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.

If you have no intention of loving or being loved, the whole journey is pointless.

Once upon a time," he said out loud to the darkness. He said these words because they were the best, the most powerful words that he knew and just the saying of them comforted him.

This is the great thing about writing for kids. Adults might not do anything if they recognized me. But if they do see me, and they're with a kid, they'll tell the kid who I am. They think they should give that to the kid. So generally that sends the kid over.

I remember wanting to write a book with someone, the someone being Kate [DiCamillo], and we decided to write about two friends. We had no idea how to begin this project - neither of us had ever collaborated with another writer - and I'm pretty sure that we began by giving our two friends a sock, just to see what they'd do with it. And it went from there.

I'm not exactly sure how old the girls are [in Bink & Gollie], but I can pretty much guarantee that their parents will never show up. That would mess up the fun. I do, however, very much like Kate's idea of having Tony [Fucile] draw their portraits.

At least Lester had the decency to weep at his act of perfidy. Reader, do you know what 'perfidy' means? I have a feeling you do, based on the scene that unfolded here. But you should look up the word in your dictionary, just to be sure.