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What I write, if you have to label it, is crossover, and I think that much of the stuff that is called children's or YA is in fact crossover and is equally valid for anyone who likes to read fantasy.

It's usually human drama that carries with it issues of race or class that attracts me. That was certainly the case with 'No Crossover.'

The crossover wasn't happening. TV actors were TV actors, and film and stage actors were a whole different thing. And now there's just a lot of crossover.

To me, a big crossover was what happened to me years ago, like bringing my music in Spanish to Europe, or Asia. To me, that's a crossover because Spanish is not a language that everybody talks.

I always figured there would be a kid audience and an adult audience, and there is. That's true for 'Hunger Games' and 'Twilight' and 'Harry Potter.' And 'Maximum Ride,' for sure. In particular what happens is a lot of parents share the books with their kids, and the mom has read it, and the kids, and they talk about it.

I wrote 'Time of the Dark' in 1978 and 'The Silent Tower' in 1984, so the thing that sticks out for me is how totally technology has changed. I suppose that's the great peril for real-world crossovers.

This is what I have discovered - and it has been a gift in itself - that books live over and over again in different people's minds. That I might mean one thing as I write, but a reader's experiences will take it somewhere else. That is like a conversation, I think. It is a true connecting up.

There are plenty of genre-crossover books, films, and games out there, but to do the job well, you have to do more than just smoosh a couple of 'in' concepts together, and hey presto, instant millions.

I think they want to keep it separate, but I've never been a crossover artist for some reason.