders at home or away from home no matter what you are doing, and as I said computers to help catalog such ideas. Thank you Lord!
Sources of lyric ideas:
*People and places: Be sensitive to the people around you, and pay special attention to the way they express themselves. Go to public places where people congregate; parks, churches, etc. you can grab all kinds of ideas from conversations with different people such as preachers, lawyers, and doctors.
*Newspapers and news magazines: Radio and TV newscast (plenty of drama here) a news story can suggest a song story. A variation of these stories can be popular with millions of people who read (or watch) these types of publications. There are also song lyric magazines, and sometimes a line or a phrase in a lyric can be the seed for a whole new song.
*Novels, short stories, and movies: Look for story ideas and colorful expressions.
*Personal experience: Something that has happened to you can also be an excellent source of lyric story material. You must be sure however that your market can relate to your feelings, for example, you may be distraught over the loss of a pet snake, but very few people would feel the way that you do about it.
Writing the lyric:
There are four points of view from which lyrics can be written:
1.) Personal experience
2.) Experience plus invention
4.) Borrowed from an outside source
The song is about you, something that has happened to you. If you can truly say everything seems to happen to me, you are in a sense blessed (fortunate) you can write about those experiences firsthand. Don't hide your emotions; be frank and honest about your weaknesses and fears. Let the truth shine out of every word of the lyric. This really happened to you, and this is the way you reacted to it.
Experience plus invention
The idea is to write about something to which most people can relate. The ultimate challenge here is to have empathy (putting your self in someone else's shoes). As with someone you have loved and lost (Mama, Papa. Grandma) Then the whole world grieves with you. If you are worried about being honest by adapting your personal experiences, don't be. Professional songwriters can't afford the luxury of waiting till the real thing comes along (So fantasize if you wish, many songwriters have fantasized about heaven!) Try to pick a side of life that hasn't been shown, and add a twist to it that is uniquely you, yet universal enough so everyone can identify with it.
Invention: (Making up a story) is writing about a story or emotion you've never experienced and is the most difficult kind of lyric writing, but it can be done. Even if it's only make-believe (Which became a hit of it's own) Irving Caesar wrote about the Swanee River without ever having seen it. And what about all those spirituals about the river Jordan, the old ship of Zion, the morning train? But, you had better do your research well, because the public is amazingly adept at spotting a phony!
Writing about a story you once heard or read about. Not quite as difficult as pure invention, is still a formidable task. The story is already there, but the emotions have to be filled in and brought to the believable level of personal experience.
The overall picture:
Every lyric should have a beginning, middle, and an ending; the opening line should grab the listener's attention and picture his interest. Of course it's not always possible to have an explosive opener, but having one immediately puts you on first base so to speak,
Write the opening and the closing lines first, if the last line is the title, write the next to the last line after you've writing your opener. Why write the closing line soon? Knowing it means knowing how the story ends. Then fill in the middle. Unfold your story little by little. Don't let down after the opener; Try to make the lyric stronger, as it goes along.
Range is the distance in pitch from the lowest to the highest notes in a song. Most singers try to stay within an eight-note range (One Octave) to a ten note vocal span. Vocalists feel at home in this range and that should be an important priority in writing a melody. If you want your song recorded by many artists, keep it within the capability of the average singer.
Another good way of developing a melody format is the use of what they call the question and answer method. In an eight bar section for example, if the first four bars have short notes (The question); then bars 5-8 should have long notes (The answer). By the same token if the first four bars are high in pitch (The question) the notes in bars 5-8 move to neighboring pitches as well as in a different direction (The answer). Again if the notes of the measures 1-4 move in wide leaps (The question) then measures 5-8 move more to a narrow rhythm (The answer).
The Mole as with the hook is the cherry on your sundae, the cream in your coffee. In a song the mole can be a note in the melody, a chord change, a word or a rhythmic effect that draws the listeners attention. It is what causes the listener to remember the song! The mole however used; should not shock or be grotesque. Rather the listener hearing it for the first time should feel, “hey what was that? I like it! Let me hear it again.”
1.) Verse-Chorus-Verse-“out” Choruses (A-C-A-CC) style song.
2.) Verse-Build-Chorus-verse-Build-“out” Choruses (A B-C-A-B-C-BB) style song.
3.) Verse-Double Choruses-Verse-Double Choruses-Bridge-“out” Choruses (A-CC-A-CC-D-CC) style song. (Includes a set up & pay-off in the Choruses)
4.) Verse-Verse-Double Choruses-Verse-Verse-Double Choruses-Bridge-“out” Choruses (Should be reserved for up-tempo songs) (AA-CC-AA-CC-D-CC)
5.) Verse-Build-Chorus-Verse-Build-Adapted Chorus-1/2 Verse (used as a bridge)-“out” Choruses. (A-B-C-A-B-+C-A -) Style song.
6.) Verse-Verse-Bridge-Verse (A-A-C-A the bridge is used as the chorus)
The main elements in the song
The Hook: the main hook of the song almost certainly has to be the title. But the first line melody can be memorable enough to be thought of as a secondary hook and can come to us as phrase or a catchy melody line.
The Verse: typically a verse is the main body of the storytelling. It’s the part that contains all the information about the “who, what, when, where, and how the situation is depicted in the verse.” Attract the interest of the listener and set up the relevant circumstances at the earliest possible time, usually in the first verse.
The Build: this is also known as the pre-chorus, B section or set-up. This is the section that leads out of the out of the verse and builds dramatically as a release into the chorus.
The Chorus: when a song contains a chorus (Not all songs do) the main function of it is to hammer home the hook! The chorus also resolves the action; explains why you bothered to write the song in the first place, to explain the meaning of the hook, and is designed as a part of the song the listener looks forward to hearing repeated over and over. At the end of a song with the chorus formula, there is usually a series of repeats of the chorus style song. The chorus always contains the hook, or title of the song.
Turnaround: this is a musical phrase used to explain that the hook line is used not only in the beginning of the chorus, but at the end of the chorus also. Slightly turning around on the meaning of the hook line, and making a strong payoff for the chorus!
The Vocal Bridge: many songs seem to require a sort of “side commentary” on the situation as it is presented. A bridge is that part in the middle of a song that helps you to understand the “singer’s” point of view on the subject. It can add an insight that will change the direction of the song.
A. In a verse-chorus style song, a bridge is generally a change device that is used to bring you out of the 2nd chorus and move you into the third verse or the last chorus or “out” choruses.
B. In a verse-bridge style song (one which does not use a chorus) the bridge comes after the first two verses and explains a missing link (the chorus) in the story, so the listener finally knows the whole scoop before getting back into the third and last verse.
Break: this is sometimes referred to as the instrumental bridge, before going into the final sections of the song. Be it a final verse, “out” choruses or just a series of “out” choruses. It is sometimes customary to introduce a musical section with no words. Traditionally this is a Sax, Guitar, or whatever the lead instrument may be. Sometimes it may be a repeating bass line or an intricate drum pattern. This is a substitute for a vocal bridge. Sometimes both a break and a vocal bridge are used. If that is the case, usually the break comes after the second chorus, followed by the bridge, followed by the last chorus and “out” choruses.
Meter: a line must always have a measured, patterned arrangement of syllables known as scan, primarily according to stress and length. This creates a rhythm that can easily be sung, and of course it makes the composer’s job much easier if you provide a lyric with well-metered construction. Conversely, any melody you receive to write lyrics to will have a recognizable meter in which you can place your words. When writing a lyric meter suggests predictable, and comfortable rhythm patterns, each verse must follow the same meter within the confines of the song. Remember to keep your meter straight, and you’ll never lose track of where the song is going!
Rhyme: within a song there can be dozens of different rhyme patterns. The more unusual the rhyme the more interesting it sounds. Each time you write a new song be conscience of exactly what rhyme pattern you’re going for, otherwise you’ll always fall into the same sort of thing. Types of rhyme patterns are the first and the third lines, the second and the forth, the first and the second lines, and the third and the forth lines, these types of rhyme patterns are used over and over in one hundreds of thousands of songs all over the world! Also internal ryhmes are words at the end of a line ryhym with a word in the middle of that line or the next line, (as well as end of line ryhmes.)
Space: Not every moment of a song has to be filled up with words. A song can be just as wonderful if room is left between the lines, between certain words, to dijest what has just been said.
Fade: At the end of the verse-chorus style song, the chorus can be repeated over and over again and faded out on control board (using the appropriate sliders) very slowly until the sound disappears completely. Traditionally, the chorus as first sung is repeated continuously without any variation in lyrics. Today especially in Black/R&B writing, many songs have out chorus' and use the same hook line, the lines in between the hook (the descriptive lines of the chorus) for a change of variety.
Ending: The last line of a song that does not use the device of a fade, must draw the song to a definite conclusion. As often as not where a song has a definate ending, the music retards slightly for effect, and the featured instrument (piano, guitar) continues with a short solo that echoes the solo played earlier in the song or that has run through the whole song. It must say something very definite that ties up the story with a nice little bow. It must leave the listener with the feeling of a completed idea.
Songwriter’s workshop 4
When a producer or publisher reviews song material for a major label act, they are looking for "commercial songs" that will play on Top-40 Billboard Stations, written so well, that the song is an instantaneous hit record. What questions does a publisher ask regarding a "hit" song selection for the artist? Let's examine those questions here.
1. Format: The first thing you look over is the category of the song. Is the song a "positive" or "negative" song? Is there anything in this song that might be received in a negative way by the fans of the artist or make the artist look bad to the public? What type of radio station are you going to get this song played on? Adult Contemporary, Classical, Country, Pop, Rock, Metal, R & B, Contemporary Christian, Southern Gospel, Inspirational, Jazz, and Easy Listening are all radio formats. Will your song even fit one of the more popular formats of radio? Have you done enough research to know what the average time is, in minutes and seconds, of songs getting played in this format? Are you aware that in Country music, everything you write past 3.5 minutes hurts your chances of ever getting the song recorded commercially? Are you aware that the thing
Publishers criticize the most about new writers is that their writing is too long, too much, and too little? A song has to be "just right!"
2. Form: next a publisher is going to examine the type of tempo, the melody and the song arrangement to see if they fit the commercial format of radio and television. Is the structure of the song internally correct musically? From a technical standpoint, do all the verses have the same number of bars of music, does the melody of the chorus differ from the melody of the verses, and
If the song is "musically correct," will it stand on its own structurally? What about the additions? The bridge, the channels, the turn-a-rounds, the intros, and the tags of the song are as important and the lyrics. Do you have a "musical hook" that's as good as the lyrical hook? And, if you write long enough, most of your songs will start sounding a whole lot better if you co-write with other writers and especially melody writers. What does a great melody writer cost me in Nashville or at of the music houses? The average demo will cost you about $600.00 for an extremely simple piano vocal arrangement, but an arranger will cost you $600.00 to arrange one song. Writing is an expensive business for those who write well. The cost of building a beautiful, fine home that you can live in for the rest of your life is much higher than the price of a one-night stay in a motel. Most of the songs that are written poorly wouldn't get to spend the entire night at the cheapest motels in Nashville.
3. How well written are the lyrics? Is this a theme or a subject that has already been written about so many times that no one will consider recording the subject again? Can this song be commercially successful in the "field?" Can this song be successful in national radio markets, retail markets, and who is going to buy the song if it does get released? Is the melody of the song so close to another song that the artist and label might have a copyright infringement suit? Will there be claims against the writers, the melody or other aspects of the song after the song gets out? From a technical point, the song must be already copyrighted, with a demo, and a statement by the songwriters as to the authorship of the lyrics and melody and what percentages each writer was responsible for. One of the more unique experiences that I've had as a publisher was a Guy that sent me just a couple of lines of type on an entire page of paper. He then called and asked me if I had reviewed his material. I said, "What material?" He said, "Mr. Metzger, I get inspired to write what I call popcorn songs." I said, "What are popcorn songs?" He said, it's about two lines long and the song kind of jumps out at yah on the page!"
4. Feel: is the song a "danceable" hit if it's played "live" in a dance club or other entertainment venues. Is the duration of the song such that it would be commercially acceptable to radio or to the networks? Many songs fall into the category of just being "too long," from a time standpoint. That makes them album cuts, but they are not ever going to be a commercial single record. Can the song be arranged for video or film? Is it camera friendly in its storyline, and cost effective for shooting the song on 16mm, 35mm, or 70mm film for a video? How strong is the "hook line," of the song? Is the hook line written into the song so convincingly that the public is going to remember it?
5. Friendly: is this song a gut-busting, retail friendly up-tempo single record that will get played by radio? Is the song a ballad? If it's a ballad, then does it fit the criteria for real success as a ballad in today's marketplace? Every song should be a "one-idea, complete answer" to the six questions in a hit single. Those questions are who, what, when, where, how, and why? Does this song have a strong melody that can be brought off in the studio with the players? Is it legitimate reflections of the artist's talent, taking into account all of the facts known about the artist and his/her raw vocal ability? Where's the money? Some songs you write with your heart, but commercial songs are written for your pocketbook.
6. Female: Will a woman fall in love with this song? If a woman doesn't like your song, you might as well shred it. Women buy statistically about 94% of the music product bought. And if you see a man in a record store that represents that other 6% of the buying public, well he's in there because his wife or girlfriend sent him in there to buy the music she likes. A female drives our
Whole market demographic. If you forget this as a songwriter, you haven't got the first commercial song for radio or retail. Ask yourself, "Does my song paint women in a negative or positive light? Does my song build relationships or tear them down? Is this a universal message that appeals to the masses?
7. Fun: Are there any other reasons why the artist might feel reluctant to record the song? Are there any groups of people who will be offended by the song? Does the lyric lash out at a minority group, kids, adults, and is it so regional in scope that it won't get off the ground nationally? What is the content of the song that makes it special and different from the hundreds of thousands of other songs? When I hear this song, does it make me cry, laugh, feel good, feel bad, and can I have fun with this song? Music is a form of escape for people. They want to escape their problems, (technically referred to as "escapism") in a song, not reiterate the ones they have all the time. Finally, if the songs that you are writing are not lining up with the questions on this page, then you need to review your writing and start over. Every producer, artist, and publisher will ask these questions as they are examining songs. If you want a big cut in the industry, then you will have to write a commercially viable song for the bigger, national and international marketplace with a universal theme that is so well written that it could be a hit on any artist. Now you're ready for a professional review of your songs!
Dealing With Criticism
Sometimes we're so fearful of being criticized or rejected that we keep our creativity bottled up and don't let it out. Other times we constantly adapt what we create, focusing only on the "market" and what they seem to be liking or disliking this week. Then we end up feeling like we're not truly expressing our creative impulses. This article features 10 tools for dealing with criticism and rejection.
1. Be Open. You may be hoping for a specific reaction or response to your work, or a specific result of an audition, gallery submission, and performance or contest entry. If you've done your best and you're rejected or criticized, you might feel that you've "failed,” and it's probably hard to see anything positive about the situation. Try to be open to the possibility that this "failure" is actually leading you to something else, usually better than what you thought you wanted. As I read once in Cheryl Richardson's newsletter, "Any rejection is God's protection.”
2. Be Consistent. Keep going, doing the little things every day that keep you creative and that keep you connected to other artists and to your customers. The dramatic moments and big wins and losses will come and go. Have a steady routine you can keep coming back to, and this will help to place any criticism or rejection into perspective. Today is a new day, another day you get to be an artist.
3. Be Focused. Keep your end goal in mind, and always be mindful of why you're doing what you're doing. That will help you focus on the big picture and not get tripped up by each bump in the road along the way.
4. Be Resilient. Remember that your sense of self-worth comes from inside of you. When you're able to be confident in yourself regardless of the feedback you get from external sources, you're able to bounce back much more easily from any negative feedback that you may get.
5. Be Positive. Focus your attention on the positive and you'll attract more of it. This is the premise of the "law of attraction,” and I've certainly seen it work in my own life. Hear the positive feedback you receive and replay it over in your mind whenever you need to.