. . .only the victims and survivors can truly comprehend the awfulness of that time and place; the rest of us live on the other side of the fence, staring through from our own comfortable place, trying in our own clumsy ways to make sense of it all.

Children's book writers tend to feel quite superior, and adult writers tend to feel they wouldn't know how to write a children's book - which might surprise you because I think a lot of people think it's the other way around.

War today is such a more visible thing. We see it on television, on CNN. In 1914, war was a concept. There was a naivety and stupidity that war would be a great lark. It's not that different from Gone With The Wind, where all the young men can't wait to go off to fight and then two hours later in the movie, we see how the reality of that has come home to them.

... Nine-year-old boys usually turn ten at some point. It's the nineteen-year-olds who have difficulty turning twenty.

I was a very quiet child, quite introverted, really. Independent, yes; I didn't need a lot of supervision. Less so than I did when I got older, maybe. But I was a bookish child, not surprisingly. I could sit quite happily in a corner for hours and entertain myself with books.

With the adult ones, I feel I need to get as deep inside the psychology of a character as I can, and that needs to be first-person. In the children's books, I feel I need some distance. I don't want to be the nine-year-old at the center of the story. I need to have some type of narrative voice.

Well you've been brought here against your will, just like I have. If you ask me, we're all in the same boat. And it's leaking.