It has never been easy to make a living as a musician. And it is becoming more complicated than ever.

“The Blueprint: The Bible For Becoming a Successful Performing Artist in the Digital Age” by Frank Demilt (Blue Heron Book Works, 2021, 224 pp., $19.50) is a guide to navigating the music world. It covers the recording process, copyrights, distribution, marketing, contracts, touring and sustaining a career.

Demilt, who lives in Keyport, N.J., is an audio engineer and head of artist development-A&R at Water Music-Sloppy Vinyl. He has worked with Grammy and Emmy-winning artists and producers. His book is published by Blue Heron Book Works, Allentown.

In a phone call from Nashville, Demilt says that things in the music industry happen so quickly now that he had to make changes while writing and editing the book. He plans to do yearly updates.

The Internet has been a major influence on music careers. It has had a negative impact for artist revenues, as more songs are heard by listening on streaming platforms. Services like Spotify reimburse creators a minuscule amount each time a song is played.

“You do not make much from song sales,” he says. “You get maybe a tenth of a cent on the dollar from each stream you generate. You might make something like $4,000 from millions of plays.”

Demilt says that many artists do not even try to sell CDs anymore, or they might only sell special vinyl editions along with other merchandise.

“A lot of artists make money from touring endorsements,” he says.

There are ways to make money from song publishing, he says: Someone can profit “every time you hear music in a movie, TV show, or even background music in a restaurant.”

Online social media has offered new opportunities. “Music is still definitely a viable career choice,” says Demilt. “Artists can do so much for their career for themselves. It depends on how you are going about it.

“It is easier now than 10 or 15 years ago, where you had to constantly do shows, go around town, and hope someone can see you. Now you can build your own social media following and do everything from your house.

“Record companies will scour the Internet looking for artists with a large online following. A label might sign someone doing covers who does not even have any music released,” Demilt says.

“The Blueprint” lists the many ways music can be submitted to various platforms, including the use of companies that specialize in distribution. CD Baby, once a major online music retailer, is now a distribution company.

Demilt writes in the book’s introduction that at major record labels, “artist development is a dying art form. Talent no longer matters.

“If an artist doesn’t have the numbers, a non-artist with a million followers will get signed faster than the most talented singer with a mere thousand followers.”

The book has detailed advice about the recording process, including what type of equipment to use. “You don’t have to spend thousands of dollars for top-line equipment,” he says. “It is only good if you know how to use it.”

You can make a recording at home, but it probably will not be good enough for today’s high-tech competitive market. “Home recordings can be pretty decent, but the quality doesn’t compare to what you hear on the radio,” says Demilt.

Making a record takes steps which might take place in the same or different studios.

“One studio might do the recording, another might do the mixing without interfacing with the artist, and another might master an MP3, making it CD or radio-quality ready.”

The book describes the team members and managers that will be needed as an artist’s career progresses. It also goes over the complicated aspects of contracts, for which Demilt recommends the use of expert legal advice.

“There are younger people, even pre-teens, going in alone, not understanding what they are signing without the financial means or know-how.”

“The Blueprint” shows that the modern environment is not hopeless for musicians, but the book stresses that the ones who succeed are driven by a strong work ethic. With its comprehensive overview, the book is a great resource for beginning and experienced artists.

Information: https://blueheronbookworks.com/

“Literary Scene” is a column about authors, books and publishing. To request coverage, email: Paul Willistein, Focus editor, pwillistein@tnonline.com