Danzy Senna Quotes

I wrote a pilot for a show that was based on my work. I wrote an original pilot for a limited series that is still out there being shopped around. … What I felt writing scripts is, I really like it. It's very interesting and sort of technical-feeling compared to writing novels. And I will continue to do it because it's a nice break between books, and it kind of can pay … to get a new stove in your kitchen, like there's actual financial benefits to doing it. But I think my soul is in the page and in writing novels. Being in control of the entire universe that I'm writing is really what feeds me on a much deeper level. And so I will never kind of fully abandon the written word. It just feeds me in a whole other way, but unfortunately doesn't literally feed me or my children.

For both of my parents, it was very clear to them we were going to identify as Black — in a city as racist as Boston, in a country as racist as America, that the identity in us that needed protecting and shoring up was our Black identity. It wasn’t the white side of us.

Writing is so hard. It’s terrifying. And yet, when it goes well, it’s magical – better than any drug. You write for that fleeting moment when you get to see your Frankenstein creation come to life.

I think it’s always true for every writer that your debut novel stands on its own, but your second novel is always seen in relation to what came before.

Novels are more like a marriage, stories more like affairs. A novel is something you live with for years and the characters in it become your second world, your second life. You think about them when you are not with them. You consider breaking up with them. You love them, you hate them. You fear them and avoid them and then run toward them and have a hard time extricating yourself from them. It’s such a whole body and mind experience that when it’s over and you are finally done, you experience real grief. Relief too, but also grief and a kind of identity crisis. You don’t know who you are without these characters to return to and wrestle with.

I think all serious artists at some point waver in their self-belief. But you also have to have those moments when you are deluded enough to believe that some crazy thing will work out. Even if it means returning to what you intended to do to begin with.

...To grapple with race is not at odds or separate from the craft of writing fiction.

I probably shouldn’t admit this, but writing for me sometimes begins in a spirit of revenge. I looked it up recently: the word revenge comes from the Anglo-French revengier, sharing lineage with vengeance, which originates from the Latin vindicāre, meaning “to assert a claim, claim as one’s own.” I write to lay claim. To claim the world as my own... Sometimes the spirit of revenge comes from a more personal, petty place. I want to tell how someone wronged me. But what I love about fiction is that nothing ends where it begins. In the writing, I am forced to identify with the person who wronged me and to look critically on the protagonist who was wronged. Through endless drafts, I’ve drifted so far away from the original story—so far from the spirit of revenge—that I find myself in a more tangled and interesting new place. So the real act of revenge is that I was able to make art out of the ashes of real pain. I’ve never been convinced that what doesn’t kill you makes you stronger. But if you know how to make fiction out of lived experience—how to turn the “me” into a “she,” how to find the story that didn’t happen within the one that did—you don’t walk away from the calamity empty-handed. In a spin on the old Zen saying, the obstacle is not just the path but the muse itself. Or, in Nora Ephron’s words, “everything is copy.”

My mother had this book lying around our house in the 1980s called “The Big Book of Jewish Humor.” I remember looking through it as a kid and understanding that Jewish people had their own inside jokes, and this fact alone somehow made me feel that Jewish people were their own club, a tribe, with an inside and an outside.

I use the word mulatto a lot in my work, and I have sort of rejected the more politically correct term of "biracial" or "multiracial," mainly because it's meaningless and vague, and it could describe any two or three mixes that one could be. But mulatto — as problematic as the word is, and it comes out of slavery and the sort of pseudoscientific ideas of race, as problematic as it is — it's the only word that really describes this very specific experience of being Black and white and being that mixture in America, which is, singular, and I think an important distinction from the other mixes.

Late in “Colored Television,” Jane returns to a passage by a (white) scholar whose study of mulattos influenced her doomed manuscript. “My life’s work has been to try to define a people that cannot be defined or even located — for the mulatto is the only race in our nation’s history that is perpetually shifting, changing colors, morphing into something unrecognizable,” the scholar writes.

I was making fun of the fact that the people with the least financial reward – the smallest piece of the pie – fight the most viciously amongst themselves. In other words, poets. There is no practical or market value to what poets do. It’s probably the purest form of writing in the artistic sense, but perhaps because of this, it’s the most ego-driven. Don’t get me wrong, I love poets, but there is a level of snark in that world that puts to shame any other genre. Novelists are second – almost as bad as poets about one another. I’ve never seen anyone get so much deep pleasure as a novelist reading a terrible review of another more successful novelist. Television is unlike poetry or fiction in that it’s a collaborative art. And because of this, amongst TV people there’s less viciousness on the surface. At least Jane [the protagonist of her novel Colored Television - Wikiquote] thinks so. But just beneath that smiling surface, there’s something maybe more dangerous.

With my first novel, when I was having such a hard time letting it go, I remember my brother saying to me, “It’s just a record of your creative mindset in a particular moment. You can’t drag it into the next moment. Let it be a record.” That was very helpful to me in terms of letting go – understanding there is no perfect version of the novel, there is only a time and place you wrote it as well as you could, reflecting your preoccupations, and then you move on.