How To Write Songs For Other Artists

You want your songs to live in other people. You want placements that pay, co writes that bloom into careers, and demos that get passed into inboxes that actually answer. Writing for other artists is a different job than writing for yourself. The goal is not to be authentic to your inner diary. The goal is to be authentic to somebody else in a way that feels effortless and inevitable.

This guide gives you the full playbook. We will cover how to research an artist, run a co write session, make a demo that sells, and handle the business so you do not get ghosted at payout time. I will explain the acronyms like PRO and ISRC in plain language and give real life scenarios that make the rules stick. Expect jokes, blunt truth, and action items you can use today.

Why Write Songs For Other Artists

Writing for other artists creates income and momentum in ways writing for yourself often cannot. Here is what you get.

• Multiple income streams from performance royalties, mechanical royalties, sync placements, and co write fees.
• Catalog growth that compounds. One song placed can lead to more requests from managers and labels.
• Network effects because artists like to work with people who already have placements and good studio manners.
• Less pressure if you prefer not to be the face of every song you write. You can survive on your craft alone.

Real life scenario: You write an R B ballad that a mid tier artist records and releases. It gets playlisted. You collect mechanical royalties for each stream and performance royalties when the track plays on radio or in clubs. That income can look small at first. Over time the money stacks because every new placement feeds the next relationship.

Understand The Brief And Artist Identity

Think of a brief as a dating profile for a song. If you do not match the profile, the artist will not swipe right.

Research Before You Step Into The Room

Do these things before you write.

• Listen to the last six releases. Pay attention to melodic range, lyric vocabulary, and production textures.
• Note the lyrical frames. Does the artist use conversational language or cinematic images?
• Watch a live performance or an Instagram clip. The way they deliver lines live reveals what register they are comfortable singing in.
• Save two reference songs that capture the vibe you are aiming for. One for lyrics and one for production.

Relatable example: You are pitching to a 25 year old indie pop artist who posts late night thoughts on socials. Their songs live in the low mid range and use specific domestic images. Your song should include tiny details and sit in a range that has an intimate chest voice moment. A festival banger with lots of chest chest chest will feel wrong here.

Ask Better Questions When You Are In The Room

Do not ask vague questions like What do you want to sing about. Ask specific things that reveal constraints.

• What part of your last release felt most honest for you.
• Which line from your favorite songs do you wish you had written.
• Do you want a lyric you can scream at a concert or a lyric you whisper in a DM.
• Which vocal range feels most natural for verse and chorus.

These answers inform melody, rhyme choices, and hook placement. If the artist says they like whispery intimate moments, lean into a narrow melodic range and conversational prosody. Prosody is the way words sit rhythmically in music. We will test it later.

Types Of Songs You Might Write

Not all songs are delivered the same way. Know your product.

• Full song with topline lyrics, melody, and basic chords recorded as a demo.
• Topline only where you write melody and lyric and the producer supplies the track.
• Beat plus topline which is common in hip hop and pop. You write melody and lyric on a beat that you either buy or co produce.
• Reference inspired song a demo that copies vibe and energy of a hit so an artist can hear direction.

What Is A Topline

Topline means the vocal melody and lyrics that sit on top of the music. If you are a topliner you create the singable part that people hum in the shower. Toplining can be lucrative because good toplines fit into many producer tracks. In a co write the producer may bring the beat and you bring the topline.

Reference Track Versus Demo

A reference track is a commercially produced song that shows the direction you want. A demo is your version of the song. Keep demos clear and communicative. They do not need mixing mastery. They do need to show the hook, the chorus feel, and how the artist might deliver the lyric.

How To Run A Co Write Session That Works

Co writing is a social sport. You need rules, rhythm, and a little empathy.

Pre session checklist

• Have two reference songs ready.
• Bring a title idea or core emotional promise written in one sentence.
• Agree on session roles. Who is doing melody, who is doing lyric, who is doing production ideas.
• Bring a phone or small recorder and a headphone split so everyone can hear.

Session playbook

1. Warm up with a three minute vowel melody pass. Sing nonsense words to find a melody shape.
2. Pick a title or promise and place it on the strongest melodic gesture you found.
3. Draft a chorus first. The chorus is the sale. Make it easy to repeat.
4. Write one verse and one pre chorus. Keep the verse specific and the pre chorus as a lift into chorus.
5. Record quickly. If the chorus is working, do a quick demo before you polish.

Real life example: You have a session with an R B artist who wants a late night confession. You open with a one sentence promise I still call at three. You sing a vowel pass and find a hook that lands on a high soft vowel. You build the chorus around that hook, record a rough demo on your phone with the producer beat, and send it to the artist within 24 hours. That speed shows professionalism and increases your chance of getting the cut.

Splits And Split Sheets Explained

Splits mean how ownership of the song is divided between writers. The split sheet is the document that records those percentages. If you get this wrong you will fight about money later. Do not fight about money later.

How to decide splits

There is no single rule. Here are everyday patterns.

• Equal splits are common. Four people produce equal thirds, equal quarters, or equal sixths. Equal splits avoid drama. They work when contributions are collaborative and iterative.
• Credit by contribution. If one writer provides the chorus and title and another provides a line of verse, the first writer might take a larger share.
• Producer writers. Producers who create the instrumental and arrangement often claim part of the composition share. Decide that before you start.

Simple rule: talk about splits early and document them immediately. If the artist wants 60 percent and you or your co writers disagree, negotiate calmly and record the agreement on a split sheet right away.

What to include on a split sheet

• Song title
• Full names and IPI numbers for each writer. IPI is a unique identifier used by performing rights organizations.
• Contact info for each writer
• Percentage for each writer that adds to 100
• Date and signatures or typed acceptance in email thread

Real life scenario: You write 70 percent of a song and the featured artist writes a bridge. You both sign a split sheet stating 70 30. Later the song is used in a commercial and sync money is paid. Because the split sheet existed, the money is distributed without a headache.

Publishing, PROs, And Royalties

Songwriting income comes from different categories. Learn the names and where the money flows.

Performing Rights Organizations

PRO stands for Performing Rights Organization. PROs collect performance royalties when your song is played on radio, TV, streaming services that report to PROs, live venues that buy set lists, and public places like bars. Major PROs in the United States are BMI, ASCAP, and SESAC. You register as a writer with one PRO. If you live outside the US your country will have its own society that does similar work.

Mechanical Royalties

Mechanical royalties are paid when a composition is reproduced. Streams generate mechanical income and physical sales do too. In many countries mechanicals are collected by a mechanical rights agency. Digital distributors also pay mechanical royalties and register works with collection societies.

Sync Fees

Sync means synchronization. It is the license to use a song in a visual medium like TV shows, movies, commercials, or video games. Sync fees can be big and are negotiated case by case. Remember that sync involves two rights. The composition rights and the master recording rights. If an artist records your song and the label owns the master, the sync license will involve both the publisher or authors and the label for the master.

Publisher And Admin Deals

A publisher helps collect royalties, pitch songs to artists and supervisors, and administer licenses. An admin publisher registers songs worldwide and collects money you might not find on your own. An admin deal can be a small percentage wide and deep value if the publisher is active. Do the math. Admin deals often take 10 to 20 percent of the publisher share. That is sometimes worth it for global registration and admin work.

Metadata Protocols You Must Follow

Metadata is the backstage pass for money. Bad metadata equals lost royalties. Here are the crucial codes and facts.

• ISWC is the International Standard Musical Work Code. It identifies the composition worldwide.
• ISRC is the International Standard Recording Code. It identifies the specific recording of a song.
• IPI is the Interested Party Information number used by PROs to identify writers and publishers.
• Include full legal names, writer shares, publisher names, and publisher shares on every registration.

Practical example: After a recording session your engineer uploads the stem. You register the composition with your PRO and admin publisher with exact split percentages and the ISRC for the demo. Later when the track streams, the data matches and royalties are distributed correctly.

Make A Demo That Sells

A demo is a sales tool. It needs to answer three questions quickly for an A R rep listening on their phone.

• Can I imagine this artist singing it.
• Can this hook survive with a real production.
• Is the lyric clean and artist appropriate.

Demo quality tiers

There are tiers depending on your budget.

• Phone demo for speed. Use a quiet room and a good phone mic. Keep the arrangement simple and the hook obvious.
• Bedroom demo with a small production. Use a vocal with basic comping, a simple beat, and one melodic instrument. Focus on clarity not compression tricks.
• Produced demo with arrangement, vocal production, and background vocals. Use this for high stakes pitches.

Demo musts

• Clear chorus within the first 45 seconds
• Tempo that matches the intended vibe
• Vocal that suggests how the artist might sing it
• A lyric sheet attached in the email or upload

Real life tip: If you are sending to a mainstream A R inbox, attach a one sentence log line for the song and a link that starts autoplay when the inbox opens. Make the chorus obvious. If the listener cannot find the chorus in the first 30 seconds you lose attention.

Pitching Songs To Artists And Teams

Pitching is a long game. Rarely does a cold email land a major placement on first try. Use this strategy.

Where to pitch

• Direct to artist if the artist is independent and responds to messages.
• Managers and A R teams at labels. A R stands for Artist Relations or Artists and Repertoire, the team responsible for finding songs and talent.
• Publishers who represent the artist or have relationships with the label.
• Sync agents and music supervisors for film and TV.

Pitch template that does not suck

Short email or DM outline.

• One sentence hook that explains vibe and why it fits artist.
• Two reference songs or artists to explain sonic target.
• One link with chorus first and autoplay on open.
• One line about availability to rework the song with the artist if they want changes.

Example message: Hey Alex. I wrote a late night R B ballad that sits in your live register and uses intimate domestic images like your last single. Reference vibe is Giveon meets SZA. Quick demo attached with chorus first. I can rework for you if you want to own it. Thanks.

Contracts And Money Basics

Understand these terms before any deal.

• Work for hire means you are paid a fee and waive future royalties. Avoid this unless the immediate fee is worth it.
• Advance is money paid upfront against future royalties. You repay the advance out of your earnings before you see additional revenue.
• Exclusive writer agreement may require you to deliver songs only to a publisher for a period. Read the terms carefully.
• Admin deal is when a publisher registers and collects worldwide for a percentage of the publisher share.

Real world example: A small label offers you $1000 up front for a work for hire. If the song becomes a hit you will not earn writer royalties. If you believe in the song and can negotiate a writer share instead you will likely make more long term. Say no to work for hire unless you need the money now and know the trade off.

How To Write To Fit An Artist Voice

This is craft and empathy.

Lyrics and language

Match the artist vocabulary. If they use short conversational lines, write short conversational lines. If they like cinematic story arcs, build images with time and place.

Melody and range

Set the chorus on a comfortable singable note within the artist range. If the artist tends to sing in a low chest voice do not write an arena high note chorus that requires head voice. Test melodies by having someone mimic the artist delivery and sing the chorus in their range.

Production clues

Include suggestions in the demo for production. Write notes like sparse piano or breathy vocal in verse. These communicate your intent and make it easier for the artist to imagine the record.

Example before and after lyric change

Before: I am lost without you. That line is fine but feels generic.

After for indie singer: The kettle cools at three a m. Someone else is on the line. That gives a camera shot and a time crumb and fits an intimate voice.

Song Lifecycle After A Cut

Once an artist records your song do these things fast.

• Sign the master license or record agreement after legal review.
• Ensure the split sheet is filed with your PRO and the artist publisher.
• Confirm ISRC codes for the recording are registered. The ISRC attaches to the master and tracks streaming royalties for the recording owner.
• Confirm ISWC registration for the composition. The ISWC helps global collection.

Keep copies of all documents. If your publisher is doing admin they will handle registrations but you still need confirmations in writing.

Organize Your Catalog Like A Boss

Good habits separate pro songwriters from hopefuls.

• Maintain a spreadsheet for every song with title, writers, splits, demo link, ISWC, ISRC, and status like pitched, cut, released, or placed in sync.
• Back up stems and project files to cloud storage and local drives.
• Label files clearly. Example filename format: Artist or Reference_Title_writer initial_v1.wav. Pick a consistent method and use it.

How Much To Charge For A Song

Rates vary wildly. Price by project type.

• Co writes with an emerging artist are often split share based with little or no upfront fee.
• Topline sessions for a producer with a beat can pay a flat fee between low hundreds and several thousands depending on the artist and the beat value.
• Work for hire fees are one off and can be negotiated from a few hundred to many thousands depending on the budget.
• Sync placements often pay the best in the short term. Fees can run from low four figures to six or seven figures for large commercials.

Rule of thumb: if a label offers up front cash for exclusive rights you should ask for a writer share or a better fee. Do not accept the worst of both worlds where you lose future earnings for minimal cash today.

Common Mistakes And How To Fix Them

• Thinking your demo must be perfect Fix by focusing on hook clarity and vocal performance. The idea matters more than mix polish.
• Not documenting splits Fix by signing a split sheet before you leave the room or by confirming shares in an email thread that all writers reply to.
• Ignoring metadata Fix by registering your song with your PRO as soon as possible and sending metadata to your publisher or distributor.
• Pitching poorly Fix by personalizing your message, using a short autoplay link, and referencing why the song fits the artist.
• Accepting work for hire without thought Fix by asking for a better fee or a reduced work for hire scope that leaves some writer share to you.

Action Plan You Can Use Today

1. Pick one artist you want to write for. Research the last six songs and pick two references.
2. Write a one sentence emotional promise for the song you would pitch them.
3. Do a three minute vowel melody pass and find a chorus gesture. Place your promise on that gesture.
4. Record a 60 second demo with chorus first and a lyric sheet.
5. Send a short personalized pitch to the artist or their manager with autoplay link and one line about why it fits.
6. Prepare a split sheet template and an email text for confirming splits if you end up in a session.
7. If you have not already, register with a PRO and collect your IPI number so you can fill out split sheets correctly.

Resources And Tools Worth Using

• DAW software for demos like Logic Pro, Ableton Live, or Reaper for low cost.
• Simple vocal mic options like a USB condenser for quick demos.
• File sharing and metadata management tools like Google Drive, Dropbox, and a simple catalog spreadsheet.
• Song pitching platforms like Songtradr or music supervisor directories if you plan to sync.
• Your PRO account for registrations. Examples are BMI, ASCAP, and SESAC in the US.

FAQ

How do I get paid when an artist records my song

There are two core income sources. Publishing income comes from the composition and is split between writers and publishers. Performance royalties are collected by your PRO when the song is played. Mechanical royalties are paid when the recording is reproduced through streams and sales. Sync fees are negotiated when the song is used in visual media. You must register the song with your PRO and with any publisher or admin company to collect the money.

Do I need a publisher

No. You can self publish and register directly with your PRO and administer mechanical registrations yourself. A publisher can help you pitch songs, negotiate deals, and collect worldwide. If you prefer infrastructure and outreach outsourcing, an admin publisher is useful. If you keep everything simple and you are building slowly, self publishing works. Evaluate the cut the publisher takes versus the value they provide.

What is work for hire and should I accept it

Work for hire is when you are paid a flat fee and the buyer owns the composition rights. If the fee is significant and you do not expect long term royalties, it may make sense. Most songwriters avoid work for hire for songs they believe in because work for hire eliminates future royalty income. Negotiate carefully and consult a lawyer if the sum is meaningful.

How do I protect myself when sending demos

Keep records of emails and timestamps. Do not sign away rights without legal review. Use watermarks sparingly and consider non disclosure agreements for high stakes placements. Realistically most demos are sent without NDAs. The stronger protection is a clear paper trail and a published registration at the PRO if the song is recorded.

How do I find artists to pitch to

Build relationships with local managers, producers, and label A R people. Use social media to follow artists and engage with their content in a thoughtful way. Attend showcases and networking events. Work with publishers to place songs if you prefer an outsourced approach. Start with artists at your level and help each other grow.

Get Contact Details of Music Industry Gatekeepers

Looking for an A&R, Manager or Record Label to skyrocket your music career?

Don’t wait to be discovered, take full control of your music career. Get access to the contact details of the gatekeepers of the music industry. We're talking email addresses, contact numbers, social media...

Packed with contact details for over 3,000 of the top Music Managers, A&Rs, Booking Agents & Record Label Executives.

Get exclusive access today, take control of your music journey and skyrocket your music career.

Unlock Instant Access