When people ask me what qualifies me to be a writer for children, I say I was once a child. But I was not only a child, I was, better still, a weird little kid, and though I would never choose to give my own children this particular preparation for life, there are few things, apparently, more helpful to a writer than having once been a weird little kid.

I guess real maturity, which most of us never achieve, is when you realize that you're not the center of the universe.

One thing living in Japan did for me was to make me feel that what is left out of a work of art is as important as, if not more important than, what is put in.

Miss Edmunds was one of his secrets. He was in love with her. Not the kind of silly stuff Ellie and Brenda giggled about on the telephone. This was too real and too deep to talk about, even to think about very much.

I am called to listen to the sound of my own heart -- to write the story within myself that demands to be told at that particular point in my life. And if I do this faithfully, clothing that idea in the flesh of human experience and setting it in a true place, the sound from my heart will resound in the reader's heart.

Children have to have access to books, and a lot of children can't go to a store and buy a book. We need not only our public libraries to be funded properly and staffed properly, but our school libraries. Many children can't get to a public library, and the only library they have is a school library.

Words are humanity's greatest natural resource, but most of us have trouble figuring out how to put them together. Words aren't cheap. They are very precious. They are like water, which gives life and growth and refreshment, but because it has always been abundant, we treat it cheaply. We waste it; we pollute it, and doctor it. Later we blame the quality of the water because we have misused it.