Several important things are missing:
11) Register your song with an authors society, or you will never see a cent of mechanical or digital mechanical royalties.
12) Allocate an ISRC code for every song, or you never see a cent of broadcast royalties, mechanical or digital mechanical royalties.
13) There are basically three ways to fill in a publisher:
a) Fill in "Copyright Contol," that means you add your IPI-Number, name and adress and your authors society, eventually with you bank acount, and all royalties go directly to you. This is the common way for independent artists.
b) Publisher: You fill in your publisher, and the royalties go to the publisher and the publisher handles your royalties.
c) You give your music to an aggregator. Check and compare the business models and modus operandi of the aggregators, and choose the best for you purpose.
14) Authors societies worldwide pay to each other the royalties. American repertoire is played all over the world. For example a little country like Switzerland pays $12 million USD every year to AMRA, ASCAP, BMI, HFA, SESAC, NMPA, Rightsflow and PBS for American music publicly broadcasted in Switzerland.
15) Performing Rights Organizations, usually called authors Society, collects your royalties worldwide.
16) Performance Right organisations collect your royalties for live performances, and pays this royalties to the musicians.
17) Non-American authors should exclude the territory of the USA with from their national authors society, and register the songs with an American authors society. That way you get more royalties.
The US authors societies are the only societies worldwide which pay more royalties to their own US members, and less to foreign authors.