Wren Hollis is not a real person. Well Made Plays invented this artist so we can show a complete deliverable at full size, with nothing blurred out, without putting a real client's career on the internet. The structure, the depth and the level of detail are exactly what you would receive. The name, the songs, the venues and the numbers are made up.
Well Made Plays · Sync-Licensing Prep
Wren Hollis · 11 songs, two EPs · Austin, Texas
A sync licence 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.
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 is not a judgement about the music. It is a deadline.
The finding, and it outranks everything else here
Two of your eleven songs are quietly unclearable. Ranger Radio and Long Road Home were co-written with Junie Vasquez and there is 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 is handled in the Royalty & Revenue Review, which drafted the sheets already.
Sorted by one-stop, because that is the column a supervisor reads first.
| 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 | 5 of 9 registered | Neither registered |
| ISRC | Present and unique | Present and unique |
| One-stop | Yes | No |
What supervisors expect against what exists. This is the section that turns a catalog from theoretically pitchable into actually pitchable.
| Asset | Spec | State | Why it matters |
|---|---|---|---|
| Full mix | WAV 44.1kHz / 24-bit | All 11 present | The pitch version. Nothing to do. |
| Instrumental | same spec, no lead vocal | 0 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 simply impossible. |
| TV mix | backing vocals in, lead out | 0 of 11 | Frequently asked for by trailer houses. |
| Stems | drums, bass, keys, guitars, lead vox, backing vox | 6 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 is 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 | 0 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 cannot 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 is one studio session and one afternoon, and it moves the catalog from nought pitchable to nine.
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 are in the working file.
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.
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.
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.
| Route | Reality for you, today |
|---|---|
| Music supervisors, direct | Very hard cold. Warm introductions and credited work open this, and you have neither yet. Not this year. |
| Sync agencies and reps | They take a cut and mostly want a catalog that is 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 is not 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. |
What first sync money actually looks like
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 are selling is usually a submission fee.
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