I. Services Provided by Song Publishers
1. Screening new songs and meeting new writers
2. Visiting clubs, concerts, recording studios to hear acts
4. Reviewing songs, tapes, collaborative works
1. Calling producers, managers, agents, radio stations, and
record companies
2. Reading music, film, trade magazines, periodicals, tip
sheets
3. Making and mailing tape copies
4. Conducting casting meetings and maintaining song files
2. Establishing company policy
4. Negotiating and granting licenses to users
1. Filing copyright forms
2. Filing notices with Broadcast Music Incorporated (BMI),
American Society of Composers, Authors and Publishers
(ASCAP) or Society of European Stage Authors and Composers
(SESAC)
3. Filing notices with agencies
4. Making collections from record companies
5. General accounting, financial planning and tax accounting
6. Computing and paying writers royalties
II. Choosing a Publisher
A. Investigate various publishers
1. Getting information from instructors and fellow songwriters
2. Reading the trade magazine lists of publishers of hit songs
3. Reading profiles of companies open to listening to new songs
B. Considering the publisher’s credibility
C. Is the publisher independent or part of a major company?
D. Does this publisher believe in your work?
III. Basic Aspects of Contracts
1. Each publisher may use a different contract, but call it
their standard
2. Contracts are usually biased to the publishers’ advantage
3. Contracts are negotiable
C. National Academy of Songwriters list of song-by-song
contract recommendations
1. List cannot cover each individual situation, but can give
some perceptive ideas regarding contracts
2. Reversion for non-publication: no commercial recording for a
year (sometimes two), copyright returns to writer
3. Mechanical royalty rates: a publisher may not grant a
licensee a lower rate without permission of the writer
4. Writers’ royalties should be paid within 30 days
5. Lyrics should not be added to an instrumental without the
writer’s permission
6. Publisher’s collection fees: it is customary for the
publisher to deduct a portion of the writer’s royalties to
pay for fees
7. Demo costs: occasionally a publisher will deduct fees for
demos, but usually they absorb these costs or charge no more
than 50% of costs
8. If royalties are not specified, the writer should collect
50% of total royalties
9. If more than one writer, division of royalties needs to be
decided by the writers
10. Limitation of assignment by the publisher: the writer must
be notified if the publisher assigns any copyrights to
someone else
IV. Pros and Cons of Staff Writing Positions
A. All the songs written by staff writers become the property
of the company
B. Writers generally receive the standard 50/50 royalty split
C. Writer is paid weekly -- advances against future royalties,
rather than a salary
D. Never sign a long-term staff writing contract without a
lawyer
E. Some publishers may expect a certain quota of songs
F. Provided with equipment and instruments
G. Receive critical feedback
H. Provide demos and promote your career
V. Choosing Between Publisher Marketing and Self Marketing
A. Benefits of choosing a publisher
1. Someone working very hard on your career
2. A company that can possibly get you a record deal
3. Someone who can pitch the songs you write
4. Ready-made contacts and changes for interviews
1. Contact record companies, producers, and managers
2. Research trade magazines and tip sheets
a. Artists and Repertoire (A&R) registry
c. National Academy of Songwriters
d. Record and tape jackets
e. Billboard’s talent and touring directory
4. Be prepared for rejection
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