The experienced writer says to the anguished novice: 'Just do it; get something, anything, on to the screen or page, just establish a flow of words, and criticise them later.' You give this advice but can't always take it.
Hilary MantelRead
I spend a lot of my time talking to the dead, but since I get paid for it, no one thinks I'm mad.
Interpretation
The quote humorously reflects on how unconventional professions are viewed when they are commercially viable.
Hilary Mantel's quote highlights the peculiar nature of her profession as a writer where she engages with historical figures and events through her imagination and research. It points out the thin line between madness and creativity, suggesting that as long as one is compensated for their time spent on such pursuits, society tends to accept and even celebrate these eccentricities.
In practice
In a lecture about the creative process, I shared this quote to illustrate how writers connect with the past.
The experienced writer says to the anguished novice: 'Just do it; get something, anything, on to the screen or page, just establish a flow of words, and criticise them later.' You give this advice but can't always take it.
History is always changing behind us, and the past changes a little every time we retell it.
Why are we so attached to the severities of the past? Why are we so proud of having endured our fathers and our mothers, the fireless days and the meatless days, the cold winters and the sharp tongues? It's not as if we had a choice.
He is careful to deny responsibility for September, but he does not, you notice, condemn the killings. He also refrains from killing words, sparing Roland and Buzot, as if they were beneath his notice. August 10 was illegal, he says; so too was the taking of the Bastille. What account can we take of that, in revolution? It is the nature of revolutions to break laws. We are not justices of the peace; we are legislators to a new world.
It is the absence of facts that frightens people: the gap you open, into which they pour their fears, fantasies, desires.
History offers us vicarious experience. It allows the youngest student to possess the ground equally with his elders; without a knowledge of history to give him a context for present events, he is at the mercy of every social misdiagnosis handed to him.
I've made movies that I thought were good. I've made movies that I thought were okay, but then I was very good. And sometimes you're in a movie and you think, I wish more people saw that - because you're good. And it just works out that the movie gets lost. But that's show business.
I think plays have nothing to do with one's own personal life. Not in my experience, anyway. The stuff of drama has to do, not with your subject matter, anyway, but with how you treat it. Drama includes pain, loss, regret - that's what drama is about!
I do not think writers ought ever to sit down and think they must write about some cause, or theme, or something. If they write about their own experiences, something true is going to emerge.
Music is a beautiful opiate, if you don't take it too seriously.
I'd rather hold one note for an hour and modulate it so that it means something than play 3,000 notes in 15 seconds.
Dumbing down takes many forms: art that is good for you, museums that flatter you, universities that increase your self-esteem. Culture, after all, is really about you.
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