We recently connected with Jason Blume and have shared our conversation below.

Alright, Jason thanks for taking the time to share your stories and insights with us today. Can you talk to us about how you learned to do what you do?

At the beginning of my creative journey, I was not aware that there was any craft to learn. Starting when I was 12 years old, I would write poems and set them to music while strumming on my father‘s mandolin. I had no idea that there were differences between poems and song lyrics. For example, lyrics almost always include rhymes in prescribed places; poems might rhyme – – or not. Lyrics are intentionally crafted to have sections or phrases that repeat; poems rarely do this; and lyrics tend to be conversational, while poems can be esoteric and use flowery language.

When I began writing songs, I had no idea that the overwhelming majority of the songs I loved and listened to on the radio were built with components, such as versus, pre-choruses, choruses, and bridges, and that these building blocks were typically assembled in one of only four ways. I attended my first song writing workshop when I moved to Los Angeles in 1979 and I was appalled when the instructors suggested I use tools such as song forms and structures that would make my songs more consistent with those that I loved on the radio. I hated the idea of compromising my creativity, but I wanted my songs to be on the radio. So I begrudgingly began writing songs that incorporated the tools I was being taught.

I soon learned that using expected song forms and including rhymes where listeners have been unconsciously trained to expect them, did not dilute the meaning or the emotion of my song. I was simply placing my message in a vessel that was capable of delivering it. The analogy is that if someone wanted coffee, I would not just pour hot coffee on them; I would place it in a cup before handing it to them. In time, using these tools and techniques— and countless others that I learned along the way—became second nature and my songs simply emerged that way. That’s my goal when I teach. I don’t want my students to think about tools and techniques; I want them to become internalized so their songs emerge that way naturally.

On the road to becoming a hit songwriter, author of songwriting books, and instructor, I analyzed successful songs in various genres. Putting them under the proverbial microscope, I identified the tools and techniques that were consistently found in successful songs. I came to see that there were reasons why some melodies and lyrics connected with millions of listeners – while others failed to do so.

I attended almost every songwriting class and workshop in Los Angeles—and that’s a lot of classes. I went to events where music publishers critiqued songs and I studied the lessons in these songs. One of the most important things I learned is that hit melodies had common denominators. They incorporated rhythmic and melodic repetition that caused the melodies to stick in listeners’ brains. Advertisers are well aware of this phenomenon. When we are exposed to information or an image only once, it tends to be easily forgotten. But with repeated exposure, the message infiltrates our consciousness—and stays there. It’s the same with melodies.

The good news is that these tools and techniques are learnable. But without them, raw talent is unlikely to be enough to deliver your message to millions of hearts. I urge creative people in any medium to master their craft. Then they can choose to incorporate the tools that have proven to be successful—or not.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’ve come to wear quite a few proverbial hats. I’m best known as a songwriter, songwriting instructor, and author of songwriting books. But now I also define myself as a writer and photographer for Blue Mountain Arts greeting cards, books that feature my photography, and music journalist. My success as a songwriter afforded me the opportunities to find success with these additional passions, as well as animal and landscape photography.

For decades my sole focus was becoming a hit songwriter. My journey to success as a songwriter is a testament to my conviction that the most important attribute required for success is persistence. When I moved from my home in Philadelphia to pursue my dream in Los Angeles, nothing could have convinced me that I would not have hit songs on the charts in the next year. But it took more than seven years for me to get the first indication that I was on the right path. I had brought a song to a music publisher and he suggested that I rewrite it. Based on his critiques, I put my ego aside and rewrote the song. Along the way, I brought in Bryan Cumming to collaborate.

After the seventh rewrite, the publisher overnighted our song to his Nashville office, where it was recorded the next day. That song, “I Had a Heart,” was recorded by Darlene Austin, who was on an independent record label. It peaked at number 63 on the Billboard country singles chart—not exactly a big hit. But that was a huge accomplishment for me, and looking back, it’s clear that this recording led to everything in my career. I sometimes wonder what might have happened if I had stopped after the second or third rewrite.

Having a song on the charts led to an opportunity to write with the late AJ Masters. It was the first time I wrote with someone who was a professional who was signed to a music publishing company. Not wanting to leave anything to chance, I arrived at that writing session armed with at least a dozen ideas for songs. One of those songs, “Change My Mind,” changed my life. Three-and-a-half years after AJ and I wrote it, his publisher brought the song to the Oak Ridge boys, who were superstars at that time.

When the Oak Ridge boys recorded our song and released it as a single I was suddenly being courted by every publisher in Nashville, including those who had previously ignored my calls. This was eleven years after I moved to Los Angeles, certain that fame and fortune would find me within a year.

I signed an exclusive staffwriting deal that I kept until that company was sold twelve years later. I lived my dream of earning my living as a songwriter. The competition was fierce and I learned that writing songs was not about lying by a pool sipping a drink while waiting for an idea to hit me. I went to an office five days a week and wrote songs—not only because I loved writing songs, because if I failed to deliver hits, I would be asking, “Do you want fries with that?” It was stressful at times, but I would not have traded it for anything.

Many years after I signed with the publishing company, some young new artists signed with the same publisher. Their names are Britney Spears and Backstreet Boys. I was in the right place at the right time to write with these mega-superstars. I sometimes feel like I must be the luckiest songwriter on earth. But it was not luck that caused me to rewrite the songs I wrote for—and with—them, putting them under the proverbial microscope, until they were as strong as we could possibly make them.

The first time I attended a songwriting class as a student, I looked at the teacher who stood behind the podium, and I knew from the deepest place in my heart that I was meant to do that. Donna Michael, who was working at NSAI, asked me to write a series of lessons for their members. When I had completed eighteen lessons, I realized that I had the bones of an instructional songwriting book. That book became 6 Steps to Songwriting Success, my first book published by Billboard Books. While I was writing that book, I was a staffwriter for a music publishing company. For eighteen months, I wrote my first book between 6 AM and 9 AM Monday through Friday before writing songs from 10 am till 5 pm. That was followed by a revised second edition of the book, as well as two more books, This Business of Songwriting and Inside Songwriting.

I think the lesson is that we can’t “make” time to pursue our goals. Time is a finite commodity; we can’t create, buy, or borrow more of it. But when we make our goal a priority, we will find ways to carve out hours from our day and devote those hours to taking the next steps toward achieving what we hope for.

I proposed teaching an ongoing songwriting workshop for BMI, one of the performing rights organizations tasked with collecting performance royalties for U.S. songwriters. I have been teaching that workshop for thirty years and it led to my teaching in more than a dozen countries. I have watched my students achieve dreams of their own, including signing publishing deals, writing six #1 hit songs, and placing countless songs in TV shows and movies.

The most important things I hope to convey are not the nuts and bolts of creating successful songs. Those are important, but nothing is more important than believing in yourself enough to persevere through the inevitable rejections.

What am I most proud of?

I am proud of the students I have inspired and encouraged, regardless of the successes they have achieved. Almost every week, I learn about one or more of my students having a new success—a song in a movie or TV show, signing a publishing deal, winning a prestigious competition, or having an artist record their songs. I can’t express how happy that makes me.

What products, services, and resources do I provide?

In addition to my books (which are available at Amazon) I have four recorded lessons for sale at http://www.jasonblume.com/audio-lessons.html. The topics are melody, lyrics, taking care of business, and placing music in TV and films. Each one comes with exercises to practice the skills I teach and/or resources, such as the contract required to include a singer or musician’s performance in a TV show or movie. They are the equivalent of taking an intensive master class with me. I also write magazine articles for BMI’s two publications, MusicWorld and The Weekly. More than 120 of my articles and lessons are available at no cost at http://www.jasonblume.com/songwriting-articles.html.

Teaching is my passion and probably my greatest gift. I have taught songwriting in more than a dozen countries and I now teach online workshops at which I act as a song doctor, performing surgery to help writers and recording artists make their songs as strong as they can possibly be. I run a song critiquing service that offers an objective eye. We examine songs under the microscope and let writers know what is works—and how they can strengthen the elements that need additional work.

Any insights you can share with us about how you built up your social media presence?

It has been a slow and arduous journey and it is still in progress. I’ve been accumulating names for my mailing list for years by circulating a sign-in sheet at my classes and speaking engagements. I have the maximum of 5,000 friends for a personal Facebook account and I interact with them on a daily basis.

Earlier this year, I was encouraged to expand my social media reach. The first step was to work with a pro to update my website: www.jasonblume.com . Then I created a landing page so people can join my mailing list with just one click. I hope you will take a moment to join right now! https://tinyurl.com/yckat6fc As an enticement, when you sign up you receive a free 30-minute video that I produced: “3 Things You MUST Do For Success.” Those on my mailing list wake up every Monday morning to a message of encouragement for creative people (regardless of their medium). People love them.

I grow my email list by being a guest on podcasts, contributing to magazine articles, teaching at conferences, and doing speaking engagements. Now that I have a book coming out that will target cat lovers, I’ve set up a separate email list: https://tinyurl.com/mt8nef34 . Those who sign up receive a weekly email with photos, heartwarming stories, and tips that are purr-fect for cat lovers. I also send a newsletter with fun facts and photos.

I think it’s important to offer something, as opposed to using social media as a blatant sales tool. My weekly emails include links to free podcasts, recorded master classes, and articles. When you give subscribers something of value for free they are more open to check out items you are selling.

RESILIENCE

There are probably few qualities more critical for success in business—and in life—than resilience. I don’t know anyone who escapes disappointment and rejection, and even more so in creative endeavors. The issue is not whether or not we will get knocked down. We will. What matters is the lessons we learn and the amount of time it takes us to rebound.

I would guess that fewer than 5% of my songs and greeting cards generate income. So 95% of what I write is rejected. I look for the lessons in what worked—and what didn’t. Then I get back on the horse and write more songs and cards, hopefully incorporating the tools that contributed to success.

One of the many things I do as a self-employed writer is create greeting cards for Blue Mountain Arts. If you have been in a Cracker Barrel store you have seen my cards; they have sold more than 8 million of them. Blue Mountain Arts also has a book publishing division. They rigorously test market all of their books and cards before publishing them.

Over a period of twenty years I wrote eleven books that all failed to make it over the test market hurdle. But last week I learned that lucky number twelve is being published. It’s titled Happy Tails: Life Lessons From Rescued Cats and Kittens and it includes my photos and heartwarming, inspirational stories about some of the cats I’ve fostered and photographed for the local Humane Society.

Creative people are required to wear two proverbial hats—one as the creator and one as the business person or marketer of what we create. I sometimes say we need to have the tender, open heart of an artist and the skin of an armadillo. I don’t know how to teach people how to bounce back from rejection. But I tell my students that it is an ability they must develop and that it does get easier with time.

During the twelve years when I was signed to a music publishing company, I was required to get approval for rough versions of the songs I wrote before demo recordings could be produced. In most instances, my songs were ripped to shreds. I felt squashed like a cockroach. But instead of giving up, I learned from the criticism and became more determined to write songs that were undeniable—songs that artists would feel compelled to record. Another writer at the company confided to me that when her songs were similarly disparaged, she would be too devastated to write another song for weeks. It had the opposite effect on me. My attitude was, I’ll show you what a great song I can write—and I was usually working on the song in the car on the way home.

I don’t know anyone who has had a smooth or easy ride to success. The key is to learn from our disappointments and let them motivate us to stay on our path.

Is there a particular goal or mission driving your creative journey?

I worked very hard and for a very long time–but I also got some very lucky breaks. My goal is to inspire creative people, provide them the tools to pursue their goals, and guide them toward success. I am having an amazing, deeply fulfilling journey — and a big part of that is providing the road map for other creative people to follow their dreams.

In closing, I want to encourage readers to find ways to pursue their passions and express the creativity we were all born with. Pursuing a creative goal adds so much richness to our lives.

Contact Info:

• Website: www.jasonblume.com
• Facebook: Jason Blume Songwriter
• Youtube: Jason Blume
• Other: email list for creative people: https://tinyurl.com/yckat6fc email list for cat lovers: https://tinyurl.com/mt8nef34

Image Credits
for the photos of Jason Blume credit: Neil Rice