Write lyrics and earn money: Your guide to success as a writer in the music industry.

In addition to writing, i.e. composing the music, a so-called chord sequence of one or more instruments, songwriting also involves writing lyrics. And because songwriting is always understood in connection with music, today we’re going to focus on pure lyrics. The lyrics. To do this, we have taken a closer look at the profession of songwriter. Although only a few people practice this profession in Germany, it is an art form that is often overlooked in the music industry and receives little attention. So: Spotlight on the profession – or rather the vocation – of the lyricist!

How to become a successful lyricist

The basic structure of a pop song consists of a melody and lyrics. As listeners, we often see these two building blocks as a unit and rarely as separate elements. The artist is often perceived as the creator of the entire song, although he or she is not always responsible for both components. In many cases, lyrics and music come from different creative minds. Lyrics in particular are often underestimated, even though they are an independent and important job in the music industry.

Today, we are dedicating ourselves to those of you who enjoy lyrics more than musical songwriting. We shed some light on what it’s like to be a lyricist and answer questions such as:

• How do you become a successful lyricist?
• Which paths lead to the right contacts?
• How does GEMA remuneration work?
• What role does a music publisher play?
• The art of writing lyrics – your guide to success as an author in the industry

He who writes, stays!

This saying, which is much older than the music industry, once again underlines the importance of song lyrics. Just like music, lyrics are an art form – and they are rewarded accordingly. As soon as someone sings your lyrics, you generate revenue. However, that doesn’t mean you can make a living from it. As a rule, you always pay in advance and receive a share of the copyrights. So if the song has only been clicked on a few thousand times on the streaming services, it’s not even enough to fill your fridge once. The profession of lyricist is about mass and luck to get to the artist who comes up with the song you co-wrote.

In the standard arrangement, the composer receives 64% of the royalties, while the lyricist receives 36%.

With a publishing deal, 33.33% is usually deducted for the publisher. However, there are also models in which the split is 50/50. These agreements must be recorded accordingly with GEMA.

Your target group: Who needs song lyrics?

Possible buyers of your lyrics include:

• Composers
• Co-lyricists publishers
• Artists (solo artists, bands, acts)
• Producers
• Cold calling: the first step

Cold calling is a good way to get started, especially for smaller and medium-sized artists. You can contact them directly via social media channels. For larger artists, whose accounts are often managed by agencies, we recommend using official emails. Important: Avoid contacting private circles, such as family members or close friends of the artists – this comes across as unprofessional.

Alternatively, you can also access the GEMA database or music databases to find potential contacts. This is all part of classic research.

Applications to music publishers

Applying to a music publisher can make your acquisition easier. Perhaps you have already heard of a few music publishers? It’s best to write an email or give them a call. It also makes sense to attend the GEMA annual general meeting (alternating between Berlin and Munich). The GEMA regulars’ tables are legendary, and the members’ meetings are very fruitful. The Reeperbahn Festival is also a good opportunity to get into the scene. Communication Rules.

Publishers manage the rights to songs, bring lyricists together with artists and organize songwriting camps. Important: Publishers are looking for professional lyricists who already have a strong portfolio.

Tips for the application:

Create meaningful demos.

Define your focus (e.g. rap, pop, pop songs).

Describe your previous work.

Submit two to three texts that arouse curiosity but don’t give too much away.

You can also use published songs as a reference. In the beginning, it’s all about getting to know each other anyway.

A joint collaboration between lyricist and publisher often starts with the first option. A common practice as a lyricist is to give a first option to the publisher. This is nothing other than granting your first option rights for the song. This suggests exclusivity and trust.

The advantage on both sides is that if you deal the song, you get a publisher’s share, you can sniff each other out and neither of you takes a full risk. And yet there is a kind of commitment and ability to act. In any case, it’s extremely important for you as a lyricist to be transparent and honest. The aim is always to find a consensus.

Speaking of songs: Not every lyricist has the perfect demo to hand. In this case, the publisher can also help. For example, they can put you in touch with another musician or producer. Especially in the first and second year of your collaboration, the advance sometimes includes a kind of demo budget. This is a recording that is usually not mastered and in the best case has been sung by a real studio singer, or by the lyricist themselves if the voice is good enough for the artist to imagine something.

At some point, however, the publisher will expect you to organize this yourself. Because demos are not their responsibility. However, the network that you have built up over time at events, songwriting camps etc. should be able to provide this in any case.

A contract with a publisher can expire. There is a type of law that automates this. As a rule, the term of a contract is two years. After that, things are re-evaluated and if your songs have not been sold, they go back to you.

If there are problems with the publisher at some point, you have the German Lyricists’ Association behind you, which is responsible for you as a lyricist.

Songwriting camps: networking made easy

At songwriting camps, you work with producers, composers and other lyricists to write songs every day. These camps are a great opportunity to network and refine your own style. Since last year, there is also the “Female Songwriter Camp” from GEMA, as well as the regular songwriting camp from GEMA.

Advantages and risks of a publishing deal:

• A music publisher takes on many organizational tasks:
• It helps with GEMA billing.
• It arranges contacts with artists and producers.
• They offer support with the production of demos.

But be careful: pay close attention to the terms of the contract, such as duration and exclusivity. The advance you receive is often a loan that you have to pay back. If your songs are not successful, you may have to work on less attractive projects. The publisher also regulates the advance and, under certain circumstances, your ability to act again and again.

The publisher’s share is usually 40%. If your publisher wants more, this must be agreed individually. Don’t be afraid to ask if your gut doesn’t feel it. Is it about money? Or reputation? Just for credits? It’s exactly the same if someone wants a second verse changed, for example. The right of first amendment lies with the person who wrote the song. And again, always communicate.

Which publisher is right for which genre?

If you can fit in well in the genres pop, rock, rap internationally, the following are suitable: Sony ATV, BMG, Universal and Budde Verlag. The pros in the pop genre are Maisel Verlag and Edition plus. Felix Bloch Erben is a good address for everything to do with publishing for stage, film and radio.

Dealing with rejections and acceptances

Rejections are part of a lyricist’s everyday life. Around 90 % of all song lyrics are rejected. Don’t let this discourage you! Work on new songs, improve your craft and keep an eye out for new contacts.

Someone wants to buy your song? That’s great! Now it’s time to set splits? Who has what percentage? How do you register a work with GEMA? How do you incorporate it into a potential publisher?

What do you do if you send the same song to many publishers and there are two acceptances? The rule applies here. First come, first served.

Next golden rule: If five publishers you’ve applied to don’t get back to you, try new songs and new partners. And keep your distance. Maybe the zeitgeist isn’t what you say it is. Or it’s simply not good enough yet.

What else do I need to know to become a successful lyricist?

First and foremost, you need the courage to take risks. Because you can’t protect your profession. Anyone can copy you. As a lyricist, you have to pay in advance anyway. That means you don’t get any money. Not even if your song is sold. You live off the GEMA copyrights, or you get an advance from the publisher. So you also have to look out for artists who are monetarily interesting.

The component of luck should not be underestimated. Just like in the case of Elton John and Bernie Taupin. Elton John would probably never have become so big if it hadn’t been for the razor-sharp lyrics of his lyricist Bernie Taupin. Apart from that, there’s always the option of attending a songwriting camp. You get to meet lots of creative people there and who knows: maybe things will really take off for you after that. Such a camp usually lasts three to four days. Each day, different groups consisting of a producer, composer/topliner and lyricist are divided up and given the task of writing one song per day.

Communication rules. And that’s how it is. 80% of the job is communication and only 20% is lyric writing. Who holds the reins varies from act to act. It’s an imbalance. You have to know that. There’s a lot of cronyism at work.

Don’t set your standards too high for the music. Write your lyrics, but have another job up your sleeve.

Incidentally, radio and TV were the most important source of income for a long time. In the meantime, it has shifted to streaming services and the live business.

Conclusion

Lyricists are an indispensable part of the music industry, but the road to success is often rocky. In addition to talent, you need stamina, strong communication skills and a good network. Use all available resources – from music publishers and songwriting camps to platforms such as GEMA – and always be open to feedback and further development.

With the right attitude and strategy, you can make a name for yourself in the industry. Always remember: A completed GEMA list is the be-all and end-all for your live business!