Every musician—Jay-Z and Ryan Adams included—comes down with writer’s block at some point in his or her career. Just like swine flu, there’s very little you can do to prevent it. Then again, like swine flu, a full recovery can be made with a little help.

When you feel your creative juices dwindling, or when your well of ideas is as dry as the Sahara, use these simple tips as fodder for songwriting success.

• Feed your inspiration. If you’re running low on good ideas for lyrics, go take a walk around your neighborhood, read a book or watch the news. Keep a notebook on hand to jot down ideas. Sooner or later a story will present itself to you. If you’re looking for musical inspiration, turn on your iPod. What songs move you? Figure out precisely what element is resonating. Don’t try to copy it; simply use it as a starting point for your own journey.

• Stay focused. Keep whatever first inspired you to write the song (be it a lyric, melody, chord progression, etc.) as your focus. Don’t second guess that.

• Know when to take a break. It’s easy to loose perspective if you’ve been working on one song for too long. Put it down and come back to it.

• Record yourself. Even if it’s with a crappy handheld tape recorder. You will hear the song in a whole new light when you’re not distracted by the physical aspect of playing and/or singing.

• Call for backup. Sometimes two or three heads are better than one. Many great ideas come from collaborative environments. Recruit some of your musician friends and, for lack of a better term, jam. See what ideas rise to the top.

Follow these guidelines, and the symptoms of your writer’s block should improve. Truly great songs are a labor of love, so hang in there.

• Don’t leave your album art to the last minute. For too many bands, the graphic part of the record is an afterthought, quickly thrown together before the CD is sent off to press. Keep in mind, your album art gives people the first impression of your band. You’re going to want to come up with a concept that communicates the message, theme or mood of your music. This takes a lot of thought and a lot of time to produce and refine, so start early.

• Look at the album for new and recent releases in your genre. Do you see any trends? Avoid them at all costs.

• Find album art that you love. Research those graphic designers and artists. Are they willing to do commission work?

• If you’re broke, trade. Do you have a friend or fan who’s a graphic designer? Screenprinter? Painter? Photographer? Borrow their talent for free CDs, show tickets or whatever else you have. Do they have an art opening or event coming up? Offer to play for free. Remind them that your album cover will serve as free publicity for their art. If you’ve got a large fanbase, run a contest to see who can come up with winning album art.

• Choose a design that will translate to other mediums. Instead of stressing about separate designs for t-shirts, posters and CDs, pick something that would work well for all your merch. This will have to be a strong visual if it’s going to work effectively as a brand.

• Can’t decide on a design? Throw your ideas out to your friends and fans. They’ll be able to give you some constructive feedback that may help you determine which way to go.

• Stay true to yourself. If the art going in a direction that you’re uncomfortable with, speak up. This is your image, after all. You don’t want it looking like something, well, the cat dragged in.

•   Make sure he/she is the right fit. Love the new Adam Lambert or Jay-Z record? Research the producer. Familiarize yourself with that producer’s previous work and decide if it’s the right production style for you.

•    Get a sense of commitment from him/her. How much studio time can you expect on a weekly basis? What will the turnaround time be like for mixing? If you’ve got an album release deadline, you’ll want these questions answered before you partner with that producer.

•    Schedule plenty of time for pre-production. Pre-production will help ensure you’re on the same page with the producer. That includes familiarizing him/her with your songs, going over arrangements and production ideas, and introducing him/her to records with production that you admire.

•    Know when to let go of your own judgments and trust their vision. As much as you may want to micromanage the process, it’s important to give your producer some breathing room. Suspension of disbelief on your part may lead to some really great ideas that will strengthen your record. Sometimes it takes a village.

•    Know when to fight for your own vision. At the end of the day, this is something you have to sign your name to. So it’s critical that the work on your record really represent you as an artist. If the producer is leading you down a path that doesn’t feel true to you, then it’s your responsibility to speak up.

•   Check your ego at the door. If your producer comments how the transition between the chorus and the bridge is a little bumpy, and your response is to throw your guitar at the wall and scream, “I hate you!” then you’re doing a real disservice to your record and to yourself. Don’t take critiques personally. Remember, you’re a team working towards a common goal; world domination. So lose the ‘tude, dude.

Once upon a time there was an earnest, indie rock band who—through the forces of fate—was slated to open up for legendary Stone Temple Pilots front man Scott Weiland at a popular music venue. Though the band didn’t exactly think their music would translate to STP fans, they knew the exposure would be great and maybe, just maybe, they could win a few more fans.

Their first song received a smattering of handclaps. The second, stony silence. As the singer of the band stepped up to the mic to introduce the third song, a large, grizzled grunge devotee in the front row began belting the lyrics to “Dead and Bloated” in protest. “I AM smelling like a rose that somebody gave me on my birthday deathbed,” he shouted. The audience roared in approval.

Talk about a tough crowd. A negative response to your music may make you want to crawl into your own birthday deathbed, but don’t let it. Consider it a rite of passage. And though it’s true that you can’t be everything to everyone, there are certain things you can do to alleviate the tension when you’re facing a crowd of anti-fans like:

• Talk to them. A little friendly banter goes a long way. Break the tension by acknowledging the disconnect: “I know most of you Black Eyed Peas fans probably don’t listen to much acoustic folk, but here’s something you may be able to dance to …”

• Play a cover song. This is the most surefire way to get an unruly audience on your side, so it’s best to keep a couple of crowd-pleasers in your back pocket in case of emergency. Pick something that everyone knows, but give it your own unique spin. If you’re the folk band opening for Black Eyed Peas, don’t antagonize the crowd by playing a cover of “Blowin’ in the Wind.” Pick something relatable to their tastes that you can make your own. Who knows, maybe “Boom Boom Pow” sounds good acapella.

• Soldier on. Even if they’re shouting terrible things about your mother, don’t let the negativity get into your head and affect your performance. Let it be inspiration for you to play harder and with more passion. Even if they don’t like your music, they’ll have to respect your tenacity.

Unfortunately, musicians are books whose covers are constantly judged. And as much as you may not want to buy into the whole “image” aspect of your craft, the fact remains that industry players are looking at you as a marketable package. That means your music and your look need to translate to the masses.

The good news is, the sky is the limit when it comes to what your look can be. If Flea is allowed to rock a diaper, and Prince gets away with ass-less chaps, then chances are your personal style won’t be a hindrance to your career, no matter how off-center it is.

That said, here are a few guidelines to keep in mind:

• If you’re in a band, cohesiveness is key. Choose one general look and try to stick with it. Separate characters may have worked for the Village People, but you probably want your music taken a little more seriously.

• Choose a look that represents your music. Though sometimes the element of surprise can be a good thing, in general you want to try to avoid any big disconnect between your look and sound. Meaning if you’re a hard core rapper, you probably shouldn’t dress like Stevie Nicks onstage. Of course, there are always exceptions to the rule … Gnarls Barkley somehow pull off their hip hop/pop dressed as 1970s tennis players and storm troopers. But gimmicks aren’t for everyone—whatever you choose, make sure it feels right for you.

• Cultivate your individuality. You might love suits, but that look isn’t exactly going to set you apart from the hundreds of other indie bands who do too. Same thing with saggy jeans and gold chains for hip hop artists. Though you want your look to represent your music, there is still room to put your own unique spin on your wardrobe. If you’re L’il Wayne, you go for tighter jeans. If you’re Katy Perry, you go pin-up model. And if you’re Lady Gaga, well, you go off the deep end.

Developing your own look can be as simple as adding a signature pocket square to your suit, or as complicated as sewing an army of Kermit the Frogs to your sweater. The main rule of thumb is to stretch your imagination while staying true to yourself. If you can do that, you’ll be covered.

It might be kind of nice to get your GRAMMY award speech out of your head and into real time, right? But how?

There’s no direct route to a GRAMMY, but there is a process. And where there’s a process, there’s a way. Here’s how it works, and how you might be able to work the system.

It all starts with members of the Recording Academy. These people fall into one of three categories: voting members, associate members and student members. “Voting members” are music professionals (creative and technical) with credits on at least six commercially released tracks. Think vocalists, conductors, producers, arrangers, songwriters, etc. “Associates” are recording industry professionals like entertainment attorneys, record label staff, artist managers, etc. And “student members” are just that — college students pursuing a career in the music industry (either on the performance or the business side).

Though all three can submit the recordings they believe are worthy of GRAMMY nominations, only voting members can elevate a recording from the bog of submissions to the upper echelon of nominations, and then eventually, the inner sanctum of awards. (Note: In addition to Recording Academy members, record companies are allowed to submit recordings for consideration, but are not allowed to vote.)

To be submitted for consideration by voting members, you need to meet some somewhat ambiguous criteria, but in general the basic rule is that your recording must have been released for sale with general US distribution between October 1 and August 31 of the eligibility year.

Blockbuster artists who are signed to a major music label face an easier path to Grammydom due to their exposure, their vast support team and the many industry connections that come with both. This is why an artist like Beyonce will inevitably win over the house band at your favorite bar. The path less taken (because it’s virtually a 90-degree uphill battle) is to spread your recording virally throughout the labyrinthine network of Recording Academy members and hope that it catches on like “Chocolate Rain.” That means it requires a herculean marketing and PR effort, which is something that many smaller artists simply don’t have the time or the manpower to handle on their own.

But maybe you’re the exception. So here’s what you do — become a non-voting member of the Recording Academy. Go to as many events in your chapter as you can possibly handle. And look for ways to market your recording to the people who matter. Example: Invite chapter members to a live performance and supply attendees with copies of your CDs for their GRAMMY consideration.)

Who knows, maybe one day you can trade that hairbrush in for a real mic and finally deliver your acceptance speech. And, if you’re lucky, maybe Kanye will even let you finish.

If that sounds like a lot of paperwork, rest assured it’s not. There are several huge organizations who will handle the whole business end of tracking your music and making sure you get paid anytime one of your songs is played in a public medium. All you have to do is register with one of the three performing rights organizations in the U.S. —ASCAP, BMI and SESAC. All are similar in that they work as middlemen between you (the artist) and the organization interested in licensing your music (television and radio stations and networks, websites, ringtones and ringbacks, satellite audio services like XM and Sirius, nightclubs, discos, hotels, bars, restaurants and other venues, digital jukeboxes and live concerts).

Getting yourself in a position to make money off your music is easy. Here are the steps:

• Register with ASCAP, BMI or SESAC. You can do this online for a $50 fee typically. All three disburse royalties quarterly.

• Register with Nielson Soundscan. It’s free, and allows you to track the sales of your hard-copy products (provided you put the Soundscan bar code on your packaging.) Each time your CD, DVD, etc., is scanned, the sale is logged by both Nielson and ASCAP, BMI and SESAC, so you’re sure to get paid.

Seems simple, right? Well, it is. And you can keep track of all your royalties online so you know what to expect when paytime comes around. Even if you’re not making enough to buy a house in the Hollywood Hills, you might be able to at least pay your electric bill. And that’s a start.

If you’ve got a decent demo, you’re probably itching to get it into the hands of the right people at the right places. But before you go sending your music into the black hole that is a label’s A&R department, consider this: Instead of wasting postage by mailing unsolicited material to ambivalent parties, why not organize a showcase? Think about it—your live show is your strongest selling point. It also allows you to connect with industry folk face-to-face instead of through email or over the phone. Besides, at the end of the day these people all want to see how good you are without the gloss of studio production and to see how many people you can draw.

Whether you’re trying to win a record deal, land a publicist or booking agent or beef up your press kit with some good reviews, a showcase is a powerful tool of persuasion. Here’s how to put on a good one and reap the benefits.

• Put together a killer bill. Pick four bands who have a solid fan base and are generating buzz. You’ll want them to be able to bring out as many of their contacts at labels, media outlets and agencies as possible, not to mention their fans. Choosing bands for your showcase is critical, so be strategic. Make sure your lineup is cohesive without being redundant. Don’t pick acts who are going to completely outshine you, or are so bad that they drive all the industry folk away.

• Find the right venue. Size and sound are key here. Estimate how large your audience is going to be and find a space that will accommodate everyone and feel full. Make sure the sound system is up to snuff and you’ve got a knowledgeable sound guy—you don’t want to lose any industry interest on a technicality. Also, shoot for a venue that has some cache. Industry people are more likely to show up at a club with an established reputation over some Mexican restaurant with a stage.

• Cast a wide net. There’s no use putting on a showcase if you’re playing to only one industry rep. Make sure you invite enough VIPs so that if only a third of them come, it’s still worth the effort. Reach out to everyone on your wish list, and get people to confirm they’re coming. Your showcase should ideally be taking place in a music hub, e.g. New York, L.A., Nashville, Chicago or Austin.

• Get your fans (and their friends) to come out. Call in all your favors, beg, plead, do whatever it takes to fill up your venue. Make your showcase free admission. You’re trying to woo industry players, not make a profit.

• Bring it. When you step onto that stage, you had better own it. Showcase sets are normally 20-25 minutes, so pick 4-5 numbers that are sure to kick ass. Practice them until your fingers and ears bleed. Make sure your transitions from one song to the next are as seamless and quick as possible. Don’t indulge in unnecessary stage banter, but don’t be too aloof. In general, less is more. Just make sure your “less” is still charming.

• Hang out. Industry people are notorious specters, able to slip in and out of audiences without being noticed. Keep a guest list at the door so you can see who actually came. Do a little research before the show so you know what your invitees look like. If you spot some VIPs, greet them, chat them up, maybe even buy them a beer. The more you connect with the industry reps off stage, the better the chance you’ll connect onstage.

• As always, follow up. Send a thank you to everyone on your list who came. For those who didn’t, reach out with a “Sorry you couldn’t make it …” and invite them to the next show. If at first you don’t succeed … well, you know the drill.

•    Pick the right performer. You’re going to want to choose a band or an artist whose music translates easily to a small acoustic setting. Decide if you want your show to be an introduction to an undiscovered talent or an exclusive listening party for a more widely-known act. If it’s the former, you can keep ticket prices on the low side. If it’s the latter, they may want a guarantee. So think about how many people you can probably get to attend in each case.

•    Determine a good ticket price. If you think you can get 30 people to come, charge $10-$15 per ticket. There are a lot of performers who would be content to make $300-$400 for an acoustic show. If you’ve got a band or an artist with a big following, you can generally charge more and people will be happy to pay it.

•    Consider your space. If you don’t think you can fit 15 people in your living room, you probably aren’t set up to host a house show. If you want to have the event take place outside, make sure you OK it with the neighbors first and have a contingency plan if it rains. Generally speaking, house shows usually have an audience of 30-50. Balance is key here. You want your event to feel intimate and special, but you also want it to feel well-attended. Whatever number you decide on, make sure everyone will be comfortable as they listen to the performance.

•    Sell tickets. It’s important to get people to pay up front, so that when the actual performance day comes they’re less likely to cancel and leave you in your empty house making awkward small talk with a pissed-off musician. We suggest you print up tickets and keep them on you at all times so that if someone expresses interest you can strike while the iron is hot. (Not literally.)

•   Get your place looking hella tight. If you’re not a great house keeper, you may want to consider hiring someone who is. Nobody wants to pay money to go sit in a dump. Make sure you’ve provided ample seating— couches, chairs or even pillows on the floor. Light some candles to create ambiance. Provide wine or beer and some light snacks. And, for the love of Pete, clean your bathroom!

•    Collect emails. This one is self-explanatory. If your first house show is a success, people will want to come to the next. Duh.

•    Come up with a concept for the show. That includes creating a catchy name and designing a logo for it. If you’ve got an interesting theme going on, you can attract more people to your show. Make it a “green” event, make it a costume party… just make sure it sounds like a blast.

•    Book a venue. Look for places that are willing to give up their cut at the door and leave their profits to bar sales. Or, even better, contribute a percentage of their sales to the charity. There’s a tax write-off in there for them, plus the promise of great exposure and a packed house.

•    Put together a bill with 3-4 bands. Think quality — you want the show to be cohesive and enjoyable. But also think quantity — you need bands who have a large draw to attract as many attendees as possible. Let the bands know they’ll get great publicity, free booze and maybe even a tax write-off for participating.

•    Create merch to sell at the show. If you’ve got a logo, why not put it on a t-shirt or mouse pad and make more money than you would simply with ticket sales?

•    Set up a PayPal account for donations. Not everyone is going to be able to come to your show, but that doesn’t mean they still can’t contribute. Setting up a PayPal account will make donating easy, and you can create buttons to add to blogs in the hope of spreading the donation efforts virally.

•    Market. Once you’ve got your venue and bands, it’s time to get the word out. That means invites through your social networking sites, email blasts, fliers, even mailed invitations. Make sure you allow at least a month in advance of your show date for marketing and publicity. Write a press release and send it to newspapers, Web sites and blogs. Make sure you follow up. See if you can get media outlets to donate ad space for free.

•    Educate the masses. People want to know who they’re donating to. Set up an information booth at the event and include literature on your organization so people know how to get more involved.

•    Collect as many email addresses as you can. Two reasons: you’ll want to send out a thank you to everyone who donated and you’ll want a mailing list for your next charitable venture.

Rock on, philanthropists!