CASH COW or MYSTICAL UNICORN?

WHAT IS THE REAL VALUE OF PUBLISHING RETAINED FROM PROJECTS EARLY IN A COMPOSER’S CAREER?

I frequent read on this Forum a VERY strong sense that composers working on their first batch of projects should fight to retain their publishing.

Besides the “principle” of the matter, what is its actual financial value?

Would love if composers here could share their stories of how much their publisher’s share generated on the music from the shorts and low budget projects they carved their teeth scoring early in their careers.

Be sure to include any income generated from retaining the publishing and re-using/licensing elsewhere.

While keeping something is better than not, before pushing too hard on this issue or getting worked up on it emotionally, it would be great to know how much it might potentially be worth financially.