A Quote by Octavia E. Butler

I had novels to write, so I wrote them. — © Octavia E. Butler
I had novels to write, so I wrote them.
I was writing all my childhood. And I wrote two novels when I was 17, which were terrible. And I'm not sorry I threw them out. So, I wrote. I had to write. You know, the thing was, I had no education.
Well, writing was what I wanted to do, it was always what I wanted to do. I had novels to write so I wrote them.
I wrote my first two long novels and an anthology of short narratives, when I was a manager of my own jazz bar. There was not enough time to write and I didn't know how to write novels. Therefore, I made written collages of aphorisms and rags.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
I'm not embarrassed about the novels I wrote when I was younger, but I couldn't write them today because of my religion.
I'm remembering one book that I wrote, 'Fourth Grade Rats,' that took a month to write, but most of them, full-length novels, I would say about a year.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I know that many writers have had to write under censorship and yet produced good novels; for instance, Cervantes wrote Don Quixote under Catholic censorship.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
I always wanted to write novels, even before I had read a lot of novels or had a very good idea of what they were.
At Princeton I wrote my junior paper on Virginia Woolf, and for my senior thesis I wrote on Samuel Beckett. I wrote some about "Between the Acts" and "Mrs. Dalloway'' but mostly about "To the Lighthouse." With Beckett I focused, perversely, on his novels, "Molloy," "Malone Dies," and "The Unnamable." That's when I decided I should never write again.
I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.
When I was a teenager, I thought how great it would be if only I could write novels in English. I had the feeling that I would be able to express my emotions so much more directly than if I wrote in Japanese.
I had a series of terrible jobs, whatever would allow me to write for four hours during the day. During that time I wrote three novels - all of which were extraordinarily poor. I decided after that to go and get my MFA.
I wrote seven Myron Bolitar novels in a row, and I never want to write a Myron book where he just solves a crime. Every one of them I want to be personal, and I want him to grow and change. The problem with that is, it makes the series limited, you can't write a series where a guy is always going through some kind of crisis.
I am trying to write novels for properly clever people, but I also want them to be proper novels that also stick in a person's mind and have an atmosphere about them.
This site uses cookies to ensure you get the best experience. More info...
Got it!