Revenue Share Archives - Page 2 of 2

“I cried all night,” Dolly said, “cause I just pictured Elvis singing it.”

Back in 1974, Dolly Parton had a no. 1 hit with a song she’d written, I Will Always Love You. And a year later, she got word that the king himself, Elvis, wanted to record the song.

“I was so excited,” Dolly said.

And then, the night before the recording session was supposed to happen, Elvis’s manager, Colonel Tom Parker, told Dolly the deal.

“Elvis don’t record nothing unless we get the publishing rights or at least 50%.”

Dolly cried all night. But she said no. It was her song and it didn’t feel right giving away the rights to it.

In the end, Dolly made out all right. I Will Always Love You became a giant hit for Whitney Houston in 1995, and Dolly got over $10 million in royalties — in the 90s alone.

But most songwriters aren’t like Dolly. They give in. And apparently, this kind of thing is a dirty little secret of the music world, according to an article I read in Variety today.

Big stars routinely get songwriting credit — including publishing royalties — for songs they didn’t write or even help write.

But now, a bunch of songwriters are pushing back.

They find it outrageous that they are forced to share a part of their creative ownership with people who were not involved in the creation in any way.

It sounds like a perfectly legit complaint against a perfectly outrageous practice.

But it goes industry to industry, doesn’t it?

Take copywriting.

It’s standard that you write something and hand over all the control to the client.

In fact, if you’re very good and you manage to claw your way to the top, then you can hope to hand over all control of your copy in exchange for a few percent of the revenue it generates.

But it don’t have to be like that.

I heard Dan Kennedy talk about different things he does. How he bakes into his contract that he might later reuse copy that he’s writing for that client. Or that he might use copy on the current project that he wrote for a previous client. Or how he creates templetized copy, and licenses it to clients instead of giving away the copyright.

Don’t get me wrong. I’m not telling you to be outraged if you are working the same standard way as every other copywriter. I just want to, as Ben Settle likes to say, give you options for thinking differently.

Because the standard way is not the only way it can be. You can create your own rules, and like Dolly and Dan, you can stick to them. And if a potential client doesn’t go for it, you can sing him a bit of Dolly’s song:

Good-bye, please don’t cry
‘Cause we both know that I’m not
What you need…

And then, when the song ends, you wonder what’s next. Perhaps you open up your inbox and read a new email I’ve written, and get some more ideas for thinking differently. Because I have an email newsletter — click here if you’d like to sign up for it.

I was out of clean underwear, and things were looking bleak.

I was staying in an Airbnb apartment. I put my clothes to wash earlier in the morning.

But halfway through the cycle, the washing machine got stuck. It blinked stupidly. Even though I talked to it and comforted it, it wouldn’t spin or finish the cycle. My clothes, including all my underwear except what I had on, were stuck inside.

I wrote to the owner. “Oh, that’s too bad,” she answered. “My husband will come after work to take a look at it. If he can’t fix it, we’ll call the repairman.” It was 10am.

A few hours passed. I walked by the washing machine and spotted that the floor was wet. The washing machine was leaking somewhere. Water had pooled behind the machine, and was running along the wall all across the room. It even reached the next room, with the hardwood floor.

I wrote to the owner again. “Oh my God!” she said. “I’ll call the washing machine repairman right away!”

The point being, incentives matter. And on that topic:

Today I got paid the second 50% of the biggest copywriting project I have done to date. And so I did a debrief for myself, to see how the project went, and what I could learn from it.

My conclusion was this: I did a good job. I put in a lot of work, I gave the client much better ideas than they had initially, and I delivered solid copy.

And yet:

Will the client actually get value out of my copy? Will they simply send some cold traffic to it, and have the copy make money out the gate? And if not, will they know what to fix and tweak and test?

If I’m being honest with myself, I know there would be a bunch of things I’d have done differently if there were was some revenue share at stake on this project.

I would have taken more control of the project to put this copy into action sooner… I would have pushed back harder against client ideas that I thought were suspicious… I would have insisted on being involved in the project even now, after I’d delivered the copy.

Royalties are a good system. I’ve told my clients this for a while. And if you’re a copywriter, maybe you can do the same, using the same argument I’ve just given you.

And if you need an argument to bite the bullet and actually make this suggestion to your clients, and to even insist on it, then remember Dan Kennedy. “Copywriting is a business,” says Dan. “You have to get paid on the back end, otherwise you just have a job.”

That’s all the motivation I have for you for today. Now for the sales pitch:

I write an email newsletter. Sometimes I talk about the business of copy, other times I talk about copywriting itself. If this is the kind of thing that floats your lancha, you can join the newsletter here.