This is so true.

I think I could write 20 pages on writing for

libraries. Maybe I will sometime but it's such an uninteresting
skillset. In short, you want to make your tracks *useable* and
*editable*. Chances are you might have 400 tracks in a
library of 10,000 tracks, you want the editor to pick YOUR
tracks to use so you get paid. In LA, 99% of the time it's the
editors who choose tracks, not the producers or directors,
and some of the editors are really horrible at working with
music. Make it easy on them, they'll start to gravitate towards
your tracks.

Common sense stuff: keep your tracks short, 60-75 seconds

is fine, make a bunch of submixes like if you have a lead
trumpet or lead synth make sure there's a version without it
that lines up the exact same (start time is the same so they
are interchangeable), always include a real simple mix like
"drum & bass" it will get cut in under dialogue, keep the
same time signature and tempo throughout so it's easily
editable, think in standard 8-bar "blocks" of music, if you
modulate within the piece modulate back to the original key
for the ending so it can be spliced (so often they use the first
20 seconds then cut to the end), make a big build to the end,
sharp transitions are good rather than cymbal swells that
overhang the transition and make it tough to chop up, same
with crash cymbals use them sparingly so it can be looped if
needed, never try to do too much-- standard AABA or ABBA or
AABB is a good form or even just AAA that builds. Maybe
that's too much info. The biggest issue with reels that I see is
that people want to write "songs" instead of "tracks".