A Quote by Hilary Mantel
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.' But in the six years of writing that novel, I actually learned to write, to invent things.
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Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.
Writing a first novel was an arduous crash course. I learned so much in the six years it took me to write it, mostly technical things pertaining to craft.
If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
I suppose I started writing seriously at 16 years old. I thought I wrote a novel at 16 and sent it to New York! They sent it back because it wasn't novel.
I had tried writing novels for many years, and they always escaped me. For a long time, I thought, 'It's just not in me to write a novel. It's not something I'm able to do.' It seemed like everything I wrote naturally ended at the bottom of page three. A picture book, three pages; an essay, three pages.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.
The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.
Why do I like to write short stories? Well, I certainly didn't intend to. I was going to write a novel. And still! I still come up with ideas for novels. And I even start novels. But something happens to them. They break up. I look at what I really want to do with the material, and it never turns out to be a novel.
Like lots of people who say, 'I'm going to write a novel,' it's actually more comfortable to think I could write a novel than to discover that you can't.
I don't want to write a novel per year. I know that I need a break of one or two years. So maybe I invent some new, urgent activity so I don't fall into the trap of starting a new novel.
My first published novel, 'American Rust,' took three and a half years of full-time work to write. But I wrote two apprentice novels before that.
My first published novel, American Rust, took three and a half years of full-time work to write. But I wrote two apprentice novels before that.
When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.
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