Well Made PlaysWren Hollis · Dusty Alt-Country · Austin, Texas

Sync-Licensing Prep

A sync license needs two separate permissions. The master, meaning the recording, which is you. And the publishing, meaning the composition, which is you and anyone who wrote with you. A song where one person can grant both, immediately, is called one-stop.

Catalog: 11 songs, two EPs
One-stop: 9 of 11
Instrumentals existing: 0 of 11
Pitchable: 0 of 11

Finding

Key finding

A supervisor working to a Thursday deadline will drop a song that needs four signatures and take a one-stop alternative, regardless of which song is better. That's not a judgment about the music. It's a deadline.

Priority finding

Two of your eleven songs are quietly unclearable. Ranger Radio and Long Road Home were co-written with Junie Vasquez and there's no signed split for either. Until there is, neither can be cleared by you alone, and neither should be pitched. Nothing else in this document matters as much as those two signatures, and the fix is a conversation rather than a cost. It's handled in the Royalty & Revenue Review, which drafted the sheets already.

Ownership

Ownership and one-stop status

Sorted by one-stop, because that's the column a supervisor reads first.

Song	One-stop
Nine songs across both EPsSole writer, sole master owner, no publisher attached. You can grant both permissions on your own.	Yes
Ranger RadioCo-written with Junie Vasquez, split undocumented. Publishing can't be cleared by you alone.	No
Long Road HomeSame co-writer, same problem, same fix.	No

Field	Nine songs	The two co-writes
Writers and splits	Wren Hollis 100%	Undocumented Believed 50/50, unsigned.
Publisher	None. Self-administered.	None either side.
Master owner	Wren Hollis	Wren Hollis
PRO registration	Processing All nine filed; BMI processing shows 5 of 9	Processing Both filed, still in BMI processing
ISRC	Present and unique	Present and unique
One-stop	Yes	No

File readiness

What supervisors expect against what exists. This is the section that turns a catalog from theoretically pitchable into actually pitchable.

Asset	Spec	Status	Why it matters
Full mix	WAV 44.1kHz / 24-bit	HaveAll 11 present	The pitch version. Nothing to do.
Instrumental	same spec, no lead vocal	Needed0 of 11	The most requested file in sync and the one almost nobody has. Dialogue sits exactly where the lead vocal sits, so without this most placements are impossible.
TV mix	backing vocals in, lead out	Needed0 of 11	Frequently asked for by trailer houses.
Stems	drums, bass, keys, guitars, lead vox, backing vox	Missing6 of 11 recoverable	Lets an editor cut the song to picture. Five Caliche sessions were on a drive that failed in 2025; those five are full-mix pitches only, and that's worth knowing before a supervisor asks.
Clean version	no profanity	Not needed	Nothing in the catalog is explicit.
Embedded metadata	title, artist, writers, splits, ISRC, contact	Needed0 of 11 tagged	A file that leaves the email chain has to still say who it belongs to. Untagged files get lost and never come back, and they can't be chased because nothing in them points home.

The order of work: sign the two splits, then bounce eleven instrumentals, then tag every file. That's one studio session and one afternoon, and it moves the catalog from zero pitchable to nine.

One-pager

Supervisor one-pager

Supervisors search by mood and by what a song does to a scene, not by genre. So the descriptions say what happens in the song rather than which shelf it sits on. Three shown; all nine EP songs are in the working file.

County Line3:42 · 74bpm · D major · one-stop

wearyhopefuldriving at night

Slow build, no vocal until 1:20, drums arrive at 2:05, resolves clean on a held chord. Instrumental to be delivered.

Yard Sale Gospel4:08 · 68bpm · G major · one-stop

tendersmall-townletting go

Voice and one guitar for two minutes, group vocals on the last chorus only. Ends cold, no fade, which cuts well to a hard scene change.

Caliche3:15 · 92bpm · A minor · one-stop

restlessdustleaving

Steady from the first bar, no dynamic build, pedal steel throughout. Loops without a seam, which is what a montage needs. Stems unavailable, full mix only.

Routes

Routes to placement

Music supervisors, direct: Very hard cold. Warm introductions and credited work open this, and you have neither yet. Not the first move.
Sync agencies and reps: They take a cut and mostly want a catalog that's already reviewable. This audit is what makes yours reviewable; approaching them before the instrumentals exist wastes the introduction.
Non-exclusive libraries: A realistic entry point. Read the terms closely: some claim publishing, some claim exclusivity, and the difference isn't always in the headline.
Production music libraries: Steadier and lower fee, often work-for-hire, which means you may not keep the composition. A legitimate choice, but a different one.
Indie film, student film, games, podcasts: Your realistic first placements. Often low or no fee. The value is the credit and the relationship, and both are what make the routes above answer you later.

Typical first placement

Early placements usually pay little and sometimes nothing. The value is a credit you can point at and a supervisor or director who has worked with you once and found it easy. Anyone promising fast lucrative placements is selling something, and the thing they're selling is usually a submission fee.

Audited against the artist's own files, credits and session archive. One-stop status reflects documentation and changes the moment the two split sheets are signed. This is readiness, not representation: Well Made Plays doesn't pitch songs on an artist's behalf and doesn't contact supervisors for them, so every email to a supervisor is theirs to send. It's also not legal advice. Splits, ownership and any license you're offered are yours to confirm, and a real dispute needs a real lawyer rather than a checklist. Nothing here promises a placement, a fee, or interest from any party, and no submission-fee service is used or recommended.