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Love is ridiculous. But love is also wonderful. And powerful. And Despereaux's love for the Princess Pea would prove, in time, to be all of these things: powerful, wonderful, and ridiculous.

Kate DiCamillo

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Kate DiCamillo
Age: 60
Born: 1964
Born: March 25
Novelist
Writer
Philadelphia
Pennsylvania
Katrina Elizabeth DiCamillo
Love
Ridiculous
Prove
Wonderful
Powerful
Also
Things
Would
Peas
Time
Princess

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You can always trust a dog that likes peanut butter.
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I was born in Philadelphia and currently live in Minneapolis. I write for both children and adults.
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[He] had the soul of a poet, and because of this, he liked very much to consider questions that had no answers.
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Despereaux marveled at his own bravery. He admired his own defiance. And then, reader, he fainted.
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I journal for about half an hour, and by the time that's done, the business day on the East Coast has begun. The phone starts to ring, and the rest of the day is spent dealing with the business of writing. My workday is done at about 3:00.
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Mercy Watson was a character that had been in my head for a long time.
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The way we started was, Alison [McGhee] said, 'Tall girl, short girl.' We had no plans beyond that.
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Things are not at all what they seem to be: oh no, not at all.
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He was reading from the beginning so that he could get to the end, where the reader was assured that the knight and the fair maiden lived together happily ever after.
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Reading is my passion.
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To me the book is like having a kid. I have to let it go out in the world, and great things will happen. Maybe they won't, but it has to keep on moving.
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Farewell” is not the word that you would like to hear from your mother as you are being led to the dungeon by 2 oversize mice in black hoods. Words that you would like to hear are “Take me instead, I will go to the dungeon in my sons place.” There is a great deal of comfort in those words.
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The image I had was very clear, and so in that way The Miraculous Journey of Edward Tulane began like other books.
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I think of Mercy Watson like a superball there's a bouncy kind of optimism to her stories. She allows me to play, and she makes me laugh. Hopefully readers feel the same way.
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We all live in fear of getting blocked no matter what kind of art we're trying to do. It happens all the time, but I prefer to think of it as a bad day.
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In luggage claim at the Minneapolis airport, the guy came up to me and said, Maybe you're wrong, maybe stories do matter. I wrote that on a scrap of paper and put it above my desk. That was the thing that pushed me through to the end of telling Despereaux, that comment, Maybe they do...maybe stories matter.
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Reading might not be the way that the child engages with the world, but it should be something that they all learn how to do, and that they get to have for themselves, as opposed to somebody telling them what to do and how to do it.
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I didn't start working on children's books until I got a job at a book warehouse on the children's floor. When I started reading some of the books, I was so impressed.
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There is no right or wrong way to tell a story. You have to find your own way. You can get your idea from listening, looking, or imagining. Stories are everywhere. All you have to do is pay attention.
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Reader, you must know that an interesting fate (sometimes involving rats, sometimes not) awaits almost everyone, mouse or man, who does not conform.
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