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Understanding Music Publishing Deals

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Understanding Music Publishing Deals

And How to Avoid the Ones That Might Hurt You

What Is a Music Publishing Deal?

At its core, a publishing deal is an agreement between a songwriter (or rights holder) and a publisher, who takes care of managing, monetizing, and protecting the writer’s compositions.

This includes:

  • Registering works with collecting societies (like GEMA, PRS, BMI, etc.)
  • Pitching the songs for sync (film, TV, ads, games)
  • Collecting and distributing royalties
  • Ensuring the song is credited and protected internationally

In return, the publisher takes a percentage of the income – usually from the publisher’s share, not the writer’s.

Types of Publishing Deals – Know the Difference

There’s no such thing as “the” publishing deal. There are different structures, each with their own risks and benefits.

1. Admin Deal (Administration Deal)

  • You keep full ownership of your songs
  • The publisher registers them and collects royalties on your behalf
  • Typical split: 10–20% to the publisher
  • Usually non-exclusive and time-limited

Best for: DIY artists who want help with global collection but stay independent

2. Co-Publishing Deal

  • You assign part of your rights to the publisher (often 50% of the publisher share)
  • The publisher actively pitches your music (e.g., for sync) and may give you an advance
  • They become a partial rights holder - Risk: long-term contracts, difficult to exit

Best for: professional songwriters looking for career partnerships

3. Full Publishing Deal

  • The publisher owns and controls 100% of your publishing rights
  • Often includes advances, minimum delivery obligations, and exclusivity
  • You may lose long-term control. - Often risky unless backed by a strong, transparent partner

What to Watch Out for (Red Flags)

When reading a publishing deal, these are the areas to double-check:

  • Duration – Is it 1 year? 3 years? Perpetual? Is there an exit clause?
  • Territory – Worldwide? Only certain countries?
  • Advance – If you’re getting upfront money: Is it recoupable? Are you stuck until it’s paid back?
  • Royalty split – What % do they take from your publisher share?
  • Sync rights – Do they have exclusive sync rights? Can you say no to placements?
  • Performance clause – Do they have to do anything (e.g., get syncs, collect royalties)? Or can they just sit on your catalog?

If anything sounds vague or one-sided, don’t sign until you’ve asked questions – or had it reviewed.

Do You Even Need a Publisher?

Not always.

If you:

  • release music independently
  • use a good distributor
  • register your works yourself
  • and aren’t actively pitching to film/TV

… you might be better off with self-publishing + admin support from platforms like Songtrust or a small, transparent partner.

But if you’re writing for others, seeking sync placements, or working in teams – a reliable publishing partner can be a big win.

What Labels Should Keep in Mind

If you run a label that also offers publishing :

  • Make it opt-in, not automatic – or at least allow exceptions
  • Always clarify: Who owns what, and what’s being administered
  • Keep your publishing contracts separate from the master agreements, or clearly split them within
  • Educate your artists: A fair publishing deal should generate royalties, not just hold rights

Summary

Publishing deals aren’t inherently good or bad – but some are predatory, and others are just outdated.

Know what you’re signing. Know what you’re giving up.

And most importantly: make sure you understand how (and if) the publisher is working for you.

NexaTunes – structured support for independent releases.
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