“Write what is important to you, regardless of fashion or marketability or anything like that – all those things are so far out of your control that you may as well not think about them. Of course, this may mean you’ll never be published but that’s a risk we all take every single time we set hands to keyboard or pen to paper. For me, if I can sit back at the end of a project and say, ‘yes, I stayed honest, I said what I wanted to say, and I made it sing to the best of my ability’, then I’m happy enough. Of course, if anyone wants to buy the damned thing off me when I’m done, that’s jam I won’t refuse.”

“(on teaching writing) So many writers come to class with one question dominant in their mind, 'How do I make a living from this?' It's a fair enough question and one I always try to answer well - but it saddens me that it so often overshadows the more relevant questions of 'why am I writing' and 'what am I saying' and 'how do I keep it honest.”

“On the Hunger Games Fan Race fail and the portrayal of POC in fantasy literature:It is as if the POC in the text are walking around with a great big red sign over them for some editors and it reads I AM NOT A REAL CHARACTER. I AM A PROBLEM YOU MUST DEAL WITH. The white characters are permitted to saunter about with their physical descriptions hanging out all over the place, but best not make mention of dark skin or woolly/curly hair or dark eyes (Unless, of course, that character is white. None of my white-skinned dark-eyed characters had any problem being described as such. And I’m pretty sure that Sól’s curly hair never gave anyone a single pause for thought.) As I said, I understand the desire not to define a POC simply by their physical attributes, and I understand cutting physical descriptions if no other character is described physically – but pussyfooting about in this manner with POC is doing nothing but white wash the characters themselves. It’s already much too hard to get readers to latch onto the fact that some characters may not be caucasian, why must we dance about their physical description as if it were some kind of shameful dirty little secret. You know what it reminds me of? It reminds me of the way homosexuality used to only ever be hinted at in texts. It was up to the reader to ‘read between the lines’ or ‘its there if you look for it’ and all that total bullshit which used to be the norm.”

“(CBI lecture, Dublin, 2008. Speaking on the challenges presented by The Moorehawke Trilogy to the YA reader)You can't choose any of these characters and say, 'Yes! I'm completely on your side. You are the good guy! You are the one I agree with.' Because at some stage along the way every single one of these characters will let you down. They may not want to. They may have no choice. But they will let you down.”

“Do you have an audience in mind when writing? (March 2010 Bookgeeks interview)In terms of story, the only audience I have in mind is me. I’m very much aware that I can’t please everyone when it comes to story, so I might as well try to please myself. But in terms of communication with the reader, I am very aware of the audience. Readers can’t hear my tone of voice or watch my expressions; a sheet of white paper and a series of little black marks is all they have – and via that sheet of paper and series of little black marks I need to convey an entire universe, I need to make characters who breath. I can’t do that without bearing the audience in mind.”

“On the ghosts in Moorehawke & Into The Grey/Taken Away:The ghosts ...are symbolic of those unresolved moments in history that linger, and affect the next generation. Sometimes this happens without that generation ever really knowing the truth of what has come before. This is so true of war, I think, where we are often only left the stories that the previous generation wanted us to hear... How much harder would the truth be to deny were it lingering about as an actual manifestation of the past?”

“I made up my mind I was going to find someone who would love me unconditionally three hundred and sixty five days a year, I was still in elementary school at the time - fifth or sixth grade - but I made up my mind once and for all.”“Wow,” I said. “Did the search pay off?”“That’s the hard part,” said Midori. She watched the rising smoke for a while, thinking. “I guess I’ve been waiting so long I’m looking for perfection. That makes it tough.”“Waiting for the perfect love?”“No, even I know better than that. I’m looking for selfishness. Perfect selfishness. Like, say I tell you I want to eat strawberry shortcake. And you stop everything you’re doing and run out and buy it for me. And you come back out of breath and get down on your knees and hold this strawberry shortcake out to me. And I say I don’t want it anymore and throw it out the window. That’s what I’m looking for.”“I’m not sure that has anything to do with love,” I said with some amazement.“It does,” she said. “You just don’t know it. There are time in a girl’s life when things like that are incredibly important.”“Things like throwing strawberry shortcake out the window?”“Exactly. And when I do it, I want the man to apologize to me. “Now I see, Midori. What a fool I have been! I should have known that you would lose your desire for strawberry shortcake. I have all the intelligence and sensitivity of a piece of donkey shit. To make it up to you, I’ll go out and buy you something else. What would you like? Chocolate Mousse? Cheesecake?”“So then what?”“So then I’d give him all the love he deserves for what he’s done.”“Sounds crazy to me.”“Well, to me, that’s what love is…”