How do we split up publishing rights

How do we split up publishing rights?

To answer your question straightaway, publishing royalties do not get split among the artist, writer, and producer, nor does publishing “go to” whomever places the song.
Here's the explanation…
Publishing splits are decided on contribution to the work as well as leverage.
Generally speaking, whoever creates and/or is responsible for assisting in creating the work, is entitled to publishing royalties.
Here is some definitions to work with and to use as benchmarks:
Now, in your scenario, you are the composer and the singer is the artist.
Since the artist hasn't created anything with this work, they can't (and shouldn't) claim any creative credit.
As a result, they shouldn't receive any publishing royalties (mechanical royalties – the sale of tracks, albums, and streams – is a different story).
The responsibility of getting a song placed has traditionally been the role of the publisher (i.
e.
the publishing company).
If you are self published, then this will be your responsibility.
Publishers get their publisher’s share of royalties for their ability to place and administer songs.
As I mentioned in the beginning, if an artist is well known with a significant fan base, they can try and leverage their popularity into receiving publishing royalties but this is definitely frowned upon.
I would strongly advise against a songwriter or producer cutting an artist into publishing if they didn't contribute creatively.
It will hurt you in the long run.

These answers so far are not based in reality.
The fact that you refer to yourself as a “topline writer” means this is probably a pop situation.
The way it works in the real world is that anyone in the room when writing/creating the song gets an equal split.
It’s unfortunate when the singer doesn’t contribute anything, but if they’re involved in the process, they get a percentage.
That’s where the “say a word, get a third” joke comes from, they’ll usually chime in with some unimportant change to your lyric so everyone can act like it was good that they’re in the room.
You can try to push for leaving the singer (or any non-contributing person) out of the pub split, but it’s a losing battle.
For one thing, the mere presence of a person in the room as the song is being written *does* have an effect, even if it’s subconscious.
Also if you become known as a writer who gets combative with splits, you’ll find yourself being invited to fewer sessions.

You would want to keep the most of the publishing if you do all the writing.
If the producer gets the placement, that would certainly entitle them to a share, but certainly not a majority.
Traditionally, they would grab the majority share, which ended up meaning pretty much the whole thing, since they were the ones that collected the moneys.
I don’t know who the singer is, but unless their role is more than stylistic, I’d keep their share of the split way down.
It’s really a question of what each party brings to the table.

You’ve got to figure out what’s fair for you, and write it into the contract so everyone is clear how the money will be split up at the outset.
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