Tony DiTerlizzi

Tony DiTerlizzi is a busy man. He’ll even say so! The creator of The Spiderwick Chronicles is also an award-winning illustrator and motion picture producer. TheCelebrityCafe.com’s Carolina Taylor spoke with Tony about his writing, his illustrations and giving back to his youngest readers.

TheCelebrityCafe: What words would your best friend/s use to describe you?

Tony Diterlizzi: Busy! Seriously, I am such a work-monster and always have been. So, when I do take the time to hang with my pals I make sure it’s worthwhile.

In fact, a small group of close friends recently joined my wife, Angela, and I in the Bahamas to celebrate my 40th. Needless to say we all had a lot of laughs…and a lot of good meals. Those two are usually top priorities with me when planning a hang out: food and fun.

TCC: When did you start writing?

TD: My first picture book that I wrote was “Jimmy Zangwow’s Out-of-this-World Moon Pie Adventure” and it was published in 2000. This year will mark a decade of making books for children. Most of the books I’ve created for kids are still in print (I think, unless my publisher is holding out on me), so I feel proud of reaching this mile-marker. I think the next 10 will (hopefully) be even better.

But I’ve been creating stories since I was a kid. I would do drawings and come up with the character’s back-story to go with the drawing. With the encouragement of my family and friends, I’ve been able to continue doing what I love and make a living at it.

TCC: Do you remember how old you were when you first thought of a "whimsical" tale?

TD: I wrote a lot of “whimsical” poetry in art school. It was usually about girls I had crushes on, or bizarre creatures that were lurking about in my imagination…or I would merge both into one.

From time to time, I would self-publish these poems in little sketchbooks. There were poems like “Twisty Ball Cakes” and tales like “Ned Needlesmith and his Nine-inch Nose”…really out-there stuff, but I was having fun and my friends all seemed to enjoy it.

Looking back, the writing was pretty bad, but it was all groundwork leading up to writing for children. I’ve had no real formal training in illustration or writing (my degree was in graphic design), so experimenting with words and pictures was an important step for me.

TCC: How did your peers as you grew up react to your target audience?

TD: I was a senior in high school when I realized I wanted to create stories for children. I am the oldest of three, and grew up in a house full of books and reading.

When I had taken all the art classes my high school had to offer, my teacher, Tom Wetzl, asked if I wanted to do a long-term project that would take the entire semester to complete. We decided on illustrating my take of a classic book and I chose Lewis Carroll’s “Alice’s Adventures in Wonderland”.

I really got into the character designs, creating an anime version of Alice with a muppet-hippie caterpillar, and an Elton John-inspired Mad Hatter. I thoroughly enjoyed working on this and, what’s more, my peers all thought it was a cool book when I was finished. It was passed around in class a lot. That was one of the few times that I felt validated by my peers for truly just being me, and not trying to be “cool” Tony who just wanted to fit in.

TCC: Have you ever thought of changing that target audience?

TD: Not really. There is a time in most of our lives, when you are around 8 to 12 years-old, and you don’t read because you HAVE to for school, but can now read anything you WANT to for enjoyment. That is a magical moment in time, and if no books speak to you then you likely pass them by in preference for other activities. I like that I am contributing to helping grab readers by creating (hopefully) captivating and entertaining stories.

That said, I have been toying around with some weird short stories for the past few years. I’ve been test-driving them on friends by telling them over dinner or drinks (see question 1) and what’s great is that I am slowly refining them – much the way old fables and folktales were refined. We’ll see if I ever get around to putting them down on paper.

TCC: Were any of your teachers pivotal/inspirational?

TD: As I mentioned earlier my high school art teacher, Tom Wetzl, was incredibly encouraging. That one assignment really set the groundwork for what I would become. But I am fortunate in that I had great teachers all through my life.

In fifth grade, I had trouble with reading comprehension. This became apparent when I struggled with my book reports. But my teacher at the time, Ray Straussberger, knew I loved to draw and told me that if I did a drawing of my own design to accompany my book reports he’d give me extra credit. So at 10 years old I was already imagining scenes from texts and visualizing them with pen and paper.

Middle school was no different. There, my art teacher, Tom Prestopnik, also encouraged my talents, often tapping me to illustrate school programs for events. I remember I hid the word “rad” in one of my drawings for a school event and I got called out for it. The teachers didn’t know what “rad” stood for, or why it was there. When I explained that it meant “cool” they let me keep it in there and all my friends thought I’d pulled one over on the faculty…now that’s pretty rad.

I must point out that all of my grade schooling was in public schools down in south Florida. Of course, I attended a couple of art schools in the state to get my degree, but at that point in my life I was in control (sort of) of my destiny. When you are just kid, you are often at the mercy of the adults that are in your life. Lucky for me, I had some pretty amazing adults around me.

TCC: What book set you off on this track?

TD: Besides “Alice”, I would say Brian Froud and Alan Lee’s “Faeries” book, Shel Silverstein’s books, there was a big coffee table book my folks had on Norman Rockwell, oh, and the “Art of Star Wars”. Anything that took you to another place, or re-imagined the mundane always excited me.

I vividly remember being in the final semester of college down at the Art Institute (in Ft. Lauderdale) and coming across a life-changer in the library. It was “A Treasury of the Great Children's Book Illustrators” by Susan E. Meyer, and it covered the lives and work of some of the famous “Golden Age” children’s books illustrators from the turn-of-the century like Arthur Rackham, John Tenniel, Ernest Shepard and Beatrix Potter.

Looking through that rich tome, I understood the long legacy of mastery present in the world of children’s books, and it shaped how seriously I approached my craft. That’s why I didn’t attempt to break into children’s publishing right out of art school (I graduated in 1992), I never felt I was up to par with the excellence I felt stories for children deserve.

TCC: Do you have kids? If so, do they inspire your work?

TD: I have a 2 ½ year-old daughter named Sophia, and she (along with my rad wife) have absolutely changed my life and my work for the better. I think, mostly because in seeing such a young spirit, I consider my own mortality. And this has caused me to reshuffle some of the projects that were waiting in the wings after “The Spiderwick Chronicles” were completed.

Aside from Spiderwick, I had generally done lots of fun, silly, whimsical books meant primarily to entertain children and the adults reading to them. But I had some deeper stories that I wanted to tell, and I felt that after turning 40, I needed to do them while I was in my prime and in a happy place in life.

So, the next books will be hopefully just as entertaining, but there may be a little more depth there that was not present in the earlier work. I think, with Sophia and Angela, I feel confident enough to dig deeper into myself and produce these stories to share. I suppose only time will tell if the rest of the world likes them as I do.

TCC: Where did the ideas come from for your chronicled work?

TD: My ideas come from just about everywhere, people I know, the oddities of nature, myself as a child, and the spirit of stories that I still hold onto from my youth. I think the biggest common denominator in all my work is imagination. Everything I do involves imagination. It’s presence is not just for the child readers, but also for the adults who are sharing the books with them.

To me, it seems like imagination is fostered and encouraged in preschool and elementary school with projects like “Design your own World” or “Create your own animal”. But, by the time you get to high school the encouragement for such activities is rare (at best). You are mostly directed to achieving high scores in academia or perhaps sports (also important things in our society).

However, as Americans we THRIVE on imagination. Our notion of the “discovery” of our continent was based on the imaginative explorers sailing the Atlantic. We imagined flying in the air on contraptions like birds. We imagined ourselves on the moon. In fact, if you were to look at the top grossing films of all time, guess what they are about? Aliens on another planet, hobbits, a boy wizard, dinosaurs brought back to life, talking dinosaurs, ogres, superheroes and more alien battles.

These stories, in turn, will inspire tomorrow’s movers and shakers. Can scientists clone dinosaurs? Should we colonize another planet? Could we heal ourselves?

..and yet, creative thinking like crafting fairy tales or drawing aliens from another world is hardly encouraged in the higher grades. This, of course, is based on the numerous schools I’ve visited across the country.

TCC: How did you develop the characters?

TD: I think all of the characters I’ve created start out as fragments of myself that I’ve then built upon. Because, to really understand a character, good or bad, you have to walk in their shoes. To see the world through their eyes I need some sort of a common denominator that I can latch onto to begin building a personality, so it has to come from me.

Oftentimes, while I am figuring out who these characters are, I begin drawing them. It may be a portrait of their face, or perhaps a general body shape. Sometimes, like Mr. Spider in “The Spider & The Fly”, it’s all about the costume they wear…or the house they live in.

TCC: Why writing? Why did you start?

TD: I LOVE stories. I love reading them and telling them, I love watching them, I love playing them in video games. To become a part of the heritage of storytellers for children is a dream-come-true for me.

TCC: Did your past influence your writing?

TD: Sure, the experiences I had growing up absolutely effect my work. To create a story for a 10-year old I have to become 10 again. I have to recall what it was like to see the world as a fifth grader. What was the most important thing to me? What bothered me? How did that effect my actions? These priorities have changed in the last 30 years…well, maybe not.

TCC: Who did you emulate as you were shaping into the writer you are?

TD: Because of my knack of illustration, my heroes aren’t all necessarily writers. I’ve always gravitated toward big thinkers and big dreamers who cultivated their imaginations.

I really try to create from my heart and soul so that it is true to me. However; I’ve looked at a lot of inspirations to hold up as my aspirations. Geniuses like Dr. Seuss, Jim Henson or Norman Rockwell had a tremendous influence on how I create my worlds. They thought out of the box, they pushed boundaries. We need more of that.

TCC: How has fame been for you? How has it changed your life?

TD: Fame? I’m not famous. I’m successful. Nobody recognizes me in a restaurant and asks for my autograph.

To me, success has its needs, and what it needs is more of my time and more of my energy. I am not about to let off the gas pedal now – I am just getting started.

There is a lot more expectation upon what I do. This comes both from me and my publisher, Simon & Schuster. Together, we’ve had a good 10 years, and I’d like for it to only get bigger and better from here. I suppose only time will tell, but I am very proud of what I have achieved so far and terribly excited about what is to come.

TCC: Do you edit as you go? Do you have several drafts or are you more like Mozart in that it comes out how you want it?

TD: It never comes out as I want it. It is always a process. There is lots of refining. And this applies both to my writing and my art.

I try to capture the spark or essence of an idea as quickly and as non-processed as I can. Then I think about. I ponder it in all sorts of ways: What does this idea mean? How could I present it in the clearest possible way? Will others understand it? Enjoy it? Care about it?

From there, I explore the idea. I bounce it off of family and friends. Angela knows every single idea I have for a book, because she’s heard about them for years. I write out possible plot paths. I sketch out possible character designs. Sometimes, I put it away and let it germinate a little longer.

To give you an idea of how this works, “The Spiderwick Chronicles” was based off of an idea I had when I was 12. I made a field guide to dragons, trolls and fairies, and I never forgot about it.

In 2001, I was asked by my (then) editor, Kevin Lewis, what my dream-project would be – I suggested this field guide. The story of Arthur Spiderwick, the character that created the guide, had grown over the years as I had periodically returned to the project. Eventually it evolved into the book series, film, etc.

The same applies for a new trilogy of books I am launching this fall. “The Search for WondLa” is based on an idea I was playing around with back in 1997-1998. That’s a nice long time to really sit and figure what this story is. Along the way I wrote drafts, had friends read it and give feedback and developed the world with drawings. For me, one discipline always fuels the other: the drawings inspire words which inspire more drawings.

TCC: When you hit writer's block, how do you get past it?

TD: I don’t get it. I have the opposite problem – a logjam of book ideas that I want to create and not enough time to do them all. But this is a good thing because it forces me to pick what I believe to the best of these ideas and develop them further. Pieces of the unused book ideas are often absorbed into current projects.

TCC: Do you run your ideas by your friends? Do others read your work before your editor?

TD: Yes, I have a small, close circle of people who will tell me exactly what they think – good and bad. I respect their thinking and their instincts. Of course, Angela is at the center of that circle. She knows me well enough to tell me what’s working and what’s not, either in my art or with my storytelling.

You need those people to keep you grounded. To keep you pushing yourself beyond what you thought was possible. That core group of friends and family is invaluable to me.

TCC: Where do you write? How long does it take you from first inkling of idea to written product?

TD: Though we live in western Massachusetts, we winter down in Florida in the town that I grew up in. The sights and sounds of my youth help me hone into that 10 year-old version of me and so I have been doing a tremendous amount of writing down in Florida.

I usually jot out ideas in journals and sketchbooks and will often plot out the entire book writing on loose paper. While doing so, I may add scenes and make adjustments. Then I begin typing it into the computer, editing along the way. There isn’t anything glamorous about this aspect of writing…it’s writing, then rewriting over and over again. I try to refine the prose to speak clearly to the young reader while not losing focus of the original spark of inspiration that got me working on a particular story in the first place.

And this stage can vary greatly in length depending on if you are writing a 500 word picture book or a 70,000 word novel.

Generally speaking, I like to take a year to get the idea really working through the various drafts. From there, it’s onto creating the artwork for the book, which I like at least 6 months to work on for the final images. Bear in mind that I’ve been sketching along the way throughout. So, it is usually years from the spark of an idea until I am looking at the proofs for a finished book. It is a labor of love.

TCC: Since it's apparent that kids are dear to your heart, do you reach out to them in any other way?

TD: I love interacting and spending time with kids. I visit schools and bookstores while out on book tour and have had the privilege of meeting thousands of fans. I’ve even started to include inner city schools and hospitals into that touring that would normally not be on the itinerary for book selling stops.

I just did an event with an amazing group of kids in the psychiatric ward at Bellevue Hospital in New York City as part of their “Children of Bellevue” program. It was incredibly rewarding to read and draw with those kids. I feel there is no reason why children should not be encouraged to be creative and use their imaginations just because they are less fortunate. That’s the place where your imagination could really work to help you through a difficult time.

TCC: What kind of letters or emails etc do you get? Do you answer them personally?

TD: I get all kinds of letters and drawings from children from all over the world. Their kind words really validate me and keep me going.

I do try to reply to every letter that is sent to me, and we (I say “we” because my assistant has to help with the pile) always throw in some extra goodies with a return note. I spend serious time on this aspect of my career because I was moved by a letter my middle school art teacher, Tom Prestopnik (See earlier question), brought into school one day. He had written Dr. Seuss to tell him what a joy his books brought to his family and, of course, the good doctor had written him back complete with a drawing. That really had an impact on me, and I never forgot it. I try to emulate that today with the hopes of showing that correspondence with noted talent can be something really special and inspiring in a child’s life.

TCC: Do you type, hand write or use a computer?

TD: I hand write first in sketchbooks, journals and loose paper, then enter it all in the computer, editing as I go.

TCC: How has technology's changing face shifted your writing perspective?

TD: I use a little tech while I am writing. I am on a Mac, so I have a dictionary and thesaurus in my dashboard. That makes looking up words a few clicks away. I also usually have an internet browser running so I can research particular aspects of story.

This isn’t too much different for my art. I use the internet as an encyclopedia of visual reference for drawing. And I have colored images for some of my books (like “G is for One Gzonk!” and “Adventure of Meno” in Photoshop). In my upcoming novel, “The Search for WondLa”, there will also be digitally colored art.

TCC: Do you listen to music while you write?

TD: I can’t. Even instrumental stuff distracts me. It is silence and my ticking brain.

TCC: What was the last thing that made you laugh?

TD: My daughter cracks me up. She says the funniest stuff. I suppose every parent says that, though….lessee what else has made me laugh out loud…Oh, I saw “The Hangover” on DVD, that was hysterical.

TCC: Compared to the great authors of the past, do you feel you measure up? How do you see yourself talent wise?

TD: Move over Dickens…step aside Wilde…here comes DiTer…DiTer…lizz…DiTer…make way Kipling! I’m coming to sit at your table.

No, seriously, I never have really seen myself as an outstanding artist or writer. I see myself as more of a storyteller. A storyteller who entertains and provokes thought…yeah, that sounds good.

TCC: What current authors influence and feed your creative spirit?

TD: I read all sorts of stuff. The last few books I read were:
Neil Gaiman’s “Graveyard Book”
Chuck Palaniuk’s “Invisible Monsters”
Alan Lightman’s “Einstein’s Dreams”
David Small’s “Stitches”

…as far as I am concerned, everything influences everything. I wouldn’t say I am a devourer of books – I am more of a steady reader who takes his time to enjoy the words. I will often re-read scenes several times to savor them.

TCC: Do you read sources of like theme (as your work)?

TD: I cannot read anyone else while I am writing. I fear that the other work will somehow (consciously or subconsciously) find its way onto my paper.

But I do prep beforehand. I will read stuff that I feel will get me in the right frame of mind to create. For instance, while creating the alien world in my next book, I read Calvino’s “Invisible Cities”. That one really gets the imagination primed.

TCC: What is in your DVD player?

TD: “Fight Club” 10-year anniversary edition on Bluray (which was a Valentine’s prezzie from Angela). I did have to take out a DVD of “The Backyardigans” when I put it in to watch.

TCC: What is in your CD player?

TD: My fav iPod playlist that I made has been “I Want My MTV”. It is a plethora of early 80’s awesomeness from Billy Idol, U2, The Police, Eurythmics and the J. Giles Band.

Otherwise I am stuck in AM radio from my youth. Old 1970’s Elton John, Hall & Oates, Eagles, James Taylor…you get the idea. Walk into a grocery store and you can hear the music I listen to a lot.

TCC: TV or opera?

TD: TV, when I have the time. I love anything on the Discovery Channel, History Channel, Bravo or Food Network. Any show that involves dinosaurs, a pending apocalypse or giant insects is a-okay with me.

TCC: Wine or beer?

TD: Beer. Heineken.

TCC: Other than other writers, what do you use to help feed the storyline?

TD: Beer. Heineken. (Kidding!)

TCC: If your child, or any child were to ask, would you tell them there IS a Santa Claus?

TD: Why wouldn’t I? Of course there is, he was almost duped by the Grinch.

TCC: Do you believe in Santa Claus, Virginia?

TD: I believe there are things out in the world that cannot be recognized by our primitive senses. There HAS to more to our world and beyond, we just have to open our eyes and use our imaginations.