Attorney Specializing in Music Publishing Contracts
Review, negotiate, and customize—before you sign
A music publishing contract often binds you for longer than any band, label, or management team. We review music publishing contracts, publishing agreements, and exclusive author contracts; negotiate them with publishers; and restructure them—for songwriters, producers, artists with their own publishing companies, and publishers.
Known from:
Basics
What a music publisher does—and why the contract will be with you for decades
A record label handles the recording, while the music publisher handles the song itself—the composition and lyrics—regardless of who sings or produces it. The publisher registers your works with GEMA, ensures that revenue from radio, streaming, concerts, and recordings is distributed correctly, grants licenses for films, TV series, games, and advertising, places songs with other artists, and, in the best-case scenario, connects you with the right co-writers. Confusing the publisher with the record label happens more often than you might think—and can lead to signing two contracts that overlap in crucial areas. We’ll give you an overview of music law to show how responsibilities are generally divided in the music business.
How does a music publisher make money? Through a fixed share of all revenue generated by your works. For performance and broadcasting rights, which are administered by GEMA, this amounts to one-third; for mechanical rights, it’s 40 percent of the author’s share. For licenses that the publisher grants directly—such as for a film or a commercial—it typically receives half of the proceeds. That’s what it’s paid to do. The Publishing Act imposes an obligation to exploit the work (Section 1, Sentence 2, VerlG), and the specialized literature derives from this an obligation to promote the work, which also encompasses the rights managed through GEMA. A publisher that merely collects royalties is not fulfilling its part of the agreement.
Why the contract has such a long-lasting effect: Many music publishing contracts officially run for three or five years. However, you often grant the rights to the songs created during this period for the entire term of protection—that is, up to 70 years after the death of the last surviving author. The term of the contract and the duration of the rights are two different things. Those who don’t distinguish between them when signing often don’t realize it until years later, when a song suddenly appears in an advertising campaign or the catalog is sold.
Every week, we review music publishing contracts—from major publishers, artist-run labels, and production teams. At first glance, most of them look similar. The difference between a fair contract and a bad one often lies in a single half-sentence.
The most important question to ask about any music publishing contract: What exactly does the publisher do to earn its share—year after year?
Our Services
Review, negotiate, advise, draft
Whether you’re a songwriter about to sign your first publishing deal, an artist launching your own label, or a publisher signing authors—we’re here to support you every step of the way.
01
Review
We'll read through your entire contract—including all attachments and title deeds—and show you where it binds you, what it actually guarantees you, and where you stand to lose money. You'll get a clear assessment, not legal jargon.
02
Negotiation
We negotiate with the publisher or the publishing house—openly, if desired, or behind the scenes, if preferred. We know where publishers are willing to compromise and where it’s not worth the struggle.
03
Consulting
Whether it's before your first meeting with a publisher, when you're launching your own imprint, or if you're having trouble with an existing contract: We'll help you determine which type of contract is right for your career.
04
Creation
For publishers, publishing houses, and production teams, we draft exclusive author contracts, title contracts, co-publishing agreements, and administrative contracts—tailored to your catalog rather than based on a standard form.
Would you like to have your music publishing contract reviewed, or do you have questions about specific clauses?
We'll take a look at your contract and discuss with you what really matters.
Contract Types
What kind of music publishing contract do you have?
“Publishing contract” is a general term. It encompasses a wide variety of structures—and each has its own parameters.
1
Exclusive Author Agreement
The classic publishing deal for songwriters: You grant the publisher all the works you write during the term of the contract, often including those you’ve already written but haven’t released yet. In return, you usually receive an advance and a commitment to promote your work. The key factors are the term of the agreement, the minimum number of songs to be submitted, and the specific definition of “all works.”
2
Title Contract
A contract for a single song or a small group of works. It stands on its own—for example, when a publisher takes on only a specific title—or it is entered into as an addendum to an exclusive contract. In the latter case, it is often underestimated—more on this below.
3
Publishing Contract
You or your management team will set up your own edition—a small publishing company that holds the publishing rights to your songs. In most cases, the edition partners with an established publisher, which handles the work and earns a share of the profits in return. How those profits are divided can mean a lot of money.
4
Co-Publishing Agreement
Two publishers share the publishing rights to a work or a catalog, often on a 50/50 basis. One of the two takes the lead and makes decisions regarding day-to-day operations. Who that is and what “taking the lead” means in the event of a dispute should be clarified before a dispute arises.
5
Administration Agreement
The publisher handles only the administrative tasks: registration, billing, and rights clearance. You or your label retain the rights; the administrator receives a commission. This is often the more streamlined solution for artists who place their songs themselves.
6
Sub-publishing Agreement
Your publisher commissions partners in other countries to handle distribution abroad. These partners retain their share before the remainder is remitted to you. Your own contract specifies—or may not specify—how much this share can be and whether you’ll even be informed of it.
Don’t confuse this with your contract with your record label: We explain how a publishing company and a record label differ from one another—and what you should look out for in your artist contract with the label—on a separate page.
And why a sample music publishing contract found online is rarely helpful: Samples are either written from the publisher’s perspective or are so general that they leave out the crucial details. No form will answer the questions that determine the financial terms and the scope of your commitment—such as scope, term, payment terms, and promotion.
Publishing Contract
Publishing Contract: Your Own Edition—and Who Ends Up Making Money
Having your own edition sounds like independence: You retain the publishing rights to your songs yourself, rather than handing them over entirely to a publisher. In practice, however, most editions work with an established publisher as a co-publisher. The publisher provides infrastructure, contacts, and administrative support—and in return receives a share of the publishing rights, often half.
This is exactly where it’s worth taking a closer look. “50/50 under the lead” of the major publisher often means: You split the revenue equally, but not the decisions. The lead publisher determines who gets a license, at what price, and which sub-publisher to work with abroad. That can be perfectly fine. It should just be a conscious decision—not one hidden in the fine print.
A second point that many overlook: Is the publisher allowed to transfer your contract to other companies? Many contract drafts permit the transfer to “affiliated companies,” co-publishing partners, and administrative partners without asking you. Who these companies are is usually not specified anywhere. You simply won’t know who ends up with your songs. The law gives you recourse here: Under Section 34 of the German Copyright Act (UrhG), you can, under certain conditions, reclaim your rights if the publisher is sold or if the ownership structure changes significantly. Whether this applies in your case depends on the wording of the contract.
Starting Your Own Publishing Imprint: What You Should Figure Out First
You can start a music publishing company as a sole proprietorship or through a corporation. To ensure that the publishing royalties actually reach your publishing company, it needs its own membership with GEMA or a partner to handle the administration. Before doing so, you should know what your publishing company can handle in-house and what it needs to outsource—and how its value will develop over time. After all, a well-managed publishing catalog is an asset that can be sold later on. We explain how this works on our page about selling a music catalog.
And one more thing: A music publishing company without its own administrative department is dependent on its partner publisher. Whoever prepares statements, registers works, and responds to licensing requests is at the source of all information. That’s why every publishing contract should specify which reports your publishing division receives, how often statements are issued, and what happens when the partnership ends—before the songs become successful, not afterward.
Who Gets What?
Coming soon…
Title Contracts
Title Contracts as Attachments: The Fine Print That Comes Later
Title agreements are a key part of a publisher’s day-to-day business. They are also entered into under an existing exclusive agreement to specify exactly which songs and rights are included, and they provide the data needed for GEMA registration. They are often attached as templates to the main contract and submitted “at the publisher’s request.” In one draft we reviewed, the attachments even explicitly stated: “Please DO NOT sign here.” These documents therefore arrive separately later—and are often not reviewed again. Four areas where we take a closer look:
1 The investment proposal constitutes the contract
2 Recorded even without a signature
3 Deadlines Depend on the Date
4 Approval of the Publisher's Participation
So here’s our advice: Treat every title agreement as its own little contract. Read it, compare it to the master agreement, and ask questions if anything seems unfamiliar to you. Once we’ve reviewed your exclusive agreement, we’ll also take a look at any subsequent addenda upon request—that way, we’ll know what to look for.
Publishing
Publishing rights to the work
Rights of use to the composition and lyrics that the author grants to a music publisher. The publisher exploits and licenses the work and receives a share of the revenue through GEMA. The copyright itself remains with the author.
Distribution
How the proceeds are distributed: Publisher's share, GEMA allocation formula, and refunds
Those who know how the money is distributed negotiate differently. The most important facts at a glance—explained in detail on our GEMA page.
33,33 %
Performance and Broadcast
For a published work, the publisher receives one-third of the royalties. The remainder is divided between the composer and the lyricist in a 64-to-36 ratio, unless otherwise agreed. A different split is also possible by mutual agreement, provided that both parties receive a minimum share.
40 %
Mechanical Rights
For reproductions—that is, sound recordings and portions of streaming—the publisher receives 40 percent. The composer and lyricist always split the remainder equally; there is no optional agreement in this case.
50 : 50
Film, Dubbing, Advertising
Royalties granted directly by the publisher are usually split 50-50. Some contracts deduct an administrative fee up front, often between 5 and 15 percent. That’s not much—until you’re dealing with a major campaign.
Sample calculation: rearranged song with lyrics, without a royalty-free agreement
≈ 42,67 %
Composer
24,00 %
Lyricist
33,33 %
Publisher
With regard to performance and broadcast rights. The rigid formula of 5/12 for the composer, 3/12 for the lyricist, and 4/12 for the publisher is still circulating online. Anyone who explains it to you that way today is using outdated figures.
In addition, many publishers require a refund: a portion of their mechanical royalty share is paid back to you—in practice, between 10 and 50 percent, and in some cases more. Whether this is possible—and to what extent—depends on what you bring to the table—and how well the negotiations went. For electronic music that doesn’t require significant editorial work, revenue splits that heavily favor the authors are also common. And for printed sheet music, authors typically receive 10 to 15 percent of the net retail price.
Advertising and Dubbing
Advertising and Synchronization: Who Decides Where Your Song Ends Up?
This is where one of the greatest opportunities for revenue lies—and one of the biggest differences between contracts that appear identical at first glance.
01
Advertisement: It's all about the "whether"
Under the GEMA licensing agreement, the right to use a song in a commercial remains with the copyright holder. GEMA only licenses the subsequent broadcast of the commercial. So the “whether or not” comes at its own price—and the question of who decides that belongs in your publishing contract.
02
Film and Sync: Two-Stage
Formally, the right to sync music with visuals belongs to GEMA, but in individual cases, it can be reclaimed and licensed directly. The sync fee is in addition to subsequent royalties from public performance and broadcast. The key factor is who negotiates and who must give approval.
03
Your Name, Your Attitude
Advertising also affects your moral rights as an author. Someone who has spent their whole life writing songs against smoking doesn't want to hear their song used in a cigarette ad. Whether you can prevent that is decided when you sign the contract, not when the movie is released.
A comparison drawn from our practice illustrates just how widely contracts on this issue can vary: One contract makes advertising, film, synchronization, and adaptations contingent on your prior consent in each individual case. Another contract grants the publisher an irrevocable power of attorney, allowing it to grant promotional consent on your behalf—expressly even if no compensation is received for it. At first glance, both contracts look almost identical. The difference lies in a single clause.
Then there’s the money: If an administrative fee is deducted before the split, your share decreases even before the money is divided. And when it comes to revisions—such as a new version of the text for a commercial or a remix for a trailer—there’s also the question of who gets a cut. All of this can be worked out—but only as long as nothing has been signed yet.
Do you want your song to be featured in a commercial or a TV series? Send us a quick note explaining what it's about.
Writing Camps
Songwriting Camp: The Promise Belongs in the Contract
These days, hits are almost never created alone at the kitchen table. They are created during sessions, co-writing sessions, and writing camps, where a record label brings together songwriters, producers, and often the artist themselves for a few days. The numbers show just how much the business has changed:
6,8
In 2025, songs with multiple songwriters averaged a spot in the top 10 on Spotify—not a single song was written by a solo artist (Chartmetric, Year in Music 2025).
4,5
Authors per hit today, compared to 1.7 in the 1970s (iMusician Study 2023).
10 %
Of the current Top 100 singles, only one still has a single songwriter (iMusician Study 2023).
6
On average, publishers are involved in one Top 10 hit by at least four artists (Music Reports / Songdex).
A joint camp organized by three publishers at the Reeperbahn Festival demonstrated how this works in practice: 18 songwriters from four countries came together, and the result was 16 new songs. There are camps centered on a specific genre and camps centered on a single artist, who sometimes co-writes the songs—a practice that’s particularly common in pop and Schlager.
Publishers know this and use it to attract authors: with camps, co-writing opportunities, and access to artists and producers they couldn’t reach on their own. In the industry, songwriting camps are considered an investment; some are even publicly funded, such as international songwriting camps organized by music publishers through the Initiative Musik. For many songwriters, this promise is the real reason for signing an exclusive contract.
The problem: Contracts often contain no binding provisions on this matter. We regularly see drafts in which promotion, support, and funding are phrased as optional provisions. The publisher “may” organize camps—it isn’t required to. But verbal promises are only worth as much as the contract allows. That’s why these points need to be addressed before you sign:
- – Camps and co-writing sessions must be a genuine obligation of the publisher, not a voluntary service.
- – Who pays for travel, lodging, and studio time—and will that be deducted from your earnings later? The invitation rarely specifies who actually pays for the camp in the end.
- – Split sheets on-site: The shares are recorded before everyone leaves. This aligns with the voluntary agreement with GEMA and prevents future disputes.
- – What happens with co-writes when other songwriters are under contract with other publishers? A “100-percent publisher’s share” simply doesn’t add up mathematically in that case.
- – Are you allowed to attend another publisher’s or label’s camp if you’re invited? Exclusivity clauses can close doors for you.
- – Do camp songs count in full toward your minimum delivery requirement, or only proportionally? With six authors per song, meeting the proportional quota is virtually impossible.
Whatever is promised to you when you first meet must be included as an obligation in the contract—otherwise, it’s just a promise.
To be continued…
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Clause Radar
Clauses We Examine Closely
Based on the music publishing contracts we review, we know the areas where issues regularly arise. Here are eight of them—on the left, as they are often phrased in the contract; on the right, what we look out for.
Duration
That's how it's often written
“Three-year term”—plus an automatic extension until the minimum delivery requirement is met and the advance has been fully offset, followed by an option for the publisher.
Here's what we focus on
How long you're actually committed isn't what it says on page 1. "Three years" can quickly turn into an open-ended commitment—the timeline below shows how.
Minimum Delivery Quantity
That's how it's often written
A work counts only if it is released by a major label with nationwide distribution in Germany, Austria, and Switzerland.
Here's what we focus on
Whether that condition is even within your control. If not, the contract will be extended without you being able to do anything about it.
Scope
That's how it's often written
A 100 percent publishing share in all existing, unpublished, and future works, including co-writes—along with a prohibition on working as an author for others.
Here's what we focus on
What exactly is covered: co-writes, guest appearances, commissioned works, and songs for other artists. You can’t grant rights to someone else’s share anyway. And contracts for future works can be terminated after five years—more on that in a moment.
Advance Payment
That's how it's often written
The advance is “non-refundable but fully offsetable” and is secured by an assignment of your GEMA distributions.
Here's what we focus on
What is used for the calculation—just your author’s share, or the total amount? Is a refund included? And how is sales tax handled? There’s a well-known tax trap with this structure that you should be aware of beforehand.
Publishing Services
That's how it's often written
A flowery preamble about the “highest level of economic success”—and then promotion, financing, and administration as services that the publisher “can” provide.
Here's what we focus on
Is there a specific list of services? “Can” instead of “must” means: The publisher is guaranteed to get its share, and you might get paid for your work.
Administration
That's how it's often written
The author provides metadata, works lists, and GEMA registration data—preferably in the form of a completed Excel spreadsheet.
Here's what we focus on
Who actually does the publishing work? Administration is the publishing house’s core responsibility. If you take it on, what’s the point of their involvement?
Disclosure
That's often how it's written
The publisher may assign the contract to affiliated companies, third parties, and co-publishing and administrative partners without your consent. Information about sub-publishers is available “upon request.”
Here's what we focus on
Who ultimately owns the songs and who decides that. You can't ask about something you know nothing about. The right of withdrawal under Section 34 of the German Copyright Act (UrhG) applies here.
Control and Conflict
That's how it's often written
Audits no more than once a year, objections to statements of account must be raised within 24 months, payments are made only once a minimum amount has been reached—and disputes over appropriate compensation are decided by an arbitrator at the publisher’s headquarters.
Here's what we focus on
Whether your rights of control are practically enforceable and whether you are cutting off your own path to claiming statutory back payments. Since 2021, you also have an annual right to information under Section 32d of the German Copyright Act (UrhG).
And sometimes it’s just a matter of technical detail: In a contract we reviewed, the amounts in numerals and in words didn’t match in several places. Even mistakes like these can cost money in the event of a dispute. We’ll discuss with you—not online—what wording we’ll use to address these issues.
To be continued…
Send us your draft. During a no-obligation initial consultation, we'll determine whether we can take on your case and what the review will cost.
Duration
How Three Years Become Seven
The cover page specifies a reasonable term. However, due to renewal clauses, minimum delivery requirements, set-off provisions, and options, this can turn into a commitment whose end no one can predict. Here’s a typical scenario that we see time and again in draft contracts:
0
Signature
The advance payment is made, and the three-year term begins.
3
Year 3
The contract is actually up—but the minimum delivery requirement has not yet been met.
4
Year 4
Automatic renewal until the advance payment has been fully applied.
5
Year 5
Effective immediately, the right of termination under § 40 of the German Copyright Act (UrhG) applies to future works.
7
7th Grade
The publisher is exercising its option—the rights to the songs will continue regardless.
Not every contract works this way, and not every one of these clauses is invalid. But it’s the total that makes the difference: If you only look at the number on page 1 when signing, you’re planning your career with an end date that doesn’t actually exist. That’s why, with every review, we calculate when you’ll actually be free in the worst-case scenario—and what adjustments can change that.
The Central Standard
The limit is five years: Section 40 of the German Copyright Act (UrhG)
§ 40 UrhG · Contracts for Future Works
§
(1) A contract under which the author undertakes to grant rights of use to future works that are not specified in any detail or are specified only by genre must be in writing. It may be terminated by either party five years after the contract is concluded. The notice period is six months, unless a shorter period has been agreed upon.
(2) The right to terminate may not be waived in advance. Other contractual or statutory rights to terminate remain unaffected.
In plain language
An exclusive songwriting contract that binds you to all future songs must be in writing and can be terminated after five years with six months’ notice—regardless of any provisions in the contract regarding renewal or options. You cannot validly waive this right. However, the termination applies only to works that have not yet been delivered by that time. Works that have already been accepted remain with the publisher. In addition, there are other avenues, such as revocation due to non-exercise under § 41 UrhG or the right to exploit the work elsewhere after ten years in the case of a pure lump-sum payment (§ 40a UrhG).
Caution
Before You Sign: Things You Should Avoid Doing
Most problems with publishing contracts don't arise in court, but in the week before the contract is signed.
Signing Under Time Pressure
"We need this by Friday; the camp starts Monday." A fair publisher will wait a week for your review.
Blindly copy attachments
Title agreements, split sheets, and letters of consent are not mere formalities. Each attachment can change the terms of the deal.
Relying on verbal promises
Camps, sessions, promotions: You can't claim anything later that isn't in the contract.
Keep the advance payment for income
An advance is money taken in advance from your own earnings. Until it's settled, there's often nothing coming in for a long time.
Do Not Reconcile Two Contracts
Label, publisher, management: When rights overlap, you end up paying the price for the conflict.
Share the draft publicly
Screenshots in groups and forums are rarely helpful and often violate confidentiality agreements.
From Real-World Experience
A case we often encounter
Case Study · Anonymized
A young songwriter is offered an exclusive contract by an artist-focused label, with a major publishing company serving as the lead co-publisher in the background. On paper: a three-year term and a decent advance. But a closer read reveals a different picture. The publisher “may” provide support, but is not required to do so. The author is expected to maintain the Excel spreadsheets for GEMA registration himself. And the contract could have been transferred to any affiliate company without his consent. We provided point-by-point commentary on the draft for the author and his management.
The outcome of the negotiations will remain confidential—as is the case with all of our clients.
Your Situation
Have you signed your publishing contract yet?
Yes, the contract is already in effect
Then all is not lost. In 2022, the Federal Court of Justice ruled that a music publishing contract is not automatically contrary to public policy simply because the publisher’s share later amounts to a multiple of the lump sum paid (BGH, judgment of April 21, 2022 – I ZR 214/20). The decisive factor is the time the contract was concluded. However, subsequent success may justify a claim to additional royalties under Section 32a of the German Copyright Act (UrhG)—more on this on our page about reasonable compensation. In addition, termination under § 40 UrhG and revocation under §§ 34, 41 UrhG may be considered. Whether older clauses that exclude revocation for years remain valid after the 2021 reform also depends on when you signed the contract.
No, I still have the draft in front of me
Then now is the best time. Before you sign, almost everything can still be negotiated; after that, very little can be changed. We’ll review the term, scope, billing, advertising, and attachments before they bind you—and let you know where it’s worth renegotiating and where it isn’t. In a no-obligation initial consultation, we’ll determine whether we can take on your case and what the review will cost.
Attorney Patrick Rehkatsch
Attorney Specializing in Copyright and Media Law
Patrick Rehkatsch knows the music industry not just from contracts. From 1995 to 2000, he worked as a freelancer in marketing and TV promotion for Universal Music, and at times also for Sony, Edel Records, Kontor Records, and Berlin Music. Today, he negotiates music publishing, edition, and exclusive author contracts for songwriters, producers, artists, and publishers.
As a member of the International Association of Entertainment Lawyers (IAEL), he collaborates with a global network of music attorneys and regularly attends MIDEM in Cannes and the Amsterdam Dance Event.
Frequently Asked Questions About Music Publishing Contracts
What is a music publishing contract, and what does a music publisher do?
With a music publishing contract, you grant a publisher rights to your compositions and lyrics. The publisher manages these works, registers them with GEMA, grants licenses for film, advertising, and other uses, places songs with artists, and promotes you as a songwriter. Unlike a record label, the publisher isn’t involved in the recording itself, but rather focuses on the song behind it.
How does a music publisher make money, and how much does it receive from my GEMA royalties?
The publisher receives a fixed share of the revenue from your works. With GEMA, this amounts to one-third for public performance and broadcast, and 40 percent of the author’s share for mechanical rights. Licenses granted directly for film or advertising are usually split 50-50. Whether a portion of that is returned to you as a royalty is a matter of negotiation.
What is the difference between an exclusive author contract, a book deal, and a publishing contract?
The exclusive author contract covers all works you write during its term. The song-specific contract applies to individual songs, either on their own or as an addendum to the exclusive contract. Under a publishing contract, you or your management establish your own small publishing company, which typically works with a larger publisher as a co-publisher.
Do I need a publisher to become a GEMA member?
No. As a composer or lyricist, you can register with GEMA yourself and register your works. Without a publisher, you’ll receive the full royalty share for unpublished works. A publisher is worth it if they actually bring you benefits: placements, sync deals, co-writes, and efficient administration. That’s exactly what should be in the contract.
How do I get out of my publishing contract?
That depends on the contract and the timing. You can terminate contracts for future works after five years with six months’ notice (Section 40 of the German Copyright Act (UrhG)). If the publisher fails to exploit your works, you may be able to revoke the license on the grounds of non-use (Section 41 of the German Copyright Act [UrhG]); if the publisher is sold, revocation under Section 34 of the German Copyright Act [UrhG] may be possible under certain circumstances. We’ll clarify which option works best for you and which works it covers during our consultation.
Do I have to pay back the advance?
As a rule, the advance is non-refundable but is offset against your future earnings. So until it’s “earned back,” you’ll receive little or no payment. The key factors are what the advance is offset against and whether the term is tied to full offset. Both of these can significantly extend the commitment period.
Who decides whether my song will be used in a commercial or a movie?
Consent for commercial use generally rests with the copyright holder; the right to produce a film is licensed directly on a case-by-case basis. However, many contracts delegate this decision to the publisher; some even do so through an irrevocable power of attorney. Whether you have a say in the matter is specified in your contract—and should be clarified before you sign it.
Do co-writes from songwriting camps count toward my minimum delivery requirement?
Often only on a pro-rata basis. Many contracts count two works, each at 50 percent, as a single work. For camp songs with five or six authors, a pro-rata quota then becomes virtually unattainable, and the contract is extended. How co-writes are counted is therefore one of the points we examine during every review.
How much does it cost to review a music publishing contract?
An initial consultation starts at 250 € plus VAT, and a review of a contract starts at 500 € plus VAT. The exact cost depends on the scope of the contract and its attachments. During a no-obligation initial consultation, we’ll determine whether we can take on your case and what the consultation will cost.
Get Started Now
Understand your publishing contract before you sign it.
Do you have a manuscript from a publisher, are you starting your own publishing house, or do you want to know what your old contract still has to offer? In a no-obligation initial consultation, we’ll determine whether we can take on your case and what the consultation will cost—without legal jargon and without any time pressure.
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