The Nature of Creative Inspiration and Practice – Inspiration from Hilary Mantel

Recently I watched and listened to Hilary Mantel speaking at an online event from the Stratford-upon-Avon Literary festival, following the publication this year of her two newest books The Mirror and the Light and Mantel Pieces.

Hilary Mantel with portrait of Thomas Cromwell

I loved what Hilary said about the process of writing.  It seems that she does not subscribe to the belief that we must create a structure beforehand, and plan out our work in detail. In regard to her Thomas Cromwell trilogy, the idea she caught was the notion that the truth behind an apparently “evil” character in English history may be far more complex. And then her curiosity and her love of historical research took her on a long and compelling journey. She talks of catching ideas, and of writing scenes and chapters out of order, and  I loved it.

I’ve read the first two novels in her Thomas Cromwell trilogy, Wolf Hall and Bring Up the Bodies, and plan to read the final book of that trilogy, The Mirror and the Light.

In the past I have indeed tried to create a structure beforehand, and I found it not at all helpful. So personal experience has taught me that Hilary Mantel’s way of writing is more to my taste.  

When you begin to write a novel, it can often be impossible to say  from which source the inspiration has come – and how far back in the past that inspiration had its source.

David Helfgott performing in Sydney
David Helfgott performing in Sydney

Now my latest book Paranormal Warwickshire has been published, I am getting back to work on my next novel Standing Ovation

Thsi is the second in a magical realist series starring Dylan Rafferty, young musically gifted rebel.

The first book, Director’s Cut, sees Dylan tackling a very troubled family in a large house in south London haunted by a family curse.

Dylan seeks to escape the overwhelming influence of his own family and the conventional path they want him to follow through education and his future career. He discovers his favourite actress is filming a TV drama in a nearby Jacobean mansion. He sets off, eager to crash the set and meet her.  He succeeds; and she’s delighted by this unusual, intense, talented boy. But Dylan discovers a deeply dysfunctional family who believe themselves afflicted by an inter-generational curse. The house is haunted by ghosts of previous generations. Dylan comes to believe he alone can save these people through the power of his own musical genius As he plunges deeper into the spiritual and psychic deadlock in the house, he encounters a supernatural being, and finds that he must cross the boundary between this world and another dimension.

The story awaits further editing, and I’d also welcome any willing beta readers!

Meanwhile I’m completing the sequel.

In Standing Ovation, Dylan has moved forward from the position he was in at the end of Directors Cut, but he now seeks a quantum leap in his career. 

He’s in Stratford-upon-Avon, staying with his friend Xavier, a stage manager at the Royal Shakespeare Theatre. Then he lands a post as personal assistant to his idol, Konstantin Kosoff, mentally and physically fragile concert pianist, currently controlled by his two highly dubious brothers. Dylan enters another highly dysfunctional and dangerous household and plunges into a position only vacant because the two previous post-holders died in mysterious circumstances.

There are several people who might inspire me for some aspect of my fictional great pianist. I already have in mind the central inspiration; but that may change as I continue the novel, because when writing we may find elements entering the story from the subconscious. I won’t be able to tell how strong a part any of these elements may play until the story decides for itself, and reaches completion.

Do you other writers out there find Hilary Mantel’s approach rings a bell for you? Or do you rely on creating structure beforehand, and planning out the novel in detail? I’d love to know your own creative practice!

Historical Novels versus History Books, and Hilary Mantel’s Wolf Hall: The Power To Make You Feel You’re An Insider in the World of Henry VIII

Hilary Mantel’s  success in winning the Man Booker Prize for her novel “Bring Up the Bodies” has provoked many varying opinions of her work. For my part, I look forward to reading this second book in her Tudor Trilogy.

Hilary Mantel has opened up the life of Thomas Cromwell (photo credit: guardian.co.uk)
Hilary Mantel has opened up the life of Thomas Cromwell (photo credit: guardian.co.uk)

The other day I had a conversation with a keen reader who said, “I don’t like historical novels. I’d far sooner read a history book. If I read a historical novel, I think: But how can they possibly know?”

Of course, how can Hilary Mantel possibly know? But when I’d finished “Wolf Hall”, I felt as if I’d been an insider in the world of Henry VIII. I bought the book following a friend’s recommendation. She said she found it so powerful that she couldn’t read anything else for a considerable amount of time after she’d finished it.

And certainly, reading this book changed the view I previously held of Thomas Cromwell, whose mind we are in throughout the novel. Upon reading Hilary Mantel’s account of this man, I admire him and can understand his role in relation to Henry, and his extraordinary gifts as he navigated Henry’s changing whims.

As to Henry himself… what was his prayer? That he might have a healthy, long-lived, legitimate male heir to take over the English Throne for the Tudors, and hold it strongly into the future.

I can imagine now how he must have felt each time Katherine of Aragon and Anne Boleyn miscarried a child. He felt professionally devastated and personally anguished; frightened that he had incurred the displeasure of God; afraid that after having been in his hands the throne would go where he did not want it to go; afraid his hopes and dreams would never be fulfilled; afraid that this was God’s punishment. After all, the English Throne was his professional business, his livelihood, his calling.

Now, of course, with historical hindsight, we can see how wrong he was:  wrong to have Anne Boleyn beheaded; and wrong to have various people brutally slaughtered for not agreeing with his divorce, and for not thinking the right things at the right time about religion, and for thinking he, Henry, was wrong.

But what should he have done instead, according to us with our historical hindsight? We may think he should have stuck with Anne Boleyn, forgiven her, and patiently and with forbearance lived out his life married to her.

What actually happened? Ultimately the English Throne became strong and proud under a very long reign by the child Anne Boleyn bore him – notwithstanding the fact that this monarch was a female – a monarch who became in the eyes of many then and since, Britain’s best and most famous monarch: Elizabeth I.

So we may well say that God answered Henry’s prayer – but not in the way he expected.

This philosophical rumination has been inspired by “Wolf Hall” simply because so many of us are familiar with the Tudor story – but in fact the narrative of this, the first novel in the trilogy, only goes as far as the execution of Sir Thomas More leaving the downfall of Anne Boleyn still in the future.

Perhaps the thing that most fascinated me about “Wolf Hall” is the way the reader follows through delicate, graceful, civilised conversations – gentle, balanced, measured… and then out of them comes a decision to burn someone alive, or have them hanged, drawn and quartered.

One sentence in the book stands out for me: “all that youth, beauty, grace and learning, turned to mud, grease, and charred flesh.”

Emotionally stirring, moving, shocking and instructive, what this book shows you about human nature  will stay with you.