This post is for songwriters and music composers who want to submit music for TV placement without going through third-party intermediaries like music libraries and publishers.

Why would a songwriter want to go through all the trouble of sourcing their own music placement opportunities?

  • money: get to keep 100% of the synchronization fees negotiated
  • positioning: full control of where their music is being used
  • deeper, more fulfilling relationships with audiovisual creatives

Now let’s dive into how you get started to successfully submit music for TV placement.

1- Set Clear Goals

Setting clear goals isn’t especially sexy but it’s necessary.

Before you start reaching out to all the big music supervisors from your favorite TV shows, you have to realize that the competition is fierce.

The only way to stand out and beat your competition is to do your research.

Yes, you need great music.

But that’s not enough. There’s LOTS of great music out there.

You also need to know the market really well and decide how you’re going to break into it.

So how do you do that?

Listen To Music On TV

The key here is to listen with an open mind.

You may think you know what kind of music gets licensed on TV.

You may assume your songs are too this or that to land certain placements in commercials.

Whatever your assumptions about what kind of music you need to get on TV, there’s a good chance they’re incorrect and you’re not helping yourself.

Here’s an eclectic playlist of music from TV shows:

Challenge your assumptions: there’s a wide range of music placement opportunities on TV

Action item: for the next 7 days, pay attention to the music in TV shows, films and adverts; Shazam the music you hear and write down what song played and where you heard it in a notebook.

Decide Who You Are Going To Try To Work With

Once you’ve taken the time to objectively study the market of music for TV, identify no more than 10 music supervisors on TV shows you’d like to work with.

These could be music supervisors on TV shows, indie filmmakers, other film composers.

We’re focused on music for TV placement in this post but you can apply most of these ideas when reaching out to filmmakers and fellow music composers as well.

Don’t be afraid to be ambitious but please don’t set yourself up to fail either.

There’s no point writing down a list full of Steven Spielberg, John Williams and Zach Cowie if you’re just getting started with this and have no track-record licensing your music.

Yes, you want to aim high.

But you also want to include smaller names that are more realistic in the near future.

This is especially important because, in order to actually get shit done and make progress, I’m going to ask you to set a deadline and actually go through with it!

If you’re list is comprised only of big names, you’re probably not going to make it.

Action item: starting with the list of music from TV shows, films and adverts you put together, identify a few tracks that convey a similar feel/mood to songs from your own music catalogue; use tools like Google, imdb and LinkedIn to identify who made the decision to license those tracks; list a few music supervisors / decision makers you’d like to work with.

Set A Tight Deadline

Once you have a better understanding of where your music fits on TV, it’s time to set a deadline and actually take action!

Whatever your personal situation, I recommend setting a deadline of 30 days or less because…

If you give yourself too much leeway, chances are you won’t get much done.

If 30 days seems too short, try to remind yourself that:

  • every time you submit your music is an opportunity to get feedback
  • every feedback, positive or negative or indifferent, is an opportunity to improve your music and/or sales pitch
  • every day that goes by WITHOUT sending music out is a missed opportunity

Also consider that a lot of the research you’ll be doing won’t take you any extra time.

Since you’re watching TV anyway, why not actively listen, Shazam and write down stuff while you’re relaxing.

In total, 1 lead = approximately 3 hours.

2 hours of additional research + 1 hour drafting the right email.

Now be honest….. with that in mind, why would you want to set a deadline that’s more far out than 30 days?

I’m guessing you’re just scared….. and I get it 100%! I’m a master procrastinator myself 😉

Action item: aiming for 3 hours per lead and a 30 day deadline, decide how many and which leads you will contact; write down your deadline somewhere you can see it everyday; have a look at your calendar and pencil in a few work sessions.

In practice, you probably won’t follow that work schedule exactly but that’s ok! The idea here is that you start priming your brain to see opportunities to do a little bit of research here and there and find the time to actually submit your music for licensing.

2- Know Who You’re Talking To

Now you have an objective: send music to X amount of leads in the next 30 days.

It’s time to do a little bit more research so that, when the time comes to submit music for TV placement, you can communicate effectively and grab the attention of the music supervisors and/or filmmakers you want to work with.

Research Your Lead’s Work

The first, obvious, step when researching a lead is to look at their work.

The more you understand the type of music and projects they enjoy working with, the easier it will be for you to communicate effectively with them (more on that later).

What kind of music have they licensed in the past?

What projects have they worked on in the past? What about now?

Is there a recurring theme in their work and in the music they choose?

Action item: write up a profile on each of your leads with the answers to the above questions.

I’m a big pen and paper advocate BUT, for the purposes of this exercise, I recommend going digital so that you can search and update your file easily.

Research How You Can Make An Emotional Connection With Your Lead

Once you have a pretty good picture of what your lead has been up to, take the time to figure out how you can make an emotional connection with them.

Do they mention anything interesting during interviews?

How do they talk about music? Do they go into the technical detail of a piece or do they use more visual imagery?

Do they seem pretty laidback or friendly or the type of person who appreciates formal marks of respect?

How do they talk about songwriters approaching them?

The idea here is that you want to get a fairly good idea of their personality, what they’re likely to respond to and the kind of things that just pisses them off.

For example, here’s a pretty cool window into how music supervisor Zach Cowie chose the music that featured in season 2 of Master of None and the general strategy for finding music tracks “that were a bit lesser known”.

And in this interview, music