Dana Spiotta
Dana Spiotta
Dana Spiottais an American author. Her novel Stone Arabiawas a National Book Critics Circle Award finalist. Her novel Eat the Documentwas a National Book Award finalist and won the Rosenthal Foundation Award from the American Academy of Arts and Letters. Her novel Lightning Fieldwas a New York Times Notable Book of the year. She was a recipient of the Rome Prize in Literature, a Guggenheim Fellowship and a New York Foundation for the Arts Fellowship...
NationalityAmerican
ProfessionAuthor
CountryUnited States of America
creating challenges world
I like the challenge of creating a world with only sentences.
teaching thinking giving
My teaching forces me to articulate what I think works in a piece of fiction and how I think it works. All of that gives me energy as a writer.
writing years risk
The writer has to take risks and go somewhere full of mystery and possibility for the novel to deepen over the years it takes to write it.
always-trying curiosity attention
I am always trying to do something new and different. The first step is curiosity, questions. You pay attention to what fascinates you. If you can't shake it, there is something there.
believe character writing
I do want to write about social/cultural/historical context. I'm interested in relationships, in character, but within a specific social context. Which is kind of a political thing, I admit that. But it's what I'm interested in, and it's how I believe human behavior is legible.
profound intellectual trying
You're trying to make the language work, and your subconscious is being allowed to make the deeper, more profound connections. It's much better than going at it all frontally. But you can't conjure it in an intellectual way; it has to come out of another engagement, a more intuitive engagement. Revision is where the intellectual, analytical work happens. At least for me.
real writing character
If you directly try to write about an idea, it will never be what you imagined. But if you're imagining through the building of sentences, through the characters, and paying attention to avoid ease and comfort yet still thinking about making the sentences work, you will get a shot at some real interesting stuff.
character air issues
Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.
moving writing thinking
For me writing is an organic process that starts with engaging the language and then thinking about the structure of the novel as you move along. Especially in revision you start to notice correlations. Things come up, not self-consciously, because you're busy feeling your way through sentences and trying to push the language into new places.
people simplicity ease
Most human things are full of conflict and ambivalence, not ease and simplicity. The world has grown increasingly fundamentalist, and the parameters of discussion have become narrowed. People, when they're fearful, are vulnerable to certainty in rhetoric.
thinking way culture
I think there's a lot to be learned from pop culture. But at the same time I see the dangers of using it in an exclusive way to construct meaning in your life.
past technology impact
I don't feel sentimental about the past, but I can't help noticing how hard it has become to keep a grip on anything. Maybe it's the totalizing impact of corporate culture, maybe it's the atomizing impact of technology.
meaningful want chance
Tell me it's forbidden, unthinkable, and that's where I want to go. Because the chances are it's complicated, and the complications are meaningful.
thinking brave be-brave
The writer has to be brave, I think.