How to Pitch Your Songs to Publishers, Sync Libraries and Artists (UK)
By Written by Peter McVeigh
You have finished songs and a decent demo. Who do you send them to, and how? A practical UK guide to publishers, sync libraries and artists, what each wants, and the mistakes to avoid.
You have written a song and recorded a demo, and now you want other people to hear it. Maybe you want a publisher to sign you, a library to place it on TV, or an artist to record it.
This guide walks through those routes, what each is looking for and how to approach them without wasting everyone's time. I am not a lawyer, and publishing and sync deals vary a lot, so treat this as a map and get proper advice before you sign anything.
Who can you pitch to?
There are three main routes for a songwriter. Music publishers pitch your songs, place them in film, TV and adverts, register them and collect royalties on your behalf. Sync libraries license music to TV, film, games and online content. And then there are artists, managers, producers and A&R people who are looking for songs.
Each works differently, and what suits you depends on the kind of songs you write.
Get ready before you pitch
Pitching an unfinished song is the quickest way to waste a chance, because you rarely get a second go with the same person. So before you send anything, make sure the songs are finished and the demo is clear. Our guide on how to finish a song and make a demo covers this. Agree the splits in writing with every co-writer, and register the song with PRS and keep your tunecode. If you are not a member yet, our guides on how to register with PRS for Music and MCPS explain how. Put the demos somewhere easy to hear, such as a private link or a simple page, so you can send a link instead of an attachment. And pick your best one or two songs, not your whole catalogue.
Pitching to publishers
A publisher usually takes a share of your song's ownership or income in return for pitching it and looking after the paperwork. Some publishers invest money and time in their writers. Others mostly handle administration.
A few honest points. Many publishers do not accept unsolicited material, so check each one's website for a submission policy before you send anything, and respect it. Publishers are more interested in writers who are already building something, such as releases, plays, live work or cuts with other artists. Research who you are approaching by looking at the writers they work with and the kind of songs they place. And keep your email short and polite, with a link to listen. Say who you are, why you chose them and what you are offering.
If a deal does come, read it carefully. Terms such as how long they keep the rights, which countries it covers and what happens if nothing gets placed matter as much as the percentage. Traditional publishing splits income evenly between the writer and publisher shares, and administration deals, where a company registers and collects but does not own your songs, are commonly quoted at around 10 to 20 percent commission. These figures are only a guide. Have a music lawyer or a body such as the Musicians' Union or the Ivors Academy look over a contract before you sign it.
Pitching to sync libraries
Libraries license tracks to productions and pay you when they are used. The key question is whether the deal is exclusive. Exclusive means the library is the only place the track can go, so check what the exclusivity actually covers, because it can mean all uses or only some. Non-exclusive means you keep ownership and can offer the same track elsewhere, sometimes for a lower share.
In any library contract, check whether you can stay a PRS member, because a clause that stops you joining a collecting society is a serious red flag. Check who registers the works with PRS too. Under some deals the library does it and assigns the split in the contract, and if you register it yourself as well you can end up with duplicate entries to untangle, so ask them first. And find out how long the deal lasts and whether you can get the track back.
If a library approaches you, be open and ask these questions up front. A decent one will answer them.
Pitching to artists, producers and managers
Artists need songs, but they also get sent a lot of them, so a few things improve your chances. Your odds are usually better with newer and developing artists than with established names. Make sure the song fits the artist closely, because a song that suits their voice, subject and style is far more likely to get a listen. Send one or two songs, not an album, unless they ask for more. And if you are not the right voice for the song, hire a singer who suits it.
Write a short, friendly message that explains why you thought of them, with a link. Do not attach large files or send a long biography.
Follow up without being annoying
If you hear nothing, it usually means they are busy, not that the answer is no. Wait a couple of weeks, then send one short, polite follow-up. If someone does show interest, reply quickly and be clear about what you can offer. Our guide on how to contact someone after they have shown interest in your music has more on this.
Protect yourself
Agree splits in writing before a song goes anywhere, and never give away rights because someone sounds enthusiastic. Read the agreement first. Keep a record of who you sent what to, and when, and keep your registrations and codes tidy so anyone who does want the song can find the details quickly. Our ISRC tracker and guide on tunecodes help with that. Be wary of anyone who asks you to pay to have your songs pitched.
Common mistakes
The common mistakes are pitching before the song and demo are ready, sending your whole catalogue instead of your best one or two songs, ignoring submission policies and sending files to publishers who do not accept them, pitching a song that does not fit the artist or library, and signing a library or publishing deal without reading what it covers.
What to do next
Choose one route, not all three at once. Make a short list of five publishers, libraries or artists who genuinely suit your songs, check their submission policies, and send a short email with a link to your best demo. Keep a simple log of who you contacted and when.
If you do not have a finished demo yet, start with our guide on finishing a song and making a demo. And if you want the bigger picture of how songwriting fits into a music career, see our songwriter guide.
Disclaimer
This article is general information for independent songwriters, not legal or financial advice. Publishing and sync deals vary widely, and the figures mentioned are only a guide. PRS and MCPS processes and fees change, so check prsformusic.com for current details, and get independent legal advice before you sign a contract.