A Quote by Dan Chaon

I usually have more than one thing I'm working on at once -- I've been working on three different novels. When I get stuck on one, I hop back and forth. It's sort of freeing: I can say I'm abandoning this thing that I hate forever and I'm moving on to something that's good. I'll find that I'll go back to [the other project] in a day or a week and like it again. But that moment of wanting to trash something -- that Virginia Woolf moment when you have to be stopped from filling your pocket with stones -- comes pretty regularly for me. Switching is probably a good thing.
I usually have more than one thing I'm working on at once - I've been working on three different novels. When I get stuck on one, I hop back and forth.
Once I get on something, once I have something that I'm working on, then I become very obsessive. In a good way. I mean,... is there a positive way to say obsessive? It's a good thing and if you're out there and you're working on something right now and you're crazed and you're up in the middle of the night, or you can't stop thinking about it, or you have to keep reading other things about the subject that you're working on or whatever. That's good and I think that's necessary creatively.
I was always searching, always seeking the next big thing, because that was the thing that was going to make everything all right again. And while I was working toward it, it gave me something to think about other than that thing I couldn't put my finger on. But it always came back.
I'm just a music fan. I like pretty much all types of music, and I feel like I can get something out of everything. It just makes work a lot more fun whenever you're working on different things all the times and usually once I work with a band I usually will want to work with them again, just because we become good friends. That sometimes is the only bad thing, is that I work with bands that I already know. That's not really the best thing in the world because I should always be keeping my eyes out on other things.
I like working in small teams where people on the team have very different skills than what I have and that banter back and forth, and the ability to build something collectively that none of you could do individually is actually a really useful and valuable thing.
There are some people in your life who bring back old memories. And there are others - your first kiss, your first love, your first sex - who, the moment you see them, bring a spark...and something far more potent. They bring back your old life and with that, potential. And possibilities. And the feeling that if you were back in that time, life could be so very different from where you're stuck right now. That's the most tantalizing thing....I want my potential back.
One thing I've learned is that the audience not only wants to be talked to but they also like to talk back. Maybe that's not a universal thing but people at my shows always have something to say. I love it because it encourages the spirit of having a good time together and it takes the show to places that I wouldn't be able to take it without their participation. The show becomes something that we're all working on together. That sounds really cheesy but I mean it.
I am quite happy that the Beatles came and went. There is even a sort of glory in not having it go on forever. There is a complete body of work that went from A to Z and it is all pretty damn good stuff. The one thing I am particularly proud of is that nearly every single bit of it has some good message. I feel fortunate when I look back. Life is not easy, but I've been very lucky - and I'm touching wood as I say that.
When I'm in a session with someone I don't know, I like hanging out for a moment and talking and seeing if we can find some similarities in whatever conversation we're having. The best thing is when you just go for it - just do something that feels good and makes you feel free in the moment.
Sometimes you can get stuck doing the same kind of thing over and over again, and then there's a certain moment in your life when you say, 'Wait, there's all this other stuff in me and all this other life.'
To act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting. You know you can't go back next week and fix it. Whereas in a live audience you know it's so in the moment and you just go with what's happening. First of all you never have to see it again so you don't know if you were really fulfilling it or not.
In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.
I have a lot of maneuvers in my back pocket, so to speak. And to me, the thing is to always surprise the audience so they're always seeing something new, and not just get stuck in the same rut.
This is the good thing about commercials, is one week I'm working with Derek Cianfrance and the next week I'm working with another really good friend.
That's the thing with football: you have some good games, you have some bad games but the main thing is that you go back, you recap and next week you're ready to fight again. That's the main thing.
I say to my students that I can't teach them how to write a good song, but I can teach you how to write a better song. Talking about this idea of it being a process. By going back and not settling for something and find a way to step back from your songs-which is a very hard thing to do-but when you're stuck or you can't move forward, start doing some polishing.
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