Writing for Sync: How to Make Songs That Fit TV, Film & Ads
- Tara Henton
- Sep 28
- 5 min read
If you’ve ever been swept up in a TV scene or film moment that gave you goosebumps, chances are the music played a huge part. That’s the power of sync licensing—the placement of songs in film, television, advertising, and other visual media.
But here’s the thing: it isn’t just about having a great track. It’s about having the right track for the story being told. And that’s where writing for sync comes in—learning how to shape songs so they can support a scene and bring its emotion to life.
The good news? You don’t need a record deal or millions of streams to land a placement. What matters most is writing songs that fit.
Not Every Song Is for Sync
It’s worth remembering: not every song you write will be a natural candidate for sync. And that’s absolutely fine.
Think of it as more of a scale. On one end are songs that weren’t written with sync in mind and may not fit most visual settings (though there are always exceptions). On the other end are songs written specifically to meet a sync brief, crafted to land exactly what a supervisor is looking for.
Most of what we write falls somewhere in between. Sometimes a song you never thought about for sync turns out to be a perfect fit. Other times, even when you write directly for a brief, the song finds a completely different path.
A classic example is She’s Like the Wind, written by Patrick Swayze and Stacy Widelitz. When the song was complete, they made a demo and pitched it for Grandview, U.S.A.—a 1984 film Patrick was starring in. It wasn’t used there, but a few years later found its perfect home in Dirty Dancing, where it became iconic.
We had the chance to talk with Stacy on the We Write Songs podcast, where he not only shared the story behind this track but also offered fascinating insights into his wider career in music and film. You can listen here.
So rather than chasing placements with every song, it helps to stay open to the possibilities. Think of sync as one potential destination for your music, not the only one.
Match the Mood: Serve the Story
Visual media is all about emotion. A music supervisor isn’t looking for the “best” song—they’re looking for the one that lifts a scene and makes it land.
🎵 Tips:
Pin down your song’s emotional core—joy, longing, tension, triumph.
Keep the tone consistent; big mood swings can make a track harder to place.
Avoid overly specific details in your lyrics that limit how the song can be used.
✍️ Try this: Watch a short TV clip with the sound off. Write a piece of music that mirrors the emotion you see. Focus on chords, tempo, and instrumentation that carry the same feeling.
Think Like an Editor: Timing & Structure
Editors often need tracks they can cut, loop, or fade to fit the scene length. If your song has built-in flexibility, it’s far more appealing.
🎵 Tips:
Make section changes clear—these are natural edit points.
Skip the long intros; hit the mood within the first 15–30 seconds.
Include rises and falls so the track has shape (quiet verse → big chorus).
✍️ Try this: Take one of your songs and edit it down to a 60-second version. Notice where you naturally cut—that’s where your song offers useful edit points.
Keep Lyrics Simple & Clear
When your song sits under dialogue, visuals, and sound effects, clarity is everything.
🎵 Tips:
Lean on universal themes (love, change, hope, struggle).
Keep phrasing direct—avoid lyrics that require multiple listens to decode.
Repetition is powerful; it reinforces your message and makes it stick.
✍️ Try this: Choose a chorus you’ve written and rework it to be more universal. Replace specific names or places with broader terms.
Create Dynamic Peaks: The Goosebump Factor
Supervisors love songs with a “lift”—a moment that underlines the emotional heart of a scene.
🎵 Tips:
Think in waves, not a straight line—build, release, build again.
Use extra layers (instruments, harmonies) to heighten certain sections.
Don’t be afraid of quiet; the contrast makes the big moments hit harder.
✍️ Try this: Graph your song’s energy on a scale from 1 (intimate) to 10 (full-on). If the line feels flat, adjust the arrangement to create stronger peaks and valleys.
Sync Success Stories
Some songs seem tailor-made for screen moments:
“Ho Hey” – The Lumineers: Synced in Silver Linings Playbook and TV shows like Hart of Dixie and The Vampire Diaries.
“Breathe Me” – Sia: Famously used in the Six Feet Under finale, amplifying the emotion of the last scene.
“Best Day of My Life” – American Authors: Featured in The Secret Life of Walter Mitty trailer and adverts for Hyundai and Lowe’s.
“Bad Reputation” – Joan Jett: Theme song for Freaks and Geeks and placed in films like Shrek and Kick-Ass.
“Dog Days Are Over” – Florence + The Machine: Used in Eat Pray Love and multiple high-profile trailers.
What do they all share?
A clear emotional identity.
Structures that are easy to edit.
Lyrics that feel universal and adaptable.
The Independent Artist Advantage
It’s easy to assume that only big-name acts land sync placements—but that isn’t the case. As songwriters, many of us also release music as independent artists, or we collaborate closely with artists who do. That independence can actually be an advantage.
If a film or TV project has a smaller budget, the team may not be able to license a well-known track from a major label. But if you’ve written a song that captures a similar mood and emotion, your track might be chosen instead. Independent music is often more affordable, more flexible, and—importantly—more appealing to music supervisors because there’s less red tape. Without needing to chase approvals from labels and publishers, supervisors can move faster and place your song with fewer complications.
So whether you’re writing for your own project or alongside another artist, your songs could still find their way onto the screen.
Put It Into Practice
If you’re curious about writing for sync, here are some practical ways to start:
Create a sync-ready checklist for your next song: mood, structure, lyrics, dynamics.
Write with visuals in mind—what kind of scene could this track support?
Build a mini catalogue of 3–5 tracks in different moods and tempos to pitch.
Research the world of sync and start making connections—get to know supervisors, libraries, and other writers who are already working in this space.
Submit your songs for briefs and opportunities, and don’t give up. A “no” for one project doesn’t mean your song is wasted—it just means you’re one step ahead for the next opportunity that comes along.
Final Thoughts on Writing for Sync
Writing for sync isn’t about chasing trends or second-guessing what a show, ad, or film might need. It’s about creating songs that serve a story—and being open to the places those songs might travel.
In a world where streaming often undervalues our work, sync can offer a meaningful way for independent artists to share their music and be fairly rewarded. Not in a way that cheapens the craft, but in a way that honours it.
So don’t be intimidated—explore, research, and connect. Every piece of visual media needs music from somewhere. There’s no reason it couldn’t be yours.✨
💬 Over to you!
Have you ever thought about your songs in terms of sync? Or do you already have experience writing for TV, film, or ads? Share your thoughts in the comments—we’d love to hear from you.
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