The handshake deal is the number one way songwriters get robbed. Two or three people in a room, a hit comes out, and suddenly everyone remembers the split differently. A split agreement is a simple one-page document: who wrote the song, what percentage each person owns. Get it signed the day the song is written — not when the label calls, not at release, that day.
Have the split conversation before the session starts, not after the magic happens. Ask plainly: “How are we splitting this?” Equal splits are the cleanest default when everyone contributed, but if someone only sang a background line, say so. Awkward for five minutes now beats a lawsuit later. Put names, percentages, roles, and the song title on paper while the vibe is still good.
Remember that lyrics and melody both count as songwriting — the person who wrote the hook owns part of the song even if they never touched a beat. But the producer who made the track without writing melody or lyrics is owed a producer credit, not necessarily a writer’s share. Know the difference, and don’t let anyone hand writer percentages to people who didn’t write just because they’re in the room with power.
Register the song with your PRO using the exact splits on that signed sheet. BMI, ASCAP, or SESAC — pick one and stay consistent. If the paperwork says 50/50, register 50/50. Conflicting registrations freeze royalties while the dispute gets sorted, and that money sits there earning nothing for you. Keep a copy of every signed split sheet in one dedicated folder, digital and printed. When the money starts moving, that folder is the difference between getting paid and getting played.
About the Author – Ruben Burgos: Ruben Burgos brings over 25 years of music expertise and more than 15 years of model guidance to the table. He is the indie major pinnacle to retaining credits for musicians and helping them navigate this wicked industry without the fuckery.