Even let’s move one step further, what are the odds for a guy who couldn’t speak more than 20 English words to leave Iran, and next year get his first English song that he wrote, recorded, and then more than 1,000 English songs later, he starts writing books and blogs all in English? Yet, you are reading his blog right now. So, please don’t ever tell me that there is such a thing as “impossible”. I am a living proof of my claim, and I personally know people who proof it even stronger by the things they’ve got done!
The longer I live, the more I realize that it’s really not about the odds unless you are playing the lottery. In that case, there really are odds that are stacked against you. Those odds are measurable and accurate. They are based on math. They are real! In any creative endeavor, however, the odds are not so fixed. You can figure out ways to cut them way down. How do you do that?
I went to college and got a degree in Industrial Engineering, but I never gave up my music dream and eventually at age of 20 I ended up studying the degree course again in major of Music Production (instead of studying Master of Industrial Engineering).
The list is long and sad. And these are maybe less than 5 percent of the disappointments. But important is if you are going through these disappointments, you don’t give up and just use these rejections or unfortunate indicants as lessons and start again, stronger. So, how do you stick with it when the “downs” start to pile up? I learned the hard way that you have to have a plan. The plan I came up with was this.
They spent every waking moment dreaming first and later working to make those dreams come true. Kids get this. They don’t question if their dreams are crazy. It’s just a natural creative process. It’s the grown-up world that tells the kid to “grow up” or “be more practical” or “that’s impossible!”
my writing, I took another look at that song and realized that the feedback I got was not good at all. I’ve since discovered the reason for the weak feedback. The organization that I had gotten feedback from hired people to do feedback who had never had cuts. They were aspiring writers who were struggling and needed a paycheck, not professionals or hit songwriters who knew what they were talking about. Over the years, I have found these thoughts to be helpful in interpreting feedback on my songs:
Me. After a few times that happened, it left a bad taste in my mouth. I’ve also had unsigned co-writers tell me after we wrote a great song that they can’t afford to demo the song. Even though I am trying to appreciate that at least they told me about it before we actually proceed to make the demo, but I still wish they had told me about it before we sit down and spend so much time and energy on writing a song together because now the time had already been spent but I can’t get it cut if we can’t demo it, so we wasted a day. Both are important economic issues. Why spend a day writing a song that no one will ever hear while I could spend that time on writing a song that actually could go somewhere?