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One of the things I rarely do is write about sex.

Dan Chaon

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Dan Chaon
Age: 60
Novelist
Writer
Sidney
Nebraska
Sex
Write
Writing
Things
Rarely

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There are all kinds of strange threads in American culture, and places where sympathy is extended and places where it isn't, and places where outrage is extended and places where it's not. It's this constantly shifting barrel of eels.
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I think we're always in some ways writing to the teachers who gave us early love.
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I was worried that, as a college teacher, if I wrote too much about intergenerational sex my students would be creeped out.
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Writing a short story is a little like walking into a dark room, finding a light and turning it on. The light is the end of the story.
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When I was younger I was attracted to people who had that kind of artifice - people who were incredibly polished and had a complex persona that always seemed to be turned on. I was really interested in these kinds of people because I felt so unformed.
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In the end, there probably isn't much difference between being in love and acting like you're in love.
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I would say that all short stories have mystery naturally built into them.
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The danger in writing about a world you don't know very well is that you can get lost in it, and sometimes I'll end up with a hundred pages I don't know what to do with.
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I guess I'm curious about how people process grief and how they process loss. And I'm also interested in the ways in which an event can have long-reaching consequences and a life over the course of years.
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At a certain point, you must be able to slip loose. At a certain point, you found that you had been set free. You could be anyone, he thought. You could be anyone.
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I don't think anybody deals well with tragedy or grief, but maybe my characters are particularly bad at it. Which is why I love them.
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The feeling of being an outsider, and the identity theme, are hardwired into me. If there's anything really autobiographical in my fiction, it's that feeling. I always feel that way.
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The happiest I have ever been is in the life that I led with my wife and kids.
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You can't tell people how to feel when they read your work. You can only hope to connect.
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It is not like a premonition of death. It is as if she died a long time ago, and she just now remembered it.
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Writing about women's sexuality is very scary for me because I'm always afraid I'll get it wrong.
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I like to sleep about four or five really solid hours at night, and then sometimes take a nap in the afternoon or early evening after dinner. I love naps.
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A lot of time, with stories, I'll start out with a title and try to dream myself into the story that it evokes - a kind of subconscious exercise in which I'm trawling for some kind of entryway into fiction.
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The kind of person I find myself interested in is a cross between being very emotionally complex and very immature. That's what I felt I was like when I was younger.
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Julie Orringer is the real thing, a breathtaking chronicler of the secrets and cruelties underneath the surface of middle-class American life. These are terrific stories-wise, compassionate and haunting.
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