damooch916

I mean… technically. Now that I’ve spewed a ton of word garbage and went through the actual process of generating a “tickle” video. Yes, now they’re a thing. So, you’ve either gotten the best of this exchange by watching me take my own ill-conceived advice, or we’ve inadvertently started the latest, hottest Fiverrian fad. I tend to lean toward the latter - but in any case, you’re doing just fine here.

I’m very real. Not only am I the president of the “Fiverr Forum Tickle Party,” I’m also a client.

You wanna make something of it, Sally?

Listen. Here’s the real answer. You’re going to see a lot of fiverr forum users tell you that there’s no money to be made by posting on the forum. This is total social persuasion. They view you as competition and they want you to shove off. The truth is, there’s TONS of money to be made by posting here. But there’s a certain way to post. Secret code phrases that let buyers (especially the buyers who hang around the forum but never post) know that you’re “in” on their needs. I’m not allowed to share all of those phrases with you, I’ve been here since 2013 and until recently, I wasn’t sent my fiverr official booklet, “Making Money Posting on the Fiverr Forum.” But here are a few. Buyers love it when you post pictures of yourself in silly hats. They really get a sense of your playful side.Did you know that profiles featuring silly hats are 73 percent more likely to be viewed than non silly hat profiles? Don’t wait. Post a picture of yourself in a silly hat to this thread. Then, post that picture in at least three threads a day. Really let your personality show. Buyers respond positively to Sellers who are confrontational in the forum. Especially using the phrase, “You wanna make something of it, Sally?”Buyers don’t want to work with sellers who don’t know where they stand. You must display yourself as confident and able to insert yourself into unique situations. As an exercise, respond to four threads a day, no matter what the topic, and confront the person by using this secret phrase. Your profile impressions will sky rocket. Start one thread per day with the following topic:“What’s up ladies…” Buyers absolutely want self starters. You’ve got to prove that you can begin a concept and see it through. Don’t be distracted by weird detractors telling you that your threads are inappropriate. These are sellers and your competition. They’re largely afraid - or other new members who don’t understand how to use this invaluable resource to their advantage. Lastly, Perform a tickle hand video.This can be used on your video platform of choice. Upload or link a video of yourself, under five seconds, imitating the act of tickling directly to your camera. Make sure to tag people in many threads throughout the day and drop the tickle hand video into the thread. Many new posters don’t know this, but “tickle hands” is a sort of long standing tradition in the forum. Long term and valuable buyers will respect that you’re paying homage to the values and games of fiverr as a community. As such, they’ll see you as a person that respects the ideas and agenda of your buyers. Trust me. “Tickle hands” is the money. That’s all I’m allowed to share with you now. But your dedication and your strong use of these techniques will reward you with new tips as your fiverr journey grows. You’ve got this. Make all that fiverr forum money. Take care.

I’m probably doing myself a large disservice by evening entering this strange thread and peeking my head in. But… that Is exactly the type of thing I do. I’m trying to make heads or tails of the questions you’re posing. Seemingly, a professional songwriter hasn’t weighed in (meaning a songwriter paid on retainer, living from royalties and experienced in pitching signed artists through camp interaction or based on reputation and being paid to write), though you’ve gotten particularly strong advice from a professional producer/sound engineer, though comparing pro writing to artist owned mechanical royalties isn’t really a fair scenario. Writers typically work in a different structural system when not signed. Still, it’s more true than not that you have nothing to worry about. Benedict has laid out the real landscape of “work for hire” to you. It doesn’t matter because you probably won’t come into contact with distribution channels to tabulate substantial amounts of quarterlies that will influence your pocket. If you do, your publishing folks of choice would be the authors of that assignment. You’re probably not signed up with a pub outlet, so copyright the work in bulk, when it’s finished, like everyone else. In any event, I can answer any questions you have in regards to songwriting, publishing and copyright. I mean… as much as anyone else that has actually made a career involving these concepts - and even then, as I always say, it’s a fairly convoluted subject. Just so we’re clear: Yes, a copyright is the only real protection you have. Full stop. No. Uploading your material isn’t any form of actual registry. No matter where. Soundcloud doesn’t have a way to differentiate between the terrible song your neighbor wrote and the terrible song his neighbor wrote. I have no idea what the unsolicited versus solicited ideas are that you’re conveying, but I can try to untangle those ideas if you’d like. I’m just a little confused on what you’re saying and how it relates to song protection. I can also clarify what professionals do in these situations (mostly, they don’t). But here’s a piece of advice to base your questions on: The amount of units you’d have to sale and the pie that you’re carving is so magnificent that it’s unimaginable in 2021. When it comes to downloads? Magnify that number by 100k. My advice to new writers, young writer and writers just launching their career is the same; stop worrying about ideas in trade mags and echo chamber forums. Worry about the craft. Exclusively. Worry about writing undeniable hits. Learn what’s required of you to get pitch meetings and know that the material is smash material. If I can be any help, I’ll do my best.

Wait! We mustn’t throw such violent thoughts into space. It’s relativity. It’s mutant manifestation. Sometimes, a wish is the chime heard on the wind. Depending on the listener - that wish may come true. Depending on the wind, it can be brutal. Do you realize what sort of disorganized, fragmentia could emerge by remaking Ferris Bueller? Ferris Bueller is the guardian to the cosmic portal. A teenage movie about delinquency with a moral center and grade - A humanity? That’s not a movie. That’s a miracle produced by the universe, sent here to protect us from ourselves. An audio/video ancient scroll, translated into 80’s lingo, complete with a modernized monastic chant: (Bow Bow chick … chick-a-chick ahhhhh) Ferris is a modern translation of Fergus. Fergus in Irish culture can be traced to Fearghuis (or Feargus) a giant appearing with mortals as a protector. Some believe him to be a spirit - or God- protecting the realm for those that share his story. His forms have included a lengthy run as protector and king of Ulster. Sworn to always protect - until he was replaced. Needless to say … they weren’t so protected after that. (There’s also a lot of “Lengthy” information on the size of his … let’s call it “Manhood.” Like, an uncomfortable amount of info. Like… who was asking to this extent?) By now, I’m sure you’ve made the connection. In its current form, “Ferris Bueller’s Day off” is our protector of this realm. Remaking it would act as a symbolic “replacement” ceremony, causing the realm to be totally susceptible to all sorts of badness. I ask you, “in the name of O’ Fearghuis, where does it stop? We, the small and pitiful of this fleshly tribe, have already tempted the fates by remaking Psycho. (Pause Scene: Seriously, does anybody remember that? The time that Gus Van Zant lost his ever loving mind, got drunk while watching “Swingers” and thought, “This loud kid would make an amazing Norman Bates?” Was that a fever dream?) It’s a commonly known fact that ideological and mythological deities loath the remake. We’re bending the spatial and temporal dimensions by eroding the ecosystem of preservation currently provided to us by such diverse and complex beings. Rumor has it, upon seeing the live action remake of “Dumbo,” Perun, Slavic God of Sky, returned to the Pantheon and denounced Polytheism. Denounced it! Reason cited? “There’s no amount of deities that can undo this dumpster pile. I’m out.” Great! So let’s hope the sky doesn’t need tending to. Pangu, the Chinese horned beast that came into existence from the same egg that birthed the universe watched thirty minutes of the “Carrie” remake and immediately posed the primordial existential question. He posed it directly to the Jade Emperor! The actual inventor of “something.” Who was all like, “because I said so.” Do you see the consequences of these actions? Remakes aren’t just bad movies, they’re a declaration of a divinity lost. It’s humans run amuck. Our muck runneth over. Please, please never suggest, even in the most hypothetical and passive sense, that “Ferris Bueller’s Day Off,” could ever be remade. But, if it pleases the God’s, I’d definitely listen to a sequel pitch.

I’d genuinely like to hear about your process @marinapomorac I’d also like to know how much inspiration plays a factor into getting into the job. Note: Or you can ask me to withdraw this post. We don’t have a required class “show & tell” that I know of.

I’m sorry, but some of these random posts make me chuckle. I’m pretty sure someone would randomly post a similar reply even if it were a thread regarding colonoscopies. Sometimes it’s just nice to be wanted.

That early, magic space of a young writer writing is absolutely everything. Each attempt could be an epiphany. Each stretch can be a consolidation of a new style. It’s amazing to be limitless. There’s more merit to “not knowing what you don’t know” than us grizzled writer-types will tell you. Of course there’s more merit to knowing what you don’t know. But, you’ll have time for that. Now is the time to play fast and reckless. The only process that’s crucial is total soul-consumption. If you’re doing it right, it should feel like heat exhaustion. It’s real time introspective extraction. A lonely, skull crushing activity with a soundtrack of your internal monologue performing a loop of unfinished ideas. Its a nightmare. It’s beautiful. Read everybody’s everything. “Get” all their rhythms. Learn everyone’s philosophies and hunt down their exercises. Study them until your mind is numb. Love and respect the rules. The rules are secret code. They are to be found - not distributed. Know that there are rules! Anyone saying otherwise is too daft to find them Then break them all and observe them again (I’m not sure when this became a speaking engagement). Be honest with yourself to the point of fear … then, be fearless enough to keep doing it. Fear is the bridge that connects the human experience. Then, for goodness sake, take into account that all this chest puffing, gutter advice is coming from some know-nothing songwriter. Successful people in my world have written gum jingles.

I relate to this and I know what you’re saying. You’re saying writers write. I’ve retained that muscle memory from staff writing. In that way, there’s a beautiful grey where our world’s intertwine. It was the last holdover from the Tin Pan approach. A workman’s approach of burying your head in the muck and grind until the job was done. That place is as long gone as your place. All in the name of that precious progress they sold us.

Do you have any pregame rituals? Go to sources of inspiration or similar actions that put you in your zone?

Now, who would have thought of that! Unfortunately my brain has difficulty with this as I am extremely worried that you are having an “out of character” experience. In fact, so much so, that I have found it necessary to go and make another cup of tea. I know, I know… It isn’t my position to create some normalized fiverrian conversation thread. Far be it from me to break the fourth wall on my Kaufman-esk “character performance.” (Kaufman-esk is similar to Kafka-esk with the former being to act like a weird imaginary creature as opposed to becoming one)

I think you just publicly declared us as “official.”

Was in the “process” of searching the internet to find a definition of Bueller. It means “Is anyone there”? Make … With … A cup of tea! 🙂 Mine was a reference to the thespian masterclass that is “Ferris Bueller’s day off.”

No process minded folks out there? @vickiespencer ? @lloydsolutions ? @wordsfire ? @benedictrm ? Bueller… Bueller?

In this thread we discuss your process. Your freelance process, not your Netflix selection procedure or your mating ritual. Although… your mating ritual is bound to be funnier. Alright, let me update the thread topic: The thread where we talk about your process and maybe mating rituals (if they’re weird, like bringing a miniature karaoke machine with you everywhere you go, because you do a wicked Steven Tyler impression and you’re the kinda person who says things like, “chicks dig air guitar”) No. I’ve re-decided. Let’s keep it strictly to your freelance process. As a songwriter, my freelance career and my in person - pro writing career can look very different. In person, I’m working with an artist or production team who’s body of work is the launching pad of our new artistic pursuits. It’s my job to factor in their career trajectory, what they’ve said previously, what they haven’t said and what portion of those statements (melodically and philosophically) have to remain in place to retain an audience’s interest. Then I’m taxed with moving the needle. This is an example of contracted work - and it’s entirely different than staff writing, which has its own process. None of these metrics may apply to freelancing. But there are similarities. So the initial process remains the same: Get coffee. listen to A-Ha’s “Take on Me” and convince myself that a thread of inspiration exists between this new country artist I’m writing for and my having listened to “take on me.” Otherwise, it’s just me dancing around my kitchen to “take on me.” I prefer to see it as “gathering information.” Ask my new client every single question that could ever be asked, ever. I want to know every thing about anything that they have ever even dreamed that a song could accomplish. When I set out to write that song, I want to be so familiar with their headspace that their voice is paying rent in my imagination. I get more coffee. This is my initial process (give or take 400 other intricate things happening that actually speak to getting work done). I’d like to know your process. Tell me: What you do. The main thing.Where you startWhat you need to launch

Purely from the perspective of music, there’s not a single environment in which this battle doesn’t rage. In my moments of madness, tearing through my memories, high marks, woe is me’s and lost opportunities - it’s easy to blame low balling, pseudo musicians. It happens in every corner of the in person and online musical world. Studios, session players, live performers, teachers, agents, residency gigs, showrooms, road work… on and on… Firstly, to be upset with price slashing we have to ask, “but isn’t the point that they aren’t worth a professional sum?” Regardless of this falsified idea that subjectivity can validate all art (especially art that isn’t labored for), the truth is that someone who is just learning to drag and drop sounds doesn’t deserve the same monetary compensation as someone who delivers instrumentally crafted, expert musicianship. Just as someone with an iPhone doesn’t deserve a pro photographers salary to shoot your wedding. On the other hand … it literally requires someone’s spot to teach another musician. For every open mic night, jam session and “for the door” band in the world, some venue was given free entertainment and some career musician lost another room and a chance to feed their family. Yet, it takes these very endeavors to create a qualified artist. People have to start somewhere. Sometimes, a person’s starting point comes at the expense of a qualified players spot. I learned my craft as a child performer. In front of records and tapes. In front of crowds on the road. I cut my teeth by studying, working with pros and playing five nights a week. From one point of view, this is right and exactly the way it works. From another point of view, I was some kid… easily not worthy of taking work away from much more seasoned, much better musicians than I was at eleven. I’m torn. From one perspective you shouldn’t even be in a market place until you’ve actually learned your standards, understand the basic functionality of the work and can deduce the fundamentals of all eras into patterns. But In another light, how can one throw themselves into the realm of professionalism without drenching themself in the job? Many aspects of music don’t have a scholastic route. This is especially true for pro songwriting, pro road work and career Freelance musicianship. And to be honest, the vast majority of gifted players I’ve ever worked with in the studio or on the road were absolutely unschooled (we use a road variation of theory that combines numbers, chords, modes and charts). The vast majority of Master degree musicians I’ve ever performed with were soulless. It requires a hybrid. The school is “to slip in, listen to your elders, develop your ear and get to work.” All this against a backdrop of today’s flippant attitude. We live in a world where all music has the humanity of a bubblegum commercial. Except those were catchy. Some trivia night emcee is worth as much as a jazz trio. Drum machines are viewed with the same prestige as drummers. Who can account for the worth of anything musically today without hosting a purely philosophical conversation? Thing is… it’s never been any different. To some degree this market place serves as an open mic for some folks. It’s on the job learning for young musicians who can’t get bar gigs because they’d rather have trivia night. It’s another place where the fee wars rage on. It’s both things. No. Musicians and the like shouldn’t decimate the market value. On the other hand, No, they aren’t worth more than they’re asking anyway. I’m not defending it. I’m not advocating for unionization either. I’m recognizing that it sucks and that it’s part of the growing process that leads professionals to expand into eventual living wages (whilst simultaneously harming those wages).

Likewise brother. Western swing was an amazing utility to cut my teeth on and you have to have strong jazz and swing chops, but I’d say the vast majority of my output has been rock, pop and contemporary country. All of the staff writing and song plugger gained opportunity has really shifted to country music. Which is fine, I appreciate the lineage of double entendre, dualistic narrative and hook lines. I feel like I’m writing what I write and that the overtones of country rock finds its footing in the production. Although, comically enough - we recorded that record out of blackbird studios in Nashville and the fact that we could chart, arrange string arrangements, instrumentation and wrote with our melodic hooks in mind seemed to strike the session players as odd. That tells you how far “writing” has gone from a sole enterprise to becoming unfinished noodling that people expect a producer to fix. I’m sure you relate to that. I write like I arrange for live acts. I write each part and can discuss it with the musicians in their language, but I leave room for them to bring their professionalism and offer better ideas. That’s ultimately why it’s so important to be a professional musician, as well as a songwriter. Things as simple as chart writing can direct the experience. Without it, you’re left at the whims of people that aren’t responsible for the composition. To me, I don’t expect to tell the producer where to place the drum mics and I don’t expect him to have to compensate for my arrangements. But it’s nice to both have ideas and be able to speak a language that the other understands. I appreciate the kind words man and hopefully we’ll snag a job that merits bringing the other one on board.

Hey all, I’ve seen a few of you do introductions and credits. We may work together in the future, so at the risk of sounding inflated, I wanted to say “hey,” and throw some of my credits your way. I’m Tommy. I’m a professional songwriter, former staff writer, touring performer, frontman, pianist and caffeine junkie. I’m a third generation songwriter and touring musician. I’m a former child performer, having started my career at four on the “EZ Living Country” television show. From there I appeared on KRAK radio (yes, crack radio is the name of that 80’s radio station) at five, performing multiple times in their prime-time live entertainment nights. That same year, at five, I got my first album cut, when a regionally successful act from ax bar records recorded a song of mine. As a preteen I began fronting acts compromised of people 35 years my senior. We toured the Reno Nevada circuit, the fairgrounds circuits, Northern and Southern California. Shortly thereafter I began piano lessons with Skeeter Elkin of the legendary “Texas Playboys” The Godfather’s of Western Swing. My Father learned drums from Billy Jack Wills of Wills pointe fame (and Bob Wills’ brother) and my grandfather was a frequent collaborator of the Texas Playboys. At 12 I became a staff writer at “Tree Water” publishing. I may have had a connection or two, as I grew up writing with my Dad’s Columbia connects and listened to them write at the table nearly every night. I wrote two songs that were soft regional hits (the equivalent of jukebox hits) in the European market and received an award for a song I penned for Dana Wills around this time. At fourteen I began a long-standing writing relationship with a camp out of Nashville, including Grammy nominees. That has blossomed into many, many album cuts. I continued touring all throughout my teenage years as frontman/keyboardist, performing at the international jazz jubilee, casinos, show rooms, amphitheater’s and more clubs than I’ll ever remember. At 18 I moved to NC where I immediately entered a regionally touring act and headlined several festivals with a band that’s name was so embarrassing that I’ll never repeat it (I mean the name sucked, not the band). At 18 I also began a twenty year songwriting partnership with recording artist JD Leonard. I’ve been the primary co-writer on his two releases. JD and I have written tv themes, album cuts, compilations, movie scores (and gotten placements), and between us, we’ve performed our music opening for air supply, Michael McDonald, Vince Neil, The righteous brothers and more. In 2017 JD released his second solo album featuring Tommy Byrnes (Billy Joel’s lead guitarist) who is also in his band. As a keyboardist, it is insane to hear that guy play your music. Our music is currently featured in two exclusive Spotify playlists and JD recently scored a pandora station. I’ve played with more incredibly talented people and had crazier road stories than I will ever remember. I’ve played on countless studio sessions and I’ve never stopped living for the actual work. The actual process of grinding out the songwriting and working the process every day always. These days, I’m a father to my kids, I’m launching a financed tribute act in regional theaters, focusing exclusively on remote writing and tracking keys for several camps, including freelance. Here on Fiverr, I offer songwriting, custom songs and keyboard tracking. With everyone in the business struggling, it’s refreshing to have venues to supplement in person work. For me, that comes at a time when I was prepared to mostly operate remotely anyways. My services focus mostly on the writing of songs. I create “demos” that demonstrate arrangements, but I don’t claim to have the sonic expertise of some of the incredibly gifted producers that sell services here. I realize the market leans less expensive than my traditional in person services and I balance that with my network of connected jobs and Fiverr. My aim is to write songs that are pitchable and get them prepped into an easily understood demo. The same as if we were pitching to an artist that we had prior contact with. Actual pitch ready writing is a valuable asset that requires years of study and goes hand in hand with the professional producers and studio musicians that can be found here. I’m glad to see some really professional folks selling services and in this thread and I look forward to talking with you.

As a matter of sociological duty, I’ve compiled a list of specific terms that Fiverr doesn’t care for. The following is a sample of these terms and should not be used under any circumstance - in any part of your presentation - or in correspondence: Fiver … Fiverr is absolutely appalled by the idea that anyone would ever use the word “fiver” in reference to it’s lack of “r’s.” Words with one “R” lack character. It’s for this reason that Fiverr is currently working on new computerrs that will neverr allow forr you to even considerr returning to the single “R” forrmat. Wiggle … as in “this gig is so good that it will make you wiggle.” Fiverr knows that wiggling leads to frolicking, which leads to listening to rock N roll, which leads to mistake babies. Fiverr is totally against you using the term “mistake babies.” Existential Aesthetics … frankly, Fiverr is tired of your grounded approach and your me’ism. Fiverr wants you to try on some Lynchian silliness. Fiverr believes in drawing cats with dog features and sees no reason as to why they can’t have human emotions. Fiverr says, “get over yourself, cause stuff gets weird.” Pop/ Rock … Fiverr absolutely will not allow you to offer any form of pop/rock on its platform. Fiverr knows that pop is really swing or show tunes and that rock is really blues with too many chords. Pop can sometimes also mean “soda,” but you need approval from customer service. Now here is a fun “forbidden term…” Pasties … Let me just stop you right there. Listen, we all want to offer pasties on Fiverr. We’ve all tried to offer pasties on Fiverr. We’ve had all the great ideas already. Batman pasties? We thought of that. “Elmers Paste Pasties?” It’s been done. One brilliant Fiverrian made tomato paste pasties and they were not only adhesive, but delicious.But it ain’t gonna happen. Fiverr will not allow you to make pasties and sell them here. You’re just gonna have to accept it. Don’t even bring it up. One guy from Fresno attempted to sell “smaller than average pancakes” thinking he could beat the system … shut down. It’s just not worth it. As much as we all want to say it, sell it and promote it, the pasties talk will not be tolerated on Fiverr. So we just dream. Dream … through the lenses of our unspoken visions where we dare not let reality enter. This pretty much covers it for now. If you follow these steps, you shouldn’t have any red flag scenarios but you never know.

I have a situation that’s directly related to the question of marketing. Recently I created a “write you a song” gig. Immediately I got customers (although it’s slowed down). Alternatively, I created some gigs concerning backing tracks(piano) and instrumentals. These gigs haven’t generated nearly the traffic. I followed the exact same strategy -including key words, video and attempted to separate myself from other gigs that are extremely similar. Any suggestions as to why my second gig would under perform?