Q: Do you have any advice for writers?
I have a section of this website devoted to advice for writers.
Q: Will there be any more Folk of the Air books?
How the King of Elfhame Learned to Hate Stories won’t be the last thing I write set in Elfhame, but I can say no more than that for the moment.
Q: Will there be any more Magisterium books?
Cassie and I had a wonderful time writing that series, but she’s very busy right now! Maybe when she has some more free time, but knowing what I do about her schedule, that won’t be for years.
Q: Will there be a sequel to the Coldest Girl in Coldtown?
Coldest Girl in Coldtown was written as a stand-alone, but I know what happens next and I’ve been thinking more and more that a sequel could be in the near future.
Q: Are you ever going to write more Spiderwick books?
We have no plans at this point, but maybe someday in the future we will do another project together. We’re still great friends, and I’d love to work with him again.
Q: Do you really know the Grace children? Can I have their address?
I really know the three kids who told us the story, but their real names were changed in the books. I also can’t give out their address. Their parents are very concerned about protecting their anonymity.
Q: Are you ever going to write more Modern Faerie Tale books?
The Modern Faerie Tales, Darkest Part of the Forest, and the Folk of the Air books are all set in the same world. We do get to see some of the characters from Tithe have a role in the events of the Folk of the Air series.
Q: Are you ever going to write more Curse Worker books?
I hope someday I get to come back and write one or two more books in that series, but for now I’m happy with where I left everyone.
Q: What happens after the end of Doll Bones? And was there really a ghost?
Doll Bones is meant to be open ended. Not all the questions are answered, so readers can use their imagination if they want to. Feel free to speculate yourself— what do you think will happen? Was the ghost laid to rest? Was there ever a ghost at all? Will Poppy, Zach, and Alice stay friends? Will they keep playing some form of the game, and if so, as they grow up, how will the game change?
Q: Will there be a sequel to Doll Bones?
Although I love the characters, I don’t think I’d ever want to write about what happens next. I think it’s important that there not be a sequel, so that you get to decide both what you think happened in the book and what you think will happen next to the characters.
Q: Is there going to be a movie/TV series about [insert project] ?
I want to take a step back and explain a little about the process of getting something made. Oftentimes when people ask this question, they ask “Are you going to make a movie of [insert project]?” Movies and TV require many millions of dollars, a lot of technical know-how, and the ability to secure distribution – I can’t do any of those things on my own. For one of my books to become a film or TV series, the following would have to happen:
1. The project would have to be optioned by a production company or studio. This is the first step and very exciting when it happens, because it means that someone has paid money to be allowed to “develop” the project for a limited period of time (usually a year or two). You may have heard that some of your favorite books have been optioned before. You will recall that some of them became films and some of them did not.
2. During the time when the project is “under option,” the producers will try and get it ready to be turned into a film or TV show. This means securing financing, paying for a script to be written, and attaching directors or actors to the project. For TV, a pilot might even get shot. Depending on how well that goes and how much buzz the project attracts, it might go on to be:
3. Greenlit! This is the point when the movie is almost definitely getting made and the TV show is almost definitely on the air. This is when people begin talking about shoot schedules and release dates, scouting locations and making props. Once a movie gets to the point, you are likely to see talk about it on film sites. It’s also the point that the author of the source material would start making a lot of announcements.
I’ve simplified this quite a bit, but you can still see that it’s a convoluted process, and one that the author gets very little say in. It works a little different for TV, too. Even when this process is set in motion, it can take years and years to get to the point that the studio is ready to greenlight it. It may sound daunting, but the Spiderwick Chronicles movie got made, and another movie could get made someday. Fingers crossed!
Q: Is there going to be an adaptation of the Spiderwick Chronicles?
Q: Did you like the Spiderwick movie?
I liked it a ton. I thought Mark Waters did a great job directing and that Freddie Highmore and Sarah Bolger played the kids incredibly well. They really seemed like the characters from the books. I was also extremely happy that the faeries seemed organic and a little bit frightening.
Q: Are faeries real?
I don’t know. I’ve never seen one, although I have met lots of kids and adults who have seen them. I want to believe faeries are real, but I also want proof. I hope someday I will see a faerie myself so that I can know for sure.
Q: How can I find out if I have faeries living in my house/yard?
Strange lights, things going missing or being rearranged, an abundance of clover among the grass and/or seeing things moving out of the corner of your eyes.
Q: Do you have any pets?
My family has two cats: Miel, a fluffy grey street cat from a small town in the French countryside, and Bast, a sleek black cat from New England.
Q: Is it true you have a secret door in your house?
I do! And you can too! I got it from here: https://www.hiddendoors.com
Q: Both the Spiderwick Chronicles and the Magisterium series are collaborations. How do you go about collaborating with other authors?
Collaborations, in my experience, work differently every time. When Tony and I first sat down to collaborate on Spiderwick, we did a lot of brainstorming and sending bits of writing and art back and forth. Then I went off to write, he went off to draw and we continued to comment on each other’s work. He might send me the picture of a creature he thought might be in the book. I might tell him a scene I thought he should draw. If you look at the artwork in Spiderwick, it tells parts of the story that the text doesn’t — which was very deliberate.
With the Magisterium series, Cassandra Clare and I actually sit in the same room and hand the computer back and forth after we’ve written a few hundred words (between 200 and 500, on average), often when we get stuck. We have a pretty strict outline — something she’s really excellent at creating — but when we need to figure out something new, we can go off together and brainstorm.
Every collaboration of mine has been a unique process. When I worked on the graphic novels Good Neighbors with Ted Naifeh, I had completed the manuscript before he saw it — however, we were still able to talk about what happened after that — he’s the one who pushed me to let the villains take over the town, so that he could draw it. When Rebecca Guay first approached me about working with her on A Flight of Angels, I was just going to write one of the stories, but I wound up having the opportunity to write a story that wove between all the other tales — something I had no thoughts about doing when I first began.
If you are thinking about collaborating, I think the most important thing is that you really love the other person’s work, and that they really love yours. It’s also useful to know them pretty well, so you don’t have to be too polite.