Songwriters’ News March 2025

Songwriters’ News – Volume V, Issue 3

President's Message

By Paul Nye

On January 21st, I officially became President of the Minnesota Association of Songwriters (MAS). To be clear—it was not an elected position. Our executive board met, and Doug Millaway, who had served since 2022, stepped down due to other commitments… and possibly because his wife wanted a few more coffee dates. I can’t confirm, but I have my suspicions.

Stepping into this role feels a bit like wearing shoes two sizes too big. It’s daunting, and my schedule is already stretched thin. But having served as VP since 2022, I knew someone had to step up—and history shows that’s usually the VP. So, here I am. (TMI: I didn’t tell my wife about this for over a month. I only spent one night on the couch. We’re good now.)

Doug led MAS through some tough times, including navigating nonprofit status complexities, all while keeping up with his own songwriting. He’s a “leader’s leader,” and I have the utmost respect for him.

My focus as president will be different.  I want to focus on growth and sustainability, while maintaining all that is good about MAS.  Retaining and attracting members, especially younger songwriters, is a big challenge. To help, I’ve proposed bringing in a consultant to explore how we can better serve our 
community.

One of my main goals is to personally connect with every member this year—find out why they joined, how involved they are, and how we can better support them. Many members engage through Zoom, but I want to reach beyond that.

I also hope to bring in a wider variety of guest speakers—songwriters from all backgrounds—because the diversity within the MN songwriting community is incredible. MAS member Greg Beck and I will head to Nashville in April.  I am 
hoping to connect with potential workshop guests. While we’ve hosted successful songwriters, authors, and educators in the past, I’d also love to highlight those who write simply for the joy of it—no industry pressure, just creativity.

Another priority is understanding why some members join but don’t actively participate. Life gets in the way, but is there more we can do? At its core, MAS should be about connection—sometimes a simple conversation can make all the 
difference.

I joined MAS in 2020, something I’d wanted to do for years but couldn’t due to geography. Zoom changed that. It expanded my world, my skills, and led to my first co-write. I’ve been writing songs since I was 16, and honestly, I should be better at it by now—but MAS has pushed me to grow in ways I never expected.

At the end of the day, songwriting is about community. There’s an old saying: “Iron sharpens iron.” We make each other better—musically and personally. That’s what MAS has done for me, and I hope to continue that tradition.

Meeting Dates

By Mike Rudquist

Please Note: Going forward, all online Zoom events will use the same Zoom link.  Here is a members-only link to our "Member Event Access" page which has the Zoom link:

https://mnsongwriters.org/activities/member-event-access/

Also Note:  All monthly MAS online meetings will be held within the same time frame of 6:30 – 8:30 p.m.  (This does not include the Minnesota Homebrew Radio Show.  See the event listing below for times.)

• Wednesday, March 5, 2025, 6:30 – 8:30 p.m.

• Thursdays all month – March 6, 13, 20, 27

• Wednesday, March 12 – 6:30 – 8:30

• Wednesday, March 26 – 6:30 pm – 8:30 pm

Editor's Note

By Mary Kealy-Falk

There is an official change of the guard with this edition of the MAS Newsletter as our president of the past few years, Doug Millaway, has ended his term officially as of the end of January. But for his “President’s Message” column, this is the first month that he will not be rewarding us with his messages in that capacity.

We want to say a very heartfelt thank you to him for his leadership, stewardship and friendship in his capacity as president. There are many responsibilities that must be handled by the president of an organization of this size. And as the organization grows and changes, the president must be at the helm of guiding not only the leadership team, but also the membership into all changes and new ways of doing and being as an organization.

One of the things that Doug has been able to do successfully despite all the executive duties he has handled over the years is to not forget that he is first and foremost a songwriter within this organization. He has always been one of us in all our efforts to grow and develop as songwriters. He has been a giving and supportive partner in our quest to improve our abilities and strive to become better songwriters. And for that we are very grateful.

Although not in the President’s Message box, you can read Doug’s submission to the Articles section of this month’s newsletter titled “Just Enjoy Yourself” I think he’s sharing something he’s feeling a lot these days!  Best wishes to you, Doug.

As well, we would like to welcome our new president, Paul Nye, who will not only be taking over as president of MAS but will also be taking over the newsletter’s President’s Message article feature monthly.  Paul comes to this position with many years of songwriting, collaborating, and performing experience as well as working with many of the professional music organizations around the country.   He has been Vice President of MAS and has been part of the Executive Board so enters this position with a great deal of professional knowledge of musical stewardship.  Please be sure to read his “President’s Message” this month and keep an eye out for messages to the membership coming from Paul via our MAS email stream. 
 
Thank you both for your dedication and willingness to serve the members of MAS!

MAS Members Putting it Out There

Listed are events and happenings that were submitted by request of the Newsletter from MAS members.

Chad Shank’s At Home Songwriting Workshops

Songwriting Q&A: YouTube Live Stream
Saturday, March 8, 2025, 10:30 AM – 12:00 PM
Online event – Free

Details: 🎸 Live Songwriting Q&A – Get Your Questions Answered! 🎶 Hey Songwriter! Join me LIVE on Saturday, March 8th at 10:30 AM Central for a songwriting Q&A session where we’ll dive into your biggest questions, struggles, and roadblocks in songwriting. Whether you're stuck on a lyric, struggling with melodies, or just need a push to finish that song—

👉 March 1st at 10:30 AM (CT) – Melody Tools Workshop
       At Home Songwriting on Meet Up – Free

Songwriters Acoustic Open Mic & Showcase

• Songwriters Acoustic Open Mic & Showcase. March 5th and 19thOpen mics are in person on the day of the show.Hopkins VFW Post #425 Event hosted by Don Strong Duration: 2 hours. Public songwriter’s acoustic open mic and showcase. fun, beer, food and music.
• Med Box Grill Songwriter Showcase every Saturday. March 1,8,15,22,29 at the Med Box Grill Restaurant in Chanhassen 6pm-8pm hosted by Don Strong
• Monthly 2nd THURSDAY Song Sharing Review & Peer Feedback Session.  March 13. Lunds & Byerlys St. Louis Park – 6 – 8 p.m.

Kudos and Congrats!

John Bennett is releasing a new album called “Bunny Fone”  which is a compilation of humorous songs he has written over a lifetime.  He had so much fun making this album he is planning to release Bunny Fone 2 sometime in the future and will also include other artists songs.  This will be John’s 14th album released so far and he has plans to record another 12 more albums.  Each album he has recorded has 14 songs each which amounts to 196 recordings so far. You may listen very soon on many platforms and can access the album here:  https://johnbennett.hearnow.com/bunny-fone   or on Apple Store:  https://music.apple.com/us/artist/john-bennett/1449191933

Tony Wentersdorf is a member of MAS and is planning to perform new original material at the Finnish Bistro this spring (Saturday April 26) with his singing partner Mary Parker.  He and Mary are also planning to record a new CD of original material with the working title Let's Hear it for Sweet Music.  This CD, which is the tenth one he has recorded of original songs, will incorporate themes such as the current political situation, birds and pets, the problem of bullying in the schools, friendship, and a couple of humorous novelty tunes.  The CD will include songs Tony has written over the last five years.

Just Enjoy Yourself

By Doug Millaway

In a world that often glorifies professional success, it’s easy to feel pressured to turn every passion into a career. But what if songwriting could simply be about joy, self-expression, and creativity rather than commercial success? Being an amateur songwriter—one who writes for the love of it rather than for profit—is not only a valid choice but can also be a deeply fulfilling one.

I know there is a temptation to assess the value of your based on marketability. For me, at the ripe young age of 73, raking in big bucks has long since lost its draw.  If someone wants to give me a little cash, I’m not going to turn it down.

One of the greatest freedoms of being an amateur songwriter is the ability to create without pressure. Professional songwriters face deadlines, market trends, and the need to cater to industry expectations. Who needs that?

Amateurs, on the other hand, can explore any genre, experiment with unconventional song structures, and write purely from the heart. There’s no pressure to fit into a specific mold.

Songwriting as a hobby also provides emotional and mental benefits. Writing songs can be therapeutic, helping to process emotions, reflect on life experiences, and find personal meaning in melodies and lyrics. It can help to connect the inner world with the outer world, and the simple act of finishing a song—regardless of whether anyone hears it—might be all you need.

Being an amateur songwriter can remove the fear of failure. We hen writing for yourself, there’s no such thing as a “bad” song—only learning experiences. Every lyric and melody contribute to growth, and there’s no pressure to achieve perfection.

Of course, sharing songs with others like we do in Round Robin and Song Review sessions in MAS can be a rewarding experience. But even if the songs never leave the bedroom or home studio, they still hold immense value. 

Not every piece of art needs an audience to be meaningful.

Happiness in songwriting doesn’t come from contracts, royalties, or industry recognition—it comes from the sheer act of creating. So, if you love writing songs, embrace it. Being an amateur songwriter isn’t a limitation; it’s a freedom, and that’s something to celebrate.

Doug Millaway
Mill Away Publishing
Blind Owl Studio

The Part Your Instrument Plays

By Terry Kennedy-Lares

Are you a songwriter who plays an instrument, guitar, keyboards, piano, mandolin or any other instrument? Are you proficient or just beginning? Do you fumble around on your instrument, or do you flow? Either way, I am here to encourage you to learn to love your instrument. 

I am a guitar player for the most part. I do mess around with keyboards, mandolin, bass, penny whistles, and harmonica too. But the guitar is my main instrument. I am a moderately accomplished player, and I am still growing at my instrument. This is the instrument on which I compose most of my songs. Can you write a song without playing an instrument? Yes. But most songwriters find their songs through their instruments. 

My first experience composing was on my mom’s piano in the basement. I would place my fingers two keys apart and then move up and down the keyboard enjoying the simple harmonic tunes I could make in this simple method. It was all about the sounds I could get in this manner. My mother, noticing this sent me to piano lessons for about a year which got me a basic grounding in musical theory. Later, I got a guitar and started learning how to play that on my own. 

When I wrote my first song, my chord work was minimal, strumming was standard country rhythms, and maybe a rock strum or two. As I went along, I kept learning to copy as best I could the songs I heard on the radio, Bob Dylan, Johnny Cash, Peter, Paul, and Mary, and other popular artists of the time. Learning how my guitar and my abilities enabled me to sing and try to copy what I was hearing inspired me. Sitting in my “Hippie pad” in the late 60’s high on pot, sometimes I would just strum and mess around with my guitar grooving on the sounds I could make as I did with the piano at an earlier age. 

One of the exercises I used in learning to play was to go through the chords in order A-B-C-D-E-F-G switching chords as fast as I could strum. I did this to instill the muscle memory in my hands to be able to play chords. Sometimes in going through that mindless exercise, I would mess up but then find interesting sounds coming out of those mistakes. So, I would repeat the mistake over and over and occasionally I would start hearing words in my mind that fit into those mistakes. I then learned my minor chords, and then the barre chords, it opened a whole new world of sounds I could make and experiment with. Many songs came out of these experiments combined with the songs I was copying from the radio. I often didn’t get other people’s songs right, but that sometimes led to my own songs. You may wonder why I am going through this history of my development on the guitar.

It’s to encourage other songwriters who only have a basic knowledge of their instrument, or don’t really have an instrument, to find one, to explore, to build on their skills. And learn to love your instrument.  I find that the more I work on learning on my guitar, the more it sparks new ideas for songs. New strumming techniques, experimenting with chord progressions, rhythms, and picking patterns bring out my songwriting inspiration. Sometimes a different accent on a strumming pattern in a chord progression, played over and over again, brings words and melodies to my mind. I grab a tablet and a pen and start working with the idea. The main point of this is that most of my ideas for songs come out of messing around on my instrument. To me, that’s why they call it “playing” music, because I don’t often have anything serious in mind. I’m just playing around. 

But the best part of all this is developing a relationship with an instrument, or with instruments. To fall in love with the instrument, to communicate with it and listen to it as it responds to you. Think of your instrument as a lover you are having fun with on a long Saturday afternoon. Caress it, play with it, experiment, listen to what it has to say, and now it’s your turn to respond. I feel that the relationship I have with my guitar is what inspires most of my music. 

But here’s my dark secret, sometimes I cheat on my guitar, and spend time with my piano, or my mandolin. Sometimes it’s just cheating with another guitar. You know each one is a different lover and has a different personality, a different voice, a different feel. Yes, I am sort of a gigolo. I let different instruments take care of me. And I learn skills and sounds on one instrument that I can use on another. Those skills and sounds form the relationships that become the basis of many of the songs I write. Sometimes in a song I don’t know where my instrument begins and where I take over in the writing process. 

I guess what I’m trying to encourage in other songwriters is to keep exploring the part your instrument plays in your songwriting. At least maybe to become more aware of that relationship it plays and don’t be afraid to explore and maybe cheat on your instrument here and there. Anyway, just enjoy every moment you spend writing songs with your instrument. 

Songwriting: Why Does Skill Matter?

By Tony Conniff
Submitted by Mark Grim

Skill is a big part of the difference between an amateur and a professional. Though writing a song isn’t the same as wiring a house or fixing a car, to do it consistently well requires skill (not just inspiration or lucky guesses).

What creates skill?

Talent – It helps to have a ‘feel’ for songwriting; sometimes called ‘natural talent’.  This certainly exists, but it is so intertwined with Desire and Determination (see below) that in the long run, sometimes it’s hard to tell the difference.

Natural talent is a fact, and a few people have so much of it that it carries them far. But many of the songwriters you most admire did not start out as prodigies. They loved writing, so they worked at it. They learned something new every day. Their songs got better because of this application; and their inner talent began to shine through.

What you make of what you have is usually much more important than what you start with.

It’s often been noted that as a high school freshman Michael Jordan did not make the Varsity team. Although he was a decent player, he couldn’t stand not being the best; so, he worked and worked; and his genius began to emerge.

Not everyone’s a genius and all one must do is to work hard to be one. What I am saying is that even Michael Jordan, generally acknowledged as the best in his field – or court – was not recognized as a prodigy nor was it obvious from the start.

Study – Learning from those who came before you. This can come through books to some extent, but usually there’s somebody talking to the person who’s trying to learn, explaining and demonstrating how they do things and how other skilled people do them. It can be a coach or teacher, it can be a peer who’s somewhat more experienced – a bandleader or band member, a fellow songwriter, etc.  Or all of these.

Then there’s the study you do on your own. With music and songs, it mostly starts with Listening. Again, a lot of this can be fun… if you find learning, playing, and analyzing the songs of great songwriters to be fun (I do). Trying to figure out what makes them tick, what makes them great. Trying to imitate them. Deeply checking out the works of the greats and studying their styles, grooves, arrangements, and tempos that bring songs to life… Developing an ear for what  works and why they work. 

Repetition – Doing it repeatedly – writing song after song after song. Most of us must write a lot of songs to learn our craft and find our ‘voice’ – to incorporate all our influences into something special.

Learning from mistakes – This may be better put as accepting that many songs will be failed experiments… that just don’t work out the way you hoped they would. So, you go back to the drawing board and work on the next one; trying a lot of approaches, gaining some feeling for what might or might not work in the current song and in the future.

Desire/Determination – This is the X Factor. Sheer determination can overcome many  shortcomings and obstacles. Most accomplished musicians and songwriters I know were not considered ‘best in class’ when they were young. But they’re the ones who stayed with it and kept improving and learning, through the good times and bad. They thought about quitting… but they didn’t.

It’s amazing to me how much a person with desire and the willingness to work can improve – it can be astonishing. It’s also amazing how quickly a person of great talent without a lot of desire and determination can plateau… and never fulfill their potential.

I’ve been both of these people at different times in my life. I know how scary it is to challenge yourself to get better and how exciting it can be to get pretty good at something you love… and I also know how tempting it can be to say, ‘I’m good enough now… my real work here is done.  Let the rewards roll in!’

But, to a creative person, the latter position is a kind of a living death (and usually the expected rewards don’t exactly roll in on schedule either).  Because skill is the thing you have that no one take away – except you. It’s knowing how to do something at a level with the best in the field.

So, will I create anything of lasting value, that people will appreciate as a real contribution, decades and even centuries into the future? Probably Not… just like there’s not much chance that we’ll have a street named after us…

So then, why do I write?  I write because I want to, I need to, and because while I’m here, creating something seems to be a more worthwhile activity, given my talents, than any alternative I could think of. So, I will work at it and to try to get as good at it as I can. That’s where skill comes in.

I guess what I’m trying to encourage in other songwriters is to keep exploring the part your instrument plays in your songwriting. At least maybe to become more aware of that relationship it plays and don’t be afraid to explore and maybe cheat on your instrument here and there. Anyway, just enjoy every moment you spend writing songs with your instrument.