Additionally, Liesl and Po is the embodiment of what writing has always been for me at its purest and most basic--not a paycheck, certainly; not an idea, even; and not an escape. Actually, it is the opposite of an escape; it is a way back in, a way to enter and make sense of a world that occasionally seems harsh and terrible and mystifying. (From the "Author's Note" at the end).

That’s just the kind of thing that kids do to each other. It’s no big deal. There’s always going to be a person laughing and somebody getting laughed at. It happens every day, in every school, in every town in America—probably in the world, for all I know. The whole point of growing up is learning to stay on the laughing side.

Maybe it would be better if we didn't love. If we didn't lose, either. If we didn't get out hearts stomped on, shattered; if we didn't have to patch and repatch it until we're like Frankenstein monsters, all sewn together by who knows what

Po flickered. "Thank you?" it repeated. "What is that?" Liesl thought. "It means, You were wonderful," she said. "It means, I couldn't have done it without you.

They couldn’t have known that even this was a lie—that we never really choose, not entirely. We are always being pushed and squeezed down one road or another. We have no choice but to step forward, and then step forward again, and then step forward again; suddenly we find ourselves on a road we haven’t chosen at all. But maybe happiness isn’t in the choosing. Maybe it’s in the fiction, in the pretending: that wherever we have ended up is where we intended to be all along.

And how she looked at me like I could save her from everything bad in he world. This was my secret: she was the one who saved me

Don't worry about what you're writing or whether it's good or even whether it makes sense.