A Quote by Dan Chaon
A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
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A novel requires a certain kind of world building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see. I would say that all short stories have mystery naturally built into them.
To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.
Short-story writing requires an exquisite sense of balance. Novelists, frankly, can get away with more. A novel can have a dull spot or two, because the reader has made a different commitment.
One capability every business is expected to have is the capability to make money. It requires a certain kind of discipline, a certain kind of mindset.
A certain kind of shittiness, a certain kind of stagnation, a certain kind of darkness, goes on propagating itself by its own power in its own self-contained cycle. And once it passes a certain point, no one can stop it-even if the person himself wants to stop it.
I think I have a certain kind of style. I think at the same time, I'm aware that there's certain things that I did as a playwright in certain plays, and I try not to repeat myself, even though I have a certain kind of sensibility, and I tend to gravitate toward certain things.
The short story is kind of a precision tool. It allows me a certain type of freedom to go in and out of the American landscape, without having to commit myself to a full-length novel. I find a lot of novels out there very boring.
It requires a certain kind of bravery, I suppose, to choose the status quo. There's a certain boldness to inaction.
For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.
When I was a kid, I was obsessed with different planets in the solar system, and I used to create, for every single planet, a different alien race with a certain kind of pet, a certain kind of house, a certain kind of water system, and everything.
A novel is like a long relationship and a short story is a brief one that lingers - it lingers powerfully and maybe more powerfully. I think that's true in a lot of cases, most long-term relationships compared to some of the briefer ones - the intensity of those brief ones that end, I think a short story is kind of like that. There's a certain level of intensity that I think is different.
It requires a certain kind of mind to see beauty in a hamburger bun.
There's this kind of almost - kind of a weird kind of elitism that says well maybe - maybe certain people in certain parts of the world shouldn't be free; maybe it's best just to let them sit in these tyrannical societies. And our foreign policy rejects that concept. And we don't accept it. And so we're working.
The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.
I'm a kind of hard-wired pessimist. I can't help but see the world in a certain kind of way.
Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.
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