When it comes to a middle-schooler’s bookshelf, few 21st-century titles can hold a candle in terms of longevity to Diary of a Wimpy Kid.

Conceived by author/illustrator Jeff Kinney, this 18-book publishing franchise debuted in 2007 and quickly became a sensation with young readers, thanks to its hilariously relatable protagonist. Kinney was named one of the top 100 most influential people in the world by TIME magazine in 2009, and his books have sold more than 275 million copies worldwide to date. 

One way the IP has continued to grow is through screen adaptations, with a string of four live-action feature films hitting theaters in 2010, 2011, 2012 and 2017. It then dipped into animation in 2021, when Disney+ premiered Wimpy Kid’s first CG-animated movie, a play the streamer has repeated every year since. 

Diary of a Wimpy Kid Christmas: Cabin Fever launches exclusively on Disney+ today (December 8, 2023), based on the kidlit franchise’s sixth book, and it’s the third Wimpy Kid film written solely by Kinney. 

Kidscreen caught up with the busy scribe to talk about how he keeps the brand evergreen, and what kids authors should know about adapting a publishing IP for a life on screen.

KS: After starting as a producer on the first batch of Wimpy Kid live-action films, why did you take on more creative ownership for the screenplays of the more recent movies?

JK: I always wanted to be the screenwriter for the Wimpy Kid movies, but I wasn’t really ready for it when we were making the live-action movies because I didn’t have the skills to do that kind of work. Over time, I started to really understand the language and structure of the films, and I got a little bit better at it. By the time the first Disney+ movie [was in development], I was ready to actually take the reins and sit in the writer’s seat. 

KS: Did it help to have the Wimpy Kid movies start out in live action and then cross over into animation later?

JK: Yes, I think the benefits were mostly for me because when I got thrown into that live-action world, I really learned from the pros. In the initial movies, I came in with a certain idea about something, and then the screenwriters would come in with a different idea. Sometimes they were right, and it was helpful to see how they were right. 

For example, there’s kind of a gross joke in the first live-action movie where Greg’s brother Rodrick ambushes him in the shower and Greg pees on Roderick. I thought that was too much, but [the writers] were like: “Trust us, it’s gonna kill in the movie.” And it did! People were cracking up and dying of laughter at that scene. You can always learn something from the way that the audience reacts.

KS: Cabin Fever marks the first Christmas special for the brand. Are there any other elements that were added to freshen up this installment?

JK: It’s the first [film] where the whole family is really involved in the story, and it’s also the first one that’s got a little more of an edge to it. Even though it’s a Christmas story, there’s a horror element because Greg is trapped in the house with this Elf that serves as his conscience.

KS: How did you strike the balance of adding this new edginess but also maintaining a strong co-viewing appeal? 

JK: [The biggest challenge was] getting the tone right. I didn’t want to make a movie that felt like it was only for super-young kids. But I also didn’t want to make something that was inaccessible to them. The key was making sure there was something for everybody—which [naturally tied into] creating a story in which all the family members on screen were actively involved.

To make a holiday special, you really need to tell a story with heart. But at the same time, I wanted it to feel authentic to the Wimpy Kid world. So I was [balancing] both of those goals in a way that didn’t compromise either.

KS: What is your advice to kids authors about how to efficiently move a book-based IP onto the screen?

JK: You want to get experienced filmmakers on your project. Truthfully, writers don’t have a lot of power, especially if they’re just starting out. So there’s a bit of a leap of faith that they must take in making sure that their project goes to the right people. The best thing you can do as a writer is understand how screenwriting works because if you haven’t experienced that before, it’s very hard to have a seat at the table.

The Christmas-themed film uses horror-inspired elements to reel in viewers, such as the elf who constantly watches Greg and ultimately serves as his conscience, Kinney notes. (Image courtesy of 20th Century Studios)

KS: The film is mostly CG-animated, but there are a few sequences that switch it up and showcase the “doodle” style of visuals seen in your books. Why?

JK: It’s very gratifying to transition from Greg’s 2D world to a fully fleshed-out one. Because it’s called Diary of a Wimpy Kid, it’s important that audiences see Greg writing in his journal at some point to understand how he perceives his world.

KS: We are entering the third decade of this iconic franchise. What’s the secret to building something like this, which continues to resonate with every new generation of middle-graders?

JK: I don’t really have any strategies to do that. I just try to write about what’s funny and make the books timeless. So I stick with topics that feel like they could resonate [with kids] in the future.

For example, in the fourth book, Greg really wants to get a cell phone but his parents think he’s a little too young for that big responsibility. I think 20 years from now, young kids will still be asking their parents for cell phones, and parents will still be wondering what the appropriate age for that is. That’s a somewhat contemporary struggle, but also a bit timeless.