North American Songwriting Advice

You want songs that hit and a career that survives the algorithm apocalypse. Whether you write in a Toronto basement, a Nashville co write room, or a LA garage that smells like expired coffee, this guide gives you craft practice and real business moves to actually get paid and get heard. We will be blunt, slightly rude, and help you avoid rookies mistakes that waste time and feelings.

This is written for musicians who want practical steps now. We cover the songwriting craft, metadata and registration, publishing and royalties, co write etiquette and contracts, pitching for sync and placements, and promotion that does not make you feel like a human ad. We explain every acronym and give real life examples you can use tonight. Snacks optional. Persistence mandatory.

Quick roadmap

• Craft basics and daily writing drills
• Metadata, registrations, and why they matter
• How royalties flow in North America
• Co write rules and split agreements
• Pitching for sync and playlists
• Action plan you can use on a laptop now

Songwriting craft that works in 2025

If your melody and lyric can be hummed by someone on the subway, you are already winning more than half the battle. Here are craft rules that do not waste time or dignity.

Single emotional promise

State one clear feeling your song exists to deliver. This is not an essay. This is a sign you would see outside a bar. Examples: I am done apologizing. Tonight I am everyone I want to be. I miss you but I will not text. Keep it short and repeatable. That sentence becomes your chorus anchor and your pitch line when you promote the song.

Hook first, details second

Start with a short vocal or musical idea that can be repeated. A hook is not a secret ritual. It is the thing people remember after a night out. It can be a melody on a single vowel or a lyrical fragment that fits a meme. Once you have that hook, build verses that add tiny scenes around it.

Prosody is your friend

Prosody means matching the natural stress of words with musical emphasis. Say your line out loud like you are texting a friend. Where is your voice louder? Put that syllable on a strong beat. If a line feels awkward to sing, it will feel awkward to listen to. This is a technical fix that makes songs feel effortless.

Write through boredom

Good songs come from repetition and one surprising detail. Do a five minute drill where you write six lines about one object. Example objects: a chipped mug, a bus pass, an old hoodie. Force the object to do something in each line. This generates images that feel real and avoid vague sad ballad language.

Three verse types to steal

• Scene setter verse: places, senses, time crumbs. Example: coffee cup in the sink at 2 a m.
• Conflict verse: shows the consequence. Example: you took my hoodie and took my patience.
• Reveal verse: a new angle that reframes earlier lines. Example: your laugh is the reason I stayed when I should have left.

Melody shape cheats

• Lift the chorus a third above the verse to create audible lift.
• Use a leap into the title phrase then stepwise motion to land the line.
• Test melodies on vowels first. Sing ahs and ohs until your mouth finds comfort.

Real life craft scenario

Imagine you are on a cheap couch in Montreal with a friend who just left a bad show. You strum two chords. Your friend says, I do not want to be nice anymore. You repeat the phrase and sing it on a high note. That single phrase becomes a chorus seed. Verse one describes the subway smell at 3 a m. Verse two describes the nights you faked laughter at the show. The title is the phrase from your friend. You have a song because you captured an honest moment and made it singable.

Metadata and registrations that actually pay

People skip this and then complain about streaming math. Metadata is the secret money engine. If your song is not registered correctly the cheque never finds you. This section is painstaking and boring. Do it anyway.

Essential identifiers explained

• ISRC means International Standard Recording Code. This is a unique code assigned to each recording. It helps digital stores and platforms track plays and sales for the recording, which matters for master royalties.
• ISWC means International Standard Musical Work Code. This identifies the composition itself. It helps publishers and performance rights organizations track songwriter earnings.
• UPC is a barcode for your release. It identifies the release package for stores.
• Metadata means the song title, writers, publishers, version, producer credits, songwriter splits, and codes. If metadata is wrong, money is paid to the wrong person or gets stuck.

Who to register with in North America

Register with two types of organizations. One is a performance rights organization or PRO. In the US the major ones are BMI, ASCAP, and SESAC. In Canada the main organization is SOCAN. PRO stands for performance rights organization. These groups collect performance royalties when your composition is broadcast, streamed, or performed publicly.

Second is a mechanical collection or administration body. In the United States the Mechanical Licensing Collective or MLC collects mechanical royalties from interactive streaming and downloads for songwriters who are registered. Make sure your songs are in the MLC database and that your splits are correct. For Canada mechanical royalties are collected through organizations like CMRRA and others depending on the use.

How to register and what to check

1. Create accounts on your PRO and on the MLC if applicable. Also create a profile at SoundExchange to collect digital performance royalties for master recordings in the US. SoundExchange collects royalties when your recording is played on satellite and non interactive digital radio. If you live in Canada register with Re:Sound or SOCAN depending on use.
2. Upload your metadata with accurate songwriter names and exact splits. Splits are how earnings are divided. Never leave splits undefined. If you and a co writer agree on equal shares state 50 50 not equal or split later. Spell names the way your PRO recognizes them. Nicknames cost money.
3. Attach ISRCs to every master. Give an ISWC to the composition if possible. Keep a central spreadsheet of every code so nothing disappears when you switch distributors.

Money basics for North American songwriters

Money in music is a thousand tiny streams. Learn the names and where they come from.

Performance royalties

Collected by PROs when your composition is performed publicly. This includes radio, streaming, TV, live venues, and bars. Register your songs and claim your splits. Example: your song plays on a morning talk show. The show reports the song and the PROs pay songwriters and publishers according to the reporting and the reporting match to the registrations.

Mechanical royalties

Paid when a composition is reproduced. In streaming this includes the copies made for on demand services. The MLC handles these for interactive streaming in the US. In Canada mechanicals travel through different collection societies. If you self publish you still need to collect mechanicals. Use an admin publisher service if you want them to do the work and take a fee.

Master royalties and neighboring rights

Master royalties go to the owner of the recording. If you own your masters you get paid when the recording is sold or licensed. SoundExchange collects some of these digital performance royalties in the US. Neighboring rights are similar and apply in many countries. In Canada and other territories there are societies that collect neighboring rights for performers and labels. If you perform on a track you may be owed neighboring rights royalties in some countries even if you do not own the master.

Sync licensing fees

Sync means synchronization. This is when your song is used in visual media such as film TV ads video games or a brand video. Sync fees are a one time license fee paid to both the composition owner and the recording owner if the master is used. Sync deals can be small or life changing. Be prepared with clean masters and clear splits to make deals fast.

Real life royalty scenario

You co wrote a song with two friends. The song lands in an indie film in Toronto. The filmmaker wants to use the master. You get a sync fee split among the master owners and a fee for the composition. The film is screened at festivals and later streamed. The song starts getting plays on satellite radio in the US. Your PROs pay performance royalties. SoundExchange pays digital performance for the master in the US. Mechanical royalties are collected by the MLC from streaming plays. If your metadata is clean you will get the checks. If not you will get emails asking for paperwork while money sits in limbo.

Co writing rules that do not create hate

Co writes are the oxygen of modern songwriting in North America. They are also where friendships end over commas. Use these rules and avoid awkward breakups.

Write a split sheet before you leave the room

A split sheet is a simple document saying who wrote what percentage of the song. It is not romantic but it prevents future arguments. Write the percentages in plain numbers. Have everyone sign and save a photo for your file. You can use a shared Google Doc if you prefer. If someone leaves the room pissed they cannot retroactively demand a larger share based on vibes. A split is a business record not a trust exercise.

Who owns the recording versus composition

Be clear if the people in the room are contributing to the composition the lyrics or the recording performance. A guitarist who plays a part that becomes the hook may qualify as a songwriter if they contributed a unique melodic or structural idea. Decide and record the credits. When in doubt discuss with the group and agree on a modest credit rather than guessing later.

Admin and publishing options

You can self publish or sign with an admin publisher. Self publishing means you control your copyright and register songs with PROs. Admin publishers collect royalties on your behalf in territories you do not know how to access and take a fee. If you are new and have a small catalog consider registering everything yourself first. If you get a placement and need fast global collection consider an admin deal for that song alone.

Co write real life scenario

Imagine a morning co write in Nashville. You bring a title line. The producer adds a chord and a beat. Another writer writes a bridge and suggests a lyrical twist. Before you leave you write a split sheet: 40 30 30 where you get 40 percent because you wrote the title and the vocal melody. You also discuss that the producer gets a producer percentage of the master if they record it. Everyone signs. Weeks later the song gets pitched to a TV show. The split sheet gives the music supervisor confidence to make an offer quickly.

Pitching and sync strategy for North America

Sync is part skill part relationships part timing. You can do a lot of it yourself without a big publisher if you prepare.

What is a music supervisor

A music supervisor chooses music for visual media. They work on a production and pitch songs to directors and producers. They love songs that have clear metadata clean mixes and short stems available. A stem is a sub mix of instrumental or vocal tracks. Provide stems when asked and include a short one paragraph pitch describing where the song fits. Include mood tempo and a one line synopsis of why it fits the scene.

How to pitch a song

1. Find the music supervisor or supervisor agency. Use IMDB credits social media and LinkedIn. Add them to a simple spreadsheet with the project title and contact method.
2. Keep the email short and human. Include a private stream link and password. State the scene type you are pitching for and offer stems and quick turn licensing. Example subject line: Song for kitchen break up scene in indie comedy.
3. If they ask for terms offer a basic sync license fee number for the composition and clarify the master owner. If the song will be exclusive for a period state that clearly and the fee you expect. If you have a publisher or admin rep state their contact info.

Email pitch template

Subject: Song for early dawn montage in new indie pilot

Hi Name,

I write under the name Artist Name. I have a 90 second song that fits a quiet early morning montage where the lead cleans a messy apartment and discovers a note. Tempo 84 bpm. Private stream link here. Stems available on request. I own the master and co own the composition with two writers. Looking for a sync fee and credit. Happy to discuss terms and provide stems or an edit for timing. Thanks for listening. Artist Name phone email

Placing songs in advertising

Ads pay well but expect tighter legal terms. Brands often want exclusivity and approvals on lyrics and visuals. If a brand asks to change lyrics or the title negotiate additional fees or refuse. You can allow small lyric tweaks for an added fee and a moral clause that protects the core meaning of the song. If the money is tempting and the change is minor you can take it but get clear terms in writing.

Promotion without being a spammer

Social media should amplify the song not be the song. Use platforms to show the world how the song was made and why it matters. Short behind the scenes clips perform insanely well on TikTok and Instagram when they show small moments like a lyric line, a studio outtake, or a demo comparison.

Promo checklist

• One minute video of you explaining the story behind the song
• Snippets of the hook for short form platforms
• A lyric card formatted for sharing
• Pitch to relevant playlist curators with a short pitch line and private stream
• Send at least one follow up message but not more than two remember humans are busy

Practical templates and tools

Simple split sheet template

Song title:

Writers and email addresses with percentage shares in numeric form and signatures. Save a copy and email it to everyone after the session. This acts as a business record. Use a Google Doc for timestamps and version control.

Daily writing drill you can do in 20 minutes

1. Pick an object near you.
2. Write six one line images where the object performs an action.
3. Pick the best image and write one sentence that becomes your chorus promise.
4. Hum a melody on vowels and mark the best gesture for the chorus.
5. Write a two line verse that sets a time and place and uses one of the six images.

Metadata spreadsheet fields

• Song title
• Writers full legal names and PRO IDs
• ISWC if available
• ISRC for the recording
• Publisher names and IPI or CAE numbers
• Split percentages
• Release UPC

Common mistakes and how to fix them

Not registering songs early

Fix: Register with your PRO the month you finish the song. Register with the MLC if you are in the US. Do the spreadsheet step and email it to yourself. This takes thirty minutes and pays forever.

Bad metadata

Fix: Double check spellings. Use legal names for payments. Ask co writers their PRO ID numbers and publishers. Have one person be the metadata queen or king. That person owns the spreadsheet and does not lose it under a pile of pizza boxes.

Signing away publishing too soon

Fix: Understand admin deals versus full publishing deals. Admin deals mean you keep ownership and give a percentage of collections for administration services. Full publishing deals often buy a percentage of your ownership up front. If you do not have placements or a catalog yet consider admin first or keep your rights until you have leverage.

Over pitching with no clarity

Fix: Tailor pitches. Say why the song fits a specific scene. Offer stems and a fast response. Keep emails short. If a supervisor ignores you after one email wait and do not spam their inbox. Find another contact.

Long term career moves

Short term hacks help. Long term planning pays. Think in catalogs not singles. Write songs with variety so that when a supervisor needs a sad acoustic moment or an upbeat track you have options. Build relationships with engineers and supervisors by being easy to work with and by delivering clean masters and metadata on time.

Playwriter camps and networking

Songwriting camps are where catalogs get built. Many camps are invitation only but you can get in by proving you finished songs consistently. Bring a prepared chorus a rough demo and a split sheet template. If you are nervous start by attending co write events in your city to practice the etiquette and timing you need.

Revenue diversification

• Streaming and downloads
• Live performance and merchandise
• Sync licensing and placements
• Teaching songwriting privately or in workshops
• Publishing administration and foreign collection with an admin partner

Action plan you can do this week

1. Pick one unfinished chorus and record a private rough demo. Upload to a private streaming link and label it with date and title.
2. Complete a metadata spreadsheet entry for that song with writer names and intended splits. Register the song with your PRO.
3. Send the private link to three contacts: one music supervisor you found on IMDB one playlist curator and one friend who will be honest. Ask one simple question. Which line stuck with you.
4. If you do not have a PRO account create one today. It takes ten minutes and costs nothing. If you live in Canada check SOCAN and Re:Sound rules. If you live in the US check ASCAP BMI or SESAC which suits your situation.
5. Schedule two twenty minute writing drills this week and keep the split sheet template on your phone.

North American songwriter FAQ

What is the first registration I should do for a new song

Register the composition with your performance rights organization or PRO. This ensures you will be credited for public performances. Then create an ISRC for the master and register the recording with SoundExchange if you are in the United States. Upload the song metadata to the MLC database so mechanicals can find you. Do these three steps within the same week you finish the song.

Which PRO should I choose in the US

ASCAP and BMI are writer friendly organizations with no upfront costs. SESAC is invitation only and operates on a different model. Research each and pick the one that suits your network and goals. If you join one you generally cannot be a writer member of another at the same time so pick carefully. If you have questions ask other songwriters you trust about their experience.

How do I split songwriting credits fairly

Discuss contributions openly. A common method is to start with title and melody as primary and allocate shares accordingly. If you wrote the hook you might deserve a larger share. For three writers equal splits are common but not mandatory. The best practice is write it down before you leave the room. That one small act avoids a decade of awkward DMs.

How do I get my song pitched to TV or film

Build simple relationships with music supervisors and their teams. Send a short targeted email with a private stream link and a one line description of the scene you imagine. Have stems ready and be fast with legal clarity. If you have a publisher or an admin they can help. If you are independent be professional and provide the assets supervisors need to clear a song quickly.

Do I need a publisher

You can be an independent publisher. Admin publishers help collect in territories you cannot reach easily and they handle licensing requests. If you get regular placements you may need a publisher to scale. If you are starting out do registrations yourself and consider admin services as a middle step before giving away ownership.

What is a mechanical royalty and who pays it

A mechanical royalty is paid when a composition is reproduced. This includes streams and downloads. In the US interactive streaming services pay mechanicals and the MLC collects them. In Canada mechanicals are collected by other societies. Make sure you are registered with the right bodies so those royalties find you.

Can I license my song to brands directly

Yes. Brands often deal directly with independent artists. Be aware they will likely ask for exclusivity and control over the master. Negotiate higher sync fees for exclusivity and set a reasonable time limit. Use a simple contract or consult a music lawyer before signing anything that changes how you can use the song later.

How do I handle samples

If you use a sample you must clear both the master owner and the composition owner. Clearance can be expensive and time consuming. If you cannot clear the sample you can recreate the idea with original elements or use royalty free sample packs. When in doubt call a lawyer or an experienced publisher to avoid legal trouble.

What is an admin publisher fee and is it worth it

Admin publishers typically take between 10 to 20 percent of collected revenue for administrative services like global collection and licensing. It can be worth it when you need someone to chase foreign collections or to issue licenses quickly. Evaluate based on how much overseas income you expect and whether you can handle the admin tasks yourself.