Kate DiCamillo Quotes About Writing
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For children: I'm writing a picture book about the Big Dipper and a novel about a cricket, a firefly and a vole. For grownups: I'm writing poems.
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If I am just home and writing, I become very strange.
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When I do it [writing] by myself, there's a lot more terror and uncertainty.
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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.
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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.
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I need to write, and I can't write when I'm on the road.
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I was visiting my mother in Florida when the September 11, 2001 attacks happened. I was working on The Tale of Despereaux at that point. I had already gone into writing it with a great deal of trepidation and fear, and then this God-awful thing happens and it was really hard to even get back home to Minneapolis.
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Understand, I had absolutely no interest in writing; I wanted to be a Writer.
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My goal is two pages a day, five days a week. I never want to write, but I'm always glad that I have done it. After I write, I go to work at the bookstore.
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I think we sent Tony Fucile pictures of ourselves, photos from like when we were seven years old. That's what he worked from. He captured exactly what we looked like. I'd love to do another one with Alison, not just for the joy of writing, but also for the joy of watching Tony bring it to life with his illustrations. I'm hoping at BEA, or ALA, I'll get to meet Tony and shake his hand and thank him.
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Hands down, the biggest thrill is to get a letter from a kid saying, I loved your book. Will you write me another one?
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While we were working, we were writing about a tall girl and a short girl, which we thought was funny, because Alison's [McGhee] tall and I'm short.
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[A businessmen in plane after 9\11] asked me, "What are you working on now?" And I said I was writing a story about a mouse who tries to save a princess. I was mortified. Here the world is falling down around us, and I'm trying to tell the story about a mouse who saves a princess. I said "It doesn't matter at all now."
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When I was a kid I loved to read, but I didn't write and I didn't create imaginary worlds. So, if one student walks away thinking, "She's obviously just an ordinary person, yet she gets to make her living doing what she wants to do. Maybe that applies to me, too," then I feel like my time has been well spent.
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A typical day for me is I get up at 6:00, the coffeemaker goes on automatically and the computer gets turned on. I pour a cup of coffee, listen to Garrison Keillor's The Writer's Almanac, and then I write.
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As Elmore Leonard says, I write to find out what happens.
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I work full-time in a used bookstore. I get up. I drink a cup of coffee. I think, The last thing I want to do is write. Then I go to the computer and write.
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It is truly excellent to have someone believe in you and your ability to write. But I think it is just as helpful to have people who don't believe in you, people who mock you, people who doubt you, people who enrage you. Fortunately, there is never a shortage of this type of person in the world ... write for yourself. Write for the story. And write, also, for all of the people who doubt you. Write for all those people who are not brave enough to do this grand and wondrous thing themselves. Let them motivate you.
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When I get to a point in my book writing when I don't know what I'm going to do next, I'll come back look at underlined passages and see if the images I wrote still have a certain amount of resonance for me.
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The Tale of Despereaux came at the request of Luke, my friend's then-eight-year-old son, who asked, "Write for me the story of an unlikely hero with exceptionally large ears."
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One, we [with Alison McGhee] laugh a lot - that was great. Two, I enjoy writing, but it's a lonely undertaking. To have someone in the room with me is an absolute delight and makes it seem less impossible. It became a kind of comforting, joyful process.
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The words, "I have a dog named Winn-Dixie," popped into my head in the voice of a small girl with a southern accent. I'd been writing long enough at that point to know not to ignore that kind of red flag. The next day, I put aside what I'd been working on, started with that one sentence, and followed it all the way to the end.
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I was over at Alison's [McGhee], I think we were playing Scrabble. I remember we were both complaining - yeah, we sound like whiners - about how hard writing is, and how we didn't have a story to work on. Alison said, 'Why don't we work on writing something together,' and I said, 'Eh, I don't know if I could work that way.' She said, 'Well, just show up here and we'll see,' and I said, 'Well, what would it be about?' She said, 'Duh, it'd be about a tall girl and a short girl.' So I agreed to come and try it for a day.
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On the return flight from my mother in Florida , I sat next to a businessman who asked me what I did for a living. I said, "I write," and it seemed totally ridiculous in the face of what had just happened. I mean, I couldn't think of anything more pointless than telling stories. He asked, "What do you write?" I said, "I write children books."
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We were 15 minutes into it and nothing was happening; I thought, well, that's not going to work. Then all of a sudden everything clicked. I don't know how long it took us, but I would just show up at Alison's [McGhee] office. She would type and we'd just kick it back and forth. Writing is so scary for me, such a lonely endeavor, and it became a wonderful thing to show up and have somebody else go through it with me. It was actually a wonderful experience.
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When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.
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Sometimes strange and wonderful things will pop into my head. And sometimes I will see something in the world that is the beginning of a story. I always have a notebook with me so that I can write down what I see and hear.
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Everything I write comes from my childhood in one way or another. I am forever drawing on the sense of mystery and wonder and possibility that pervaded that time of my life.
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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.
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It is always just telling a story, regardless of the age of the reader. Except, if I'm writing something for kids, I know there has to be hope. I don't necessarily feel that responsibility for adults, but I emphatically feel it for children. That's the only difference. There's no syntax difference. There's no semantics difference. There's no thematic difference.
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