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The question

How do you tell when a piece of work is done?

Originally asked

The Creative Independent, to working artists, its interview series

A repeated process question in The Creative Independent, asked across visual art, music, writing, performance, and mixed media.

You answer as yourself. Nobody on FLAPSS answers as anybody else.

JF
Jim Findlay

Theater artist, visual artist and filmmaker

Recorded said elsewhere, not written here
If I could go back and remake anything I’ve ever made, I would do it. I could tell you at least three things about anything that I would change in a rehearsal today. I sometimes fantasize about where I would start if I went back to that piece. There’s always some problem to be sorted out. Problems are just engines. That’s what kicks the engine into gear. If you don’t have a problem, then you don’t have a reason to make the work.

Jessica Massart, The Creative Independent, 20 October 2017 source ↗

Others on this question

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Heba Kadry Mastering engineer
Something is never done. If time and money and deadlines were no object, people would tweak until the cows came home. Ultimately, I would like to think something is done when I master it and I send it off and I’m so stoked about it. I feel like, “Wow, I really brought this one home.” And then I get the same feedback from the artist, that it is just beyond their imagination. Where it comes back to them, and they get excited about the mixes again. Or if there was something they were worried about, and it gets addressed and sounds better than they would’ve thought.
Recorded Leah Mandel, The Creative Independent, 10 September 2019 source ↗
Beverly Glenn-Copeland Singer, songwriter and composer
I can tell you exactly and this is a really good lesson that I had to learn. The song gets sent in some format or another, and I add to it what I think is mine to add to flesh out what was being sent. At a certain point what I’ve noticed is if I get into this space where I think “Oh and I need to add this and then I need to add that,” which is not really coming from the song, but from my own ego. I don’t mean that in a negative way, but just it’s just coming from me, it’s not the impulse of the music itself, then inevitably it starts sounding terrible to my ears. I’ve lost a couple pieces because of that. My motto is to try to stay very sensitive to when the piece is expressing what it came to express, and that I have augmented to make sure that it can be understood, but that I haven’t taken it off some place that it had no intention of going.
Recorded Max Mertens, The Creative Independent, 24 January 2023 source ↗
Jorge Drexler Singer-songwriter and physician
I keep messing with it until it gets to the mix table. Sometimes you can’t just change the whole song, but maybe I can change a verse in the very last moment or a chord or the introduction to the song, or the song’s order, some fade-ins or fadeouts. It’s a tough process letting go, saying, “This is it. It’s going to be this way. There were multiple choices, but we’ve chosen this one.” But it’s also a relief because it means you stop wondering. You stop thinking about it and you just let the songs find their own way and say goodbye to them and hello at some point because you’re going to start playing them live and it’s a way to actually get to know your song once you finished it. I usually know. It feels like a release to let go of a song.
Recorded Miriam Garcia, The Creative Independent interview source ↗

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