This is a great blog that I found on Clint Productions' website by
Music Licensing Veteran Helen Austin.

I’ve had songs with several publishers, from large instrumental libraries to publishers promising me Coke ads. I now write exclusively for pigFactory and get songs regularly placed in ads and on TV and movies (click here for a list of my placements).

I get quite a few emails asking me either how to find a publisher or how to know if someone who has contacted them is legitimate, so I assembled this list of ideas to explore: 

  

1. Is your music ready? 

This is so important. You need to critically listen to your music and ask yourself if it can realisitically be placed. The quickest and easiest way to do this is to include your music in a playlist with other successful music in your genre to see how it flows, both in sound quality and writing. If it sticks out like a sore thumb, focus on getting your music to a place where is stands the best chance of getting placements. You only get one chance to make a first impression!
 

2. Educate yourself! 

It’s natural to get excited by the first publisher you encounter, but you could end up learning the hard way if you sign an agreement before learning the rules. It’s far better, if a little painful, to educate yourself in the field of publishing first. I recommend reading The New Songwriter’s Guide to Music Publishing by Randy Poe. It’s a lot to take in, but well worth your time. There are many other great books out there including Robin Fredrick’s Shortcut books – a great education in writing. 
 

3. Google is your friend. 

I’m always surprised when I get emails asking me things that are so easily found by using Google. Whether you’re looking for a publisher or want to know more about a specific one, Google them. But you have to look at all the info critically. If I believed everything I read on the internet I would never have ended up using Taxi which, by the way, is a great way to find a publisher. Other places that publishers put out a call for music on are Sonicbids, Broadjam and ReverbNation. There are others and these are all easily googleable. 
 

4. Pick up the phone. 

If you find yourself in the position of considering a certain publisher, talk to them. You can glean so much more from an actual conversation than from an email. This is the person who may be controlling your music, so it’s extremely important to have more than just a text relationship with them. Fifteen minutes on the phone can give you a feel for the person and company. 
 

5. Use your gut. 

Instincts are there for a reason. If you really want to sign an agreement but just don’t feel right about it, listen to that voice. These agreements can last a long time so it is worth holding out for the right person/company. 
 

6. One song, one publisher. 

Don’t sign the same song with more than one publisher, even if it’s a non-exclusive agreement. Music supervisors don’t like that. I have been told by both publishers and supervisors that if they get the same song from more than one publisher, they will not only pass on the song, but blacklist the songwriter (see #2). You can avoid this by writing a lot and having a bunch of songs to sign with different publishers to test the waters. I did this for a while before signing an exclusive agreement. 
 

7. Find a lawyer. 

If you find yourself with a contract to sign, find a good music lawyer. A recommendation is the best way to go. It may be expensive initially, but will most likely save you money and heartache down the line. It also gives you peace of mind because, if you’re anything like me, you’ll fall asleep reading the contract and may miss something. 

  

Connecting with a publisher is a lot of hard work, but for those of us who are driven to make music, it’s worth it. Good luck!