Let’s be honest, writing bios is probably one of the least fun and most stressful parts of putting together your EPK (Electronic Press Kit). Most of us are pretty uncomfortable writing about ourselves, and since we’re always downplaying our accomplishments anyway, it feels really unnatural to then gush about them for 500 words.

So if you’re a little uncomfortable writing about yourself, you’re not alone. It is seriously weird to boast about how awesome you are and then send that to people. But trust me, you can overcome this. It’s actually not as hard as it might sound, and once you get to work on your bio, you’ll see what I mean.

That said, if you’re really struggling, consider hiring a bio writer. PR companies usually offer this service, as do plenty of freelancers, so if you’re really feeling stuck, spend the money, save yourself the stress, and have a professional whip one up for you in a couple days.

If you’re up for the challenge of DIY-ing it, we’ve got you covered. These five tips will guide you smoothly and seamlessly through writing your next bio. 

Spend enough time in a city’s music scene, and you’re bound to run into musicians who feel jaded and disenfranchised. More often than not, these sorts of creatives have been working for years with little local or no recognition and support, so it’s understandable why many musicians feel left out of their music scenes. But instead of lamenting the fact that your work has been passed over or even downright rejected by your local scene, there’s a much more productive and rewarding option to pursue: building your own.

Like an interesting song, a music career requires a delicate balance of ideas. Not holding anything back when it comes to what you want to achieve through making music is essential, but not tapering expectations means opening yourself up for major disappointments over and over again. It’s a hard balance to strike, but maintaining a sky’s the limit outlook with an attitude that acknowledges the many harsh realities of being a serious musician in 2019 is something every music-maker needs to try to do.  

When it comes to deciding what artists to work with on a PR campaign, there are a lot of factors that go into a publicist’s decision—contrary to popular belief a reputable PR agency will not just take the money of anyone who offers it to us and then blast out a press release and call it a day. True PR takes a lot of very purposeful, diligent work in building our relationships with press, strategizing the best methods and angles for each and every client’s needs and story, and creating a narrative that will entice and capture an audience of press, their readers, the band’s fans, and eventually, labels, festival promoters, and venue owners.

In 2019, there’s no shortage of ways to measure a musical artist’s success. Between public play counts and the growing private listener analytic data that streaming platforms now give to artists, musicians have ways to see how well their music performs in real-time. This unprecedented reality clearly brings artists some sizable benefits. For example, a small, unestablished band doesn’t have to fork over cash for an expensive radio campaign to learn what cities listen to their music the most because streaming platforms give away that information for free.

But there’s some significant drawbacks to consider in today’s data-driven, instantly gratified music culture. There are constant, unavoidable reminders of whether an artist is conventionally successful or if their music isn’t being heard. Drawing a connection to your self worth and whether your music is successful or not is a recipe for the sort of creative-killing frustration that can do serious damage to not only your career, but also your personal well-being.

Releasing an album, EP, or even a single the right way takes loads of planning and effort. First there’s the hard work of writing and recording music, and then there’s the tedious business of making sure your music gets heard through promotion efforts. But how can an artist stay productive during the inevitable downtime between releases? Try as you might, you can’t make music 100% of your waking life, but what you do with your time after a big music release will lay the creative foundation for your next musical endeavor. Here’s four tips for making your time between releases productive:

Being rejected can be a devastating experience. Most of the non-creative world associates rejection with unrequited love expressed as a teenager, or being passed over for a promotion at work. Rejection is painful, so it makes sense why most people avoid it at all costs. Musicians who are serious about creating meaningful work don’t have that luxury.

Creating and performing music leaves musicians vulnerable and tied to risk through things like playing shows in front of hostile crowds or getting nasty reviews. Unfortunately, you risk being rejected for your work each and every time you choose to share it. Learning to cope with rejection is crucial if you want to sustain a meaningful career in music. Here are three reasons why: