The Spice Girls were fully involved in the writing of all the songs. Halliwell in particular was clearly a fund of ideas for songs, arriving at sessions with her book of jottings, notes and miscellaneous scribblings which often produced the starting point of a lyric or a song title or just an agenda for the day's work. Watkins commented, "Geri would come up with the concept for a song. Typically, she'd sing one line and the girls would pick up on it or we'd pick up on it and construct around it and then Mel C [Chisholm and Emma would be very active. They'd really like to sit and sing melodies and go off and come up with little sections." They ""conceptualised"" and sang bits of melody and wrote the lyrics. But in musical terms it was not a partnership of equals. Rowe commented: "We had to kind of steer it. It was very different for different tracks really. Some of them were when we were all jamming in the room. We'd just put up some drum sounds and start making things up. On other tracks me and Richard [Stannard would prepare something beforehand and play it to them. We'd have some lyrics and make them write the second verse." The Spice Girls introduced two key innovations that have had a lasting impact on the way which modern pop acts go about their creative business. Firstly they introduced the idea of songwriting identity. This was a familiar concept in rock bands like Queen or the Sex Pistols, but not in the world of "manufactured pop", where the credits of songwriting would be divided out strictly in accordance with whoever had written the song. The Spice Girls recognised their solidarity as a group, which depended on maintaining parity in all departments, including the songwriting credits and the resulting royalties. They share the songwriting royalties on all the songs irrespective of what any member of the group had or had not contributed to any particular song. The second thing the Spice Girls established from the outset was a straight 50–50 split between them and their various songwriting collaborators. Here they anticipated one of the key developments in the pop industry since the 1990s, namely the increasing importance of publishing royalties as opposed to royalties payments made for the performance of the song on the record.