Right, right, totally. It’s the advantage.
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.
Alessandro Cassin, Geography? It Doesn't Exist: Antonio Lobo Antunes with Alessandro Cassin, The Brooklyn Rail, 1 November 2008 source ↗
Others on this question
View all 69 →Michael Chabon talks about staying with projects that you should abandon. He talks ignoring what he called “the hand of dread,” which would grip his throat every time he sat down to write. He worked on this project for five years and I took that to heart. I’m like, “Don’t ignore the hand of dread. If you know, the project is wrong, walk away or you’re not ready to write the project walk away.” And it doesn’t, at that point, matter whether the publisher thinks it needs to come out or not.
Most EPs I’ve done have just been for fun, Bandcamp stuff, so I just stop when…I guess with EPs, it’s easier. It’s like, “Oh, EPs are usually four or five songs.” I know it will end within that bracket.
Sometimes when I listen to it, I’m still editing it in my head a little bit. At a point, you need to realize that you have to stop and be outside of yourself. You want to take it seriously, but you also know in your heart that you’re making it worse by over-editing or over-processing or over-adding.
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