"I think it's bad to talk about one's present work, for it spoils something at the root of the creative act. It discharges the tension"
About this Quote
Mailer is taking a swing at the modern compulsion to narrate ourselves in real time. For him, talking about a work-in-progress isn’t harmless “process”; it’s a leak in the vessel. The phrase “spoils something at the root” frames creation as not merely craft but a volatile, half-conscious state that depends on pressure, secrecy, and risk. Say it out loud too early and you turn an unsettled, living question into a tidy anecdote. You trade the difficult, private engine of the thing for a social version that can be approved, questioned, or politely misunderstood.
“Discharges the tension” is the key. Mailer understood writing as combat: against laziness, against doubt, against the temptation to simplify. Tension is the charge that keeps you returning to the desk; it’s the unresolved itch that demands form. Talking provides premature catharsis, the same way explaining a joke can drain it of power. Once the work has been translated into conversation, it becomes manageable, and manageability is often the enemy of ambition.
The subtext is also ego and superstition, two forces Mailer knew intimately. To speak about the work is to solicit validation, to turn the writer into a performer before the book exists. It invites the culture’s favorite trap: a pitch replaces a novel. In an era that increasingly rewards visibility over completion, Mailer’s warning feels less precious than strategic. Silence, here, isn’t mystique; it’s protection for the part of art that can’t yet defend itself.
“Discharges the tension” is the key. Mailer understood writing as combat: against laziness, against doubt, against the temptation to simplify. Tension is the charge that keeps you returning to the desk; it’s the unresolved itch that demands form. Talking provides premature catharsis, the same way explaining a joke can drain it of power. Once the work has been translated into conversation, it becomes manageable, and manageability is often the enemy of ambition.
The subtext is also ego and superstition, two forces Mailer knew intimately. To speak about the work is to solicit validation, to turn the writer into a performer before the book exists. It invites the culture’s favorite trap: a pitch replaces a novel. In an era that increasingly rewards visibility over completion, Mailer’s warning feels less precious than strategic. Silence, here, isn’t mystique; it’s protection for the part of art that can’t yet defend itself.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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