Turning Songs Into Opportunities

Many songwriters spend years honing their craft, building catalogues full of songs that may never be released commercially. What if those songs could find a second life in television, film, advertising, trailers, video games, or online content?

That was the focus of a recent Talent is Timeless masterclass with songwriter and sync specialist Nini Camps, whose work has been featured in shows including Grey’s Anatomy and Station 19. Her key message was simple: writing for sync is different from writing for yourself. 

Through her hour long workshop, here were core concepts attendees took with them:

1. The Difference Between an Artist Song and a Sync Song

As songwriters, we often write from personal experience. We tell our stories, express our emotions, and create music that reflects who we are as artists.

Sync writing requires a different mindset.

Instead of asking, “What do I want to say?”, you need to ask, “What does this scene need?”

Nini shared a story from one of her first sync projects, writing a song for Pokémon. She arrived with ideas that sounded like her own artist project, only to be told they wouldn’t work because they didn’t sound like the world of Pokémon. It was an early lesson in understanding that successful sync music serves the story, not the songwriter.

2. Think Emotion, Not Specificity

One of the most valuable insights from the workshop was the importance of writing broadly relatable lyrics.

A song about a specific motorcycle ride to a specific bar may be a great song, but it limits where that song can be used. Music supervisors are often looking for songs that communicate universal emotions such as hope, heartbreak, resilience, triumph, or longing.

The goal is to support the story on screen without distracting the viewer. The more adaptable the emotional message, the more opportunities a song has for placement.

3. Study the Shows You Want to Write For

If you’re interested in sync, Nini recommends becoming a student of the craft.

Watch television differently. Pay attention to how music is being used. Notice the lyrics, instrumentation, and production choices. Ask yourself what role the music is playing in the scene.

One practical exercise is to mute a scene and imagine what music you would place underneath it. Then listen to what the show actually used. Over time, you’ll start to recognise patterns and understand what music supervisors are looking for.

As Nini pointed out, every show develops its own sonic personality.

4. Make Your Music Easy to Use

A great song is only part of the equation. Music supervisors also need flexibility.

To make your music sync-ready, consider having:

• A final master recorded to a click track
• An instrumental version
• Separate vocal and instrumental stems

These elements allow editors to shorten sections, extend moments, or remove vocals when dialogue needs to take centre stage.

The easier you make it for someone to work with your music, the more valuable it becomes.

5. Audit Your Existing Catalogue

One of the most encouraging discussions during the session centred on the idea of revisiting older songs.

Many songwriters over 50 have decades of material sitting in notebooks, hard drives, and demo collections. Rather than focusing only on writing new songs, it may be worth reviewing your catalogue with fresh ears.

Ask yourself:

• Which songs communicate universal emotions?
• Which songs could benefit from updated production?
• Which songs already have a cinematic quality?

You may discover that some of your strongest sync opportunities are songs you’ve already written.

6. Relationships Matter

Breaking into sync can feel intimidating, but Nini encouraged participants to think beyond traditional routes.

Independent filmmakers, film students, YouTubers, podcasters, and content creators all need music. Working with emerging creators can help build experience, relationships, and credits while developing your sync-writing skills.

Today’s student filmmaker could become tomorrow’s award-winning director.

7. You Are Your Own Business and Brand as a Creative and Artist

Perhaps the most important lesson from the masterclass was that sync is ultimately a business.

When you’re writing, be an artist. Follow your inspiration and create from the heart.

When you’re pitching music, switch hats.

Music supervisors, publishers, and production companies are looking for songs that solve a problem and support a story. The question isn’t simply whether a song is good. The question is whether it’s useful.

The song that lands a placement may not be your most personal song or even your favourite song. It may simply be the song that perfectly serves a scene.

For songwriters interested in sync, the path forward is clear: study the market, prepare your music professionally, build relationships, and keep creating. Every placement starts with a song, but successful sync writers understand how that song fits into a much bigger picture.