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If you’re a recording artist who writes your own songs, understanding music publishing isn’t optional, it’s how you make sure your work earns what it should. Before we dive into the details of music publishing, let’s clarify the difference between a composition and a master. Both are valuable assets that can generate income in very different ways.

A composition is your song itself: its idea, structure, lyrics and melody. Every time you write a song (lyrics, melody, chords… the whole package) you automatically own the copyright to that composition.

A master, on the other hand, is an actual audio file of what people hear when they stream or download a track. Any time the song is recorded, even if it’s a remix or live version of an old one, it creates a new master. 

Compositions are usually owned by the songwriter (or split between co-writers), while masters are typically owned by whoever funded the recording. If you’re an independent artist, that might be you. If you’re signed to a label, they probably hold the master rights.

Here’s where music publishing comes in.

Music publishing is, in a nutshell, the business of managing your compositions. And it’s often the most consistent and scalable revenue stream for artists who write their own material. 

Publishing involves registering your songs, collecting royalties, licensing them for things like film or TV, managing co-writer splits, and protecting your rights as a songwriter. If you’re writing and releasing original music, starting your own publishing company might help you keep more of your income, especially from publishing deals. 

The tradeoff for managing your own publishing process is having more control over the rights of your songs and the money they make. But if you’d like not to self-publish, there are online music publishing admin tools to help manage it for you. Or you can look into signing a traditional publishing deal.

Traditional publishing deals come in a few different forms, each offering varying levels of support, ownership, and income. Understanding how they work can help you choose the right path based on your goals, catalog, and career stage. It really comes down to your goals and how much control you're willing to give up in exchange for support.

The most common deal is the co-publishing deal. In this setup, you split the publisher’s share of royalties 50/50 with the publisher while keeping 100% of your writer’s share, which is non-negotiable by law. Copyright ownership is often shared as well, meaning the publisher may own half of the composition. In return, they actively manage and monetize your catalog by registering your songs, collecting royalties worldwide, pitching for sync placements, organizing co-writes, and offering career guidance. These deals often include a recoupable advance: upfront money you receive and pay back through future royalties. Co-pub deals are ideal for artists and writers with some industry momentum who want professional support but aren’t ready to give up full control.

A more involved option is the exclusive songwriter agreement. Under this deal, you agree to write exclusively for one publisher over a set term, typically one to three years. Every song you write in that time is at least partially owned by the publisher. You receive an advance for your work, and the publisher can take full control of their share and possibly a percentage of your copyright. In exchange, they’re heavily involved in your career; setting up co-writes, pitching songs, and helping you find sync placements. This type of deal suits full-time songwriters or artist-writers who want financial stability and industry access.

There’s also the full publishing deal, which is the most traditional (and most lopsided) arrangement. The publisher takes 100% of their share and often full ownership of the composition copyright. You retain your writer’s share, but the publisher controls how your songs are used, licensed and monetized. These deals may come with a large advance, but give writers little creative input unless the publisher is heavily invested in them personally. These deals are typically only a fit for early-career writers trading ownership for a big break, and should be approached with caution and legal guidance.

Then there are administration deals. These aren’t just deals on indie-friendly platforms like Songtrust; traditional publishers also offer admin deals. But these are usually for more established writers and don’t involve giving up ownership of copyrights. Instead, the publisher handles registration, royalty collection, and global licensing for you in exchange for a small percentage of the publishing income they collect, typically 10 to 20. Admin deals are usually shorter term, don’t include advances, and involve less creative development, but they ensure your royalties are properly tracked and collected.

If you’re focused on sync placements, co-writing, or breaking into new markets, a traditional publisher can open doors for you. Just make sure you understand exactly what you’re giving up, including ownership, income splits, and how long you’re locked in. The right deal should move your career forward without compromising your long-term earning potential.

At the end of the day, how you approach music publishing depends on how you want to navigate your music ownership, income, and control. Whether you decide to manage your own publishing, use an admin service, or partner with a publisher, what matters is that you know who owns what, and how that ownership translates into income. 

Your songs are assets. The better you protect them, the more they’ll pay you back.