Most DJs have one bio. It was written once, for one thing, and now it gets pasted everywhere. It is too long for a flyer, too short for a festival page, and a little out of date for both.
The fix is not a better bio. It is three bios, each written for the place it will be read.
The one line
This is the version people see most, and the one most DJs skip. It goes in your social profiles, under your name on a lineup post, in the first sentence of a booking email, and in the caption when a venue shares your set.
One line should say what you play and where you play it. That is all. "House and disco DJ based in Brooklyn, playing warm records for late rooms" tells a promoter more in two seconds than a paragraph of adjectives.
Leave out the words everyone uses. Eclectic, passionate, unique and journey do not tell anyone anything. Say the genre. Say the city. Say one thing that is only yours.
Write it, then read it out loud. If you would not say it to someone at the bar, rewrite it.
The one paragraph
This is the working bio. It goes on your press kit, in the body of a pitch, and on any page that asks for "a short bio." Aim for four to six sentences.
Start with the same idea as your one line, then add the proof. Where have you played that a promoter in your city would recognise. What have you released, and on which label. What night do you run, if you run one. Then finish with what you are doing now, so the reader knows you are active.
Keep it in the third person. A promoter will copy and paste it into their own post, and "I" breaks when someone else posts it.
Pick your best three or four credits, not all of them. A list of twenty venues reads like filler, and the good ones get lost in it. If a name will not mean anything to the person reading, cut it.
The one page
This is the long version, and most of the time nobody asks for it. When they do, it is for a festival program, a press feature, a label announcement, or an interview where the writer wants background.
Here you can tell the story. How you started, what changed, the residency that taught you how to read a room, the record that opened doors. Write it in short sections so someone can lift one part without the rest.
Still keep it honest and specific. A page of big claims is harder to use than a paragraph of small true ones. Every line should be something you would be happy to see quoted.
Where each one goes
A simple rule: the shorter the attention, the shorter the bio.
Social profiles, lineup graphics and email openers get the one line. Press kits, pitches and venue pages get the paragraph. Festivals, press and long interviews get the page, and only when they ask.
Keep all three in one place, and update them together. When you land a new residency or a new release, change the paragraph first, then check whether the one line still fits. The long version can wait until someone asks for it.
One last check
Before you send any of them, look at the date. A bio that still says "upcoming release" for a record that came out last year tells a promoter you are not paying attention. Five minutes every few months keeps all three true.
Put your paragraph bio on your press kit at my-epk.com, where promoters already look.