Question on exclusive deals

[lido]

Hi all, I am new to the forum so I hope this topic hasn't been beat to death already.

My question is this - I've noticed several listings recently that are insisting on exclusive rights to the material they accept. While this is obviously a good thing for the music super, publisher, etc., why would it be a good idea for a writer to agree to this?

I could see it if there was a short reversion clause or at least some indication that the music would be actively "shopped." I could also understand it if it were a great "foot in the door" opportunity or even an outright "buyout."

I'd be curious to hear any insight on this topic.

[pboss]

Hi, welcome to the forum. Yes, you will see quite a bit of discussion about this topic of exclusive vs. non-exclusive. In my opinion, treating tracks as exclusive, while it can feel strange, is a good thing in the long run. The reason revolves around why it can be bad to treat tracks as non-exclusive. In other words, if you only sign two non-exclusive deals for the same track, your track may end up being pitched to a music supervisor twice by two different entities. If you were that music supervisor, that might create confusion or other issues, and you may steer clear of the track all together. That is just one item on the discussion of this topic. Some re-title the track, some don't and some append a prefix on the track identifying the library. The industry is in constant motion, and so is this topic.

Matt Hirt wisely recommends that when signing with a new library you can give them some tracks and see how they do with them, before you commit more tracks to them. There are some Taxi Live episodes dealing with this discussion, which you may find helpful. Other successful composers express that they do a variety of exclusive, and non-exclusive and seem to be comfortable with the outcome.

The actual library that you are signing with does make a difference, so before signing you can try to get others' opinions on that particular company. In conclusion, the exclusive deal is very common, and not to be afraid of. Write more tracks, get them out there, and forget about them, is a common viewpoint of successful composers. Hope that helps, and there are lots of opinions around this. This is just one.

[lido]

Well, that pretty much covers it. Thanks pboss for the thoughtful and informative reply - very much appreciated!