For many artists, the measure for success follows a bigger-is-definitely-better type of formula. Danielle Howle, however, is one of the few musicians who throws this whole equation off.

A singer-songwriter with the onstage energy of a six-year-old who ate a chocolate bar before bedtime, Howle plays genre-bending songs influenced by everything from slow country to lively punk.

The do-it-all entertainer, who intersperses sad sets with quirky comments and a laugh-at-herself attitude, recently released Skorborealis -- her seventh independent album to date -- with the band she plays with, The Tantrums.

On March 28, Howle shared a little bit of her experience as an independent musician, answering questions and playing music at a program in Pollock Commons. Afterward, the 34-year-old, Columbia, S.C. native, who has endured stints as a hot dog vendor to pay the bills, took some time out to let us in on what it really means to be an indie artist.

And, of course, why she thinks it's all worth it.

Kim Tranell: What are the benefits of going the independent route?

Danielle Howle: With any business, it's good to learn about it in a comfortable setting and at a pace you're maintaining. I think it helps artists make better decisions if they start off independent. When you're in a situation where you're learning and building something from ground up, many different skills come into play -- managing skills, thinking skills, time management skills.

KT: For someone who has never heard your music, how would you describe it?

DH: That's been the problem all along. I can't seem to describe it. Neither can people who work with me. I don't have one particular genre of music. It's just what the story tells me to write. When I get the idea -- I call them stories, little three-minute stories -- I just let it happen to me. Sometimes the ideas want to be country, other times they want to be rock 'n' roll. I just let it happen.

KT: How do you think staying independent has helped you avoid being pushed into one specific genre or being given one defining label?

DH: I don't think that it necessarily has. I think people have to stamp something on there, and that's fine. I think it's helped me to become more diverse because I don't have any restraints on me. I don't have to.

KT: Is there anyone who has a major label contract you would consider taking?

DH: Elliott (Smith), when he was doing stuff, because he could still put out his own material. I mean, if the deal was right, I don't see the problem with doing it. I don't feel like it's a "sellout" thing. I would consider it, but my terms are so stiff that I'm kind of shooting myself in the foot.

KT: I've heard Columbia (S.C.) has been pretty good to you and other independent musicians. What makes a town indie-friendly?

DH: Columbia is definitely going through some serious ups and downs. It's really hard for our really small local bands to get gigs. I guess what I like -- what I think works in a town -- is having some kind of gathering place, or some kind of place that people feel comfortable going to watch music. It doesn't have to be a rock club. It could be a number of different places, but it's established over time. Like on Friday night, everybody goes down to the VFW hut and chills out, and it makes shows happen.

KT: For people trying to look beyond what's on the radio, who are some independent artists you would point them toward?

DH: Spottiswoode -- they're out of New York -- and Django & The Regulars. Those are two of my favorite groups. I would highly recommend them to anybody, and I just don't recommend that much. I'm a snob (laughs).

KT: At 18, some major labels were courting you. What makes an 18-year-old mature enough to realize she isn't ready for a big-time deal?

DH: I don't know. I just had a mistrust for the world that paid off at that point. I think that's basically what it was. I mean, who knows if they would have signed me or not. They were just really persistent about it, and I think that they might have. I just can't say because it was so long ago now.

KT: Most musicians are constantly working towards that major record deal, and you're just comfortable staying independent for now. What are the moments that tell you it's all worth it?

DH: When I get on things like Mountain Stage, or coming here, or playing with people I respect. But mostly if I'm seeing that people are still coming out to see me and that my audience is growing and my Web site's growing. And as long as I see that my songs are still good.