So here I am, sending a two-ounce mouse down into a dungeon with a sewing needle to save a human princess, and I don't know how in the world he's going to do it. I have no idea. That was the first time it occurred to me that writing the story was roughly equivalent to Despereaux's descent into the dungeon. I was tremendously aware of that as I was writing. I thought, "I have to be brave or else I'm not going to be able to tell it." But it's the only way that I can write. If I know what's going to happen, I'm not interested in telling the story.

There is nothing worse than war in the summetime.

The world is dark, and light is precious. Come closer, dear reader. You must trust me. I am telling you a story.

I think I'm succinct to the point of trying to write the two-word novel. Editing my work almost never means taking anything out but rather adding, because I'm always stripping down. I tend to under-write rather than over-write.

I've never worked with a co-author before [Alison McGhee]. Writing for me is a pretty scary thing, so it was a huge comfort to have someone in the room working with me. It became less like work and more like play.

Perhaps," said the man, "you would like to be lost with us. I have found it much more agreeable to be lost in the company of others.

I loved school; I loved the rules, and I liked there being right answers, wrong answers, and being able to give the right answer all the time. And that goes against who many would predict is going to go out and break rules and tell stories for a living.