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How To Write A Picture Book in 18 Steps

Ever dreamed of writing a picture book? Learn how with this simple guide on how to write a picture book in 18 steps with examples. We’ll cover everything from brainstorming ideas to final publication so you can share your story with young readers. Let’s dive in and start bringing your picture book to life!

Key Characteristics of a Picture Book

Types of picture books, step 1: define your target audience, step 2: brainstorm ideas, step 3: develop your idea, step 4: create memorable characters, step 5: outline your story, step 6: choose a narrative style, step 7: write a 1st draft, step 8: edit and refine, step 9: the book title, step 10: create a dummy book, step 11: format your book, step 12: illustrate your book, step 13: design book cover, step 14: update the dummy book, step 15: seek feedback, step 16: final polish, step 17: publish your book, step 18: celebrate, how do you structure a picture book, how do i write my first picture book, how much money can you make from writing a picture book, is it hard to write a picture book, what is a picture book.

A picture book is a form of children’s literature that combines written text with illustrations, often targeting younger readers up to around 8 years old. Unlike novels or chapter books , picture books rely heavily on illustrations to convey the narrative, making them an essential component of the storytelling process. These books typically feature a relatively simple storyline, accompanied by vibrant and engaging artwork that enhances the reader’s understanding and enjoyment.

Picture books come in various formats and styles, ranging from traditional hardcover editions to board books designed for infants and toddlers. They cover a wide range of themes and topics, from whimsical adventures to educational narratives, aiming to captivate young imaginations and foster a love of reading from an early age.

In addition to entertaining young readers, picture books also play a crucial role in promoting literacy and language development. The combination of text and visuals encourages children to make connections between words and images, aiding in comprehension and vocabulary acquisition. Furthermore, the interactive nature of picture books can spark curiosity and creativity, prompting discussions and inspiring imaginative play.

Here are the key characteristics of a picture book:

• Visual Storytelling: Vibrant illustrations, whether painted, drawn, or digitally rendered, play a crucial role in carrying the story forward. They expand upon the text, reveal emotions, and set the scene, igniting the reader’s imagination.
• Sparsity of text: Picture books typically have limited text, using simple, evocative language accessible to young readers. This encourages engagement with the illustrations and fosters imagination.
• Focus on character development: Picture books often introduce young readers to relatable characters who navigate challenges, experience emotions, and learn valuable lessons.
• Genre Versatility: Picture books encompass a wide range of genres, from whimsical fantasy to heart-warming realism, tackling themes of friendship, loss, identity, and more.
• Appeal to a range of ages: While primarily designed for children, picture books can resonate with adults as well, offering deeper layers of meaning and emotional connection.

Whether you’re an aspiring author or simply curious about this captivating literary form, understanding the essence of a picture book is the first step to appreciating its magic and exploring its potential.

Picture books come in various types, each catering to different ages, interests, and reading levels. Understanding these types can help writers and illustrators tailor their creations to suit their target audience effectively. Here are some common types of picture books:

• Board Books: Sturdy and often made of thick cardboard, board books are designed for infants and toddlers. They feature simple, colourful illustrations and minimal text, focusing on basic concepts such as shapes, colours, animals, and everyday routines. Board books are durable and suitable for little hands, making them ideal for introducing babies to the joy of reading.
• Concept Books: Concept books are centred around teaching specific concepts or skills, such as counting, alphabet, opposites, and emotions. They use engaging illustrations and straightforward text to help young readers grasp abstract ideas in a fun and accessible way. Concept books are invaluable tools for early childhood education, laying the foundation for future learning.
• Storybooks: Storybooks form the bulk of picture book literature, featuring narrative-driven stories with engaging characters, plots, and themes. They cover a wide range of genres, including fantasy, adventure, humour, and friendship, catering to diverse interests and tastes. Storybooks typically contain more text than other types of picture books, accompanied by detailed illustrations that bring the story to life.
• Wordless Picture Books: Wordless picture books rely solely on illustrations to tell a story, empty of any written text. They encourage readers to interpret the narrative through visual cues, fostering imagination, creativity, and critical thinking skills. Wordless picture books are particularly beneficial for pre-readers and language learners, allowing them to engage with the story independently and at their own pace.
• Interactive Books: Interactive picture books incorporate elements that encourage reader participation, such as lift-the-flap, touch-and-feel, or pop-up features. These books actively involve children in the reading experience, prompting them to interact with the story in various ways. Interactive books enhance engagement and sensory exploration, making reading a hands-on and enjoyable activity.
• Biographical and Non-Fiction Picture Books: Biographical and non-fiction picture books explore real-life people, events, and topics, providing educational and informative content for young readers. They combine engaging storytelling with factual accuracy, presenting complex subjects in a clear and accessible manner. Biographical and non-fiction picture books inspire curiosity and broaden children’s understanding of the world around them.

By understanding the different types of picture books available, writers and illustrators can create captivating and relevant stories that resonate with their intended audience.

How To Write a Picture Book in 18 Steps 

Follow this 18-step guide to take your picture book from the initial concept to the published masterpiece.

Before diving into the creative process, it’s essential to identify who your picture book is intended for. Understanding your target audience will guide your storytelling decisions, including the themes, language, and visual elements you incorporate into your book.

Let’s say you’re planning to write a picture book about a mischievous kitten’s adventures. Before you start brainstorming ideas, consider who will be reading your book. Are you targeting toddlers who love cute animal stories? Or perhaps preschoolers who enjoy interactive narratives? By defining your target audience as young children between the ages of 2 and 5, you can tailor your story and illustrations to align with their interests and developmental stage.

By defining your target audience upfront, you can ensure that your picture book resonates with the right readers and meets their needs effectively.

Once you’ve defined your target audience, it’s time to let your creativity flow and generate potential concepts for your picture book. Brainstorming allows you to explore different themes, settings, and plotlines, ensuring that you find the perfect idea to bring to life.

Imagine you’ve decided to create a picture book aimed at preschoolers with a focus on teaching empathy and kindness. To brainstorm ideas , grab a notebook and jot down any thoughts or images that come to mind related to these themes. Consider scenarios that young children can relate to, such as sharing toys, comforting a friend, or helping a lost animal.

You might brainstorm ideas like:

• A story about a shy bunny who learns to make friends by sharing her favourite carrot with a new classmate.
• An adventure featuring a group of animal friends who work together to rescue a lost puppy and reunite it with its family.
• A tale about a curious bear cub who discovers the joy of helping others when he finds a lost teddy bear in the woods.

During the brainstorming process, don’t worry about perfection or feasibility. The goal is to generate as many ideas as possible, no matter how wild or unconventional they may seem. Once you have a list of potential concepts, you can evaluate them based on their suitability for your target audience and the message you want to convey.

By brainstorming ideas, you’ll uncover creative gems that have the potential to become captivating picture books that resonate with young readers. So grab your notebook and let your imagination soar!

Once you’ve settled on a promising concept for your picture book, it’s time to flesh out your idea and develop it into a coherent storyline. This stage involves expanding on your initial concept, crafting engaging characters, and mapping out the key events that will drive your narrative forward.

Here you can choose one idea from the previous step and form a paragraph idea summary for it. The idea summary should ideally include the following three elements, a hint at the main characters, what they want and why they can’t get what they want. 

For example for the idea of a shy bunny, your idea summary might look something like this:

In a peaceful woodland clearing, there lives a shy bunny named Blossom, whose heart is as tender as the petals of a spring flower. Despite her gentle nature, Blossom longs for the warmth of friendship but struggles to overcome her timid disposition. When a new classmate, a timid squirrel named Hazel, joins the woodland school, Blossom sees an opportunity to extend an olive branch. She yearns to share her most prized possession, a plump, juicy carrot, as a gesture of friendship. However, her insecurities and fear of rejection hold her back, making it challenging for her to take the first step towards forming a connection. As Blossom grapples with her inner turmoil, she must find the courage to reach out to Hazel and discover the transformative power of kindness and generosity.

By developing your idea in this way, you’ll lay the groundwork for a compelling and emotionally resonant story that will captivate young readers and leave a lasting impression.

One of the key elements that bring a picture book to life is its characters. Memorable and relatable characters can capture the hearts of young readers and keep them engaged throughout the story. In this step, focus on developing characters that are unique, multi-dimensional, and well-suited to the theme and tone of your book.

Let’s continue with the example of the shy bunny from our previous step. To create memorable characters, start by brainstorming traits and characteristics that will make your bunny protagonist endearing and relatable to your target audience of preschoolers. Consider aspects such as:

• Personality: Is the bunny timid yet kind-hearted? Does she have any quirks or special talents that set her apart?
• Appearance: What does the bunny look like? Does she have distinctive features or a unique fashion sense?
• Goals and Motivations: What does the bunny hope to achieve throughout the story? What drives her to overcome her shyness and reach out to others?
• Relationships: How does the bunny interact with other characters in the story? Does she have a supportive family or friends who play a significant role in her journey?

For example, you might envision your bunny protagonist as a soft-spoken but compassionate creature with floppy ears and a love for gardening. She dreams of making friends but struggles with self-doubt and anxiety in social situations. However, her love for growing carrots and flowers serves as a source of comfort and confidence, helping her connect with others on a deeper level.

In addition to the main character, don’t forget to create supporting characters that complement and enhance the storyline. These could include friends, family members, or even quirky sidekicks who add humour and depth to the narrative.

By crafting well-developed and relatable characters, you’ll create a strong emotional connection with your readers, ensuring that your picture book leaves a lasting impression long after the final page is turned.

With your characters established, it’s time to map out the plot of your picture book. Creating an outline helps you structure your story, ensuring that it flows smoothly from beginning to end and effectively conveys your message or theme to young readers.

Continuing with our example of the shy bunny protagonist, let’s outline the key events and plot points that will drive her journey of overcoming shyness and making friends, along with notes on illustrations to possibly include:

• Introduce the shy bunny protagonist and establish her desire to make friends.
• Illustration: Show the bunny in her garden home, surrounded by lush greenery and flowers, looking wistfully at other animals playing together in the distance.
• The bunny encounters a new animal friend, perhaps a lost squirrel or a curious bird, who wanders into her garden.
• Initially hesitant, the bunny observes the visitor from afar, curious but unsure how to approach them.
• Illustration: Show the bunny peeking out from behind a bush, watching the visitor with wide eyes, while the visitor looks back with a friendly expression.
• Through a series of gentle interactions and shared experiences, the bunny and the visitor gradually bond.
• They discover common interests, such as a love for nature and a fondness for carrots.
• Illustration: Show the bunny and the visitor exploring the garden together, perhaps digging in the soil or nibbling on carrots side by side.
• The friendship faces challenges when the bunny’s new friend must return to their own home or face a difficult situation.
• The bunny must summon the courage to say goodbye or find a way to help her friend, demonstrating her growth and resilience.
• Illustration: Depict a moment of farewell between the bunny and her friend, perhaps with a tearful hug or a solemn exchange of gifts.
• The bunny learns valuable lessons about empathy, kindness, and the importance of reaching out to others.
• Though sad to see her friend go, the bunny feels grateful for the connection they shared and looks forward to future adventures with newfound confidence.
• Illustration: Show the bunny standing tall and smiling as she waves goodbye to her friend, surrounded by blooming flowers and a sense of peaceful acceptance.

By outlining your story with notes on illustrations, you’ll ensure that the visual elements of your picture book complement and enhance the narrative, creating a rich and immersive reading experience for young audiences.

The narrative style of your picture book sets the tone and structure of your story, influencing how it will be told and perceived by young readers. Selecting the right narrative style involves considering factors such as the age of your target audience, the complexity of your storyline, and the overall mood you wish to convey.

Let’s continue with our example of the shy bunny protagonist and explore different narrative styles that could suit this story:

• Third-Person: In this narrative style, the story is told from an external perspective, focusing on the thoughts and feelings of the main character, the shy bunny. Using third-person allows for a deeper exploration of the bunny’s internal struggles and growth while maintaining a sense of distance from other characters.
• First-Person: Alternatively, you could opt for a first-person narrative style, where the shy bunny herself narrates the story. This approach provides a direct and intimate connection with the protagonist, allowing readers to experience her emotions and experiences firsthand. First-person narration can be particularly effective for engaging young readers and immersing them in the story’s world.
• Dialogue-Driven: Another option is to structure the story around dialogue between characters, with minimal narration. This dialogue-driven approach creates a dynamic and interactive reading experience, allowing young readers to actively engage with the characters and their interactions. Dialogue can also convey emotions and character dynamics in a natural and engaging manner.
• Narrative Poem: For a more lyrical and poetic narrative style, you could explore writing the story as a narrative poem. Using rhythmic language and vivid imagery, a narrative poem can evoke a sense of magic and wonder, drawing readers into the enchanting world of the shy bunny and her adventures.

When choosing a narrative style for your picture book, consider experimenting with different approaches to see which best suits your story and resonates with your target audience. Ultimately, the goal is to create a narrative that captivates young readers and leaves a lasting impression.

With your ideas, characters, and outline in place, it’s time to start writing the first draft of your picture book. This initial draft serves as the foundation upon which you’ll build and refine your story, so don’t worry about perfection at this stage. The focus is on getting your ideas down on paper and bringing your story to life.

Continuing with our example of the shy bunny protagonist, let’s begin writing the first draft of her story. Using the outline we created earlier as a guide, we’ll flesh out each plot point and scene, keeping in mind the narrative style and tone we’ve chosen.

Once upon a time, in a quiet corner of the forest, there lived a shy bunny named Blossom. She spent her days tending to her garden, surrounded by bright flowers and lush greens. Despite the beauty of her surroundings, Blossom often felt lonely, watching from afar as other animals danced and played together. One sunny morning, as Blossom was tending to her carrots, she noticed a small squirrel peeking out from behind a tree. Curious, Blossom slowly approached the squirrel, offering a friendly smile. To Blossom’s surprise, the squirrel, named Nutmeg, was just as curious about her as she was about him. They talked and talked, mostly about their love for crunchy carrots, and spent the day exploring the garden together. As the sun began to set, Nutmeg said that he was lost and needed to find his way home. Blossom felt a pang of sadness at the thought of saying goodbye, but she knew she had to be brave for her new friend. With a heavy heart, Blossom said goodbye to Nutmeg, promising to keep the memories they had shared. As she watched him disappear into the forest, she felt a sense of warmth and happiness for the friendship they had.

As you write the first draft of your picture book, focus on capturing the essence of your story and characters while allowing room for creativity and spontaneity. Remember, you can always revise and refine your draft in the editing stage, so let your imagination soar as you bring your picture book to life on the page.

Once you’ve completed the first draft of your picture book, it’s time to step back and take a critical look at your work. Editing and refining your manuscript is a crucial part of the writing process, helping you polish your story and ensure that it resonates with your target audience.

Let’s revisit our example from the previous step and explore how we can edit and refine the first draft to enhance its clarity, coherence, and emotional impact.

• Review for Clarity: Read through your manuscript with fresh eyes, paying attention to the clarity of your language and the flow of your narrative. Are there any confusing or ambiguous passages that need clarification? Make revisions to ensure that your story is easy to follow and understand, especially for your young audience.
• Refine Character Development: Evaluate the depth and complexity of your characters, particularly the protagonist, Blossom the shy bunny. Does she undergo a meaningful transformation throughout the story? Are her actions and motivations consistent with her personality and growth arc? Fine-tune your characterisation to create relatable and multi-dimensional characters that young readers can connect with.
• Polish Dialogue and Language: Review the dialogue in your manuscript to ensure that it sounds natural and age-appropriate for your target audience. Aim for dialogue that reflects the unique voices and personalities of your characters while avoiding overly complex language or adult-centric expressions. Additionally, pay attention to the rhythm and pacing of your prose, striving for a balance between descriptive passages and engaging dialogue.
• Streamline Plot and Structure: Evaluate the pacing and structure of your story, paying attention to the balance between exposition, rising action, climax, and resolution. Are there any unnecessary scenes or digressions that could be trimmed to streamline the plot? Look for opportunities to heighten tension and suspense, keeping young readers eagerly turning the pages from start to finish.

By carefully editing and refining your picture book manuscript, you’ll ensure that it shines brightly and captivates young readers with its charm, warmth, and imagination.

Choosing the right title for your picture book is essential as it serves as the first point of connection between your story and potential readers. A compelling title can pique curiosity, convey the theme or mood of your book, and capture the attention of your target audience.

Let’s consider our shy bunny example and explore how we can craft a suitable title that encapsulates the essence of the story:

• Title Option 1: Blossom’s Brave Journey

This title highlights the protagonist, Blossom the shy bunny, and emphasises her journey of overcoming shyness and embarking on an adventure. The word “brave” conveys the courage and resilience Blossom demonstrates throughout the story, while “journey” hints at the transformative nature of her experiences.

• Title Option 2: Carrots and Friendship

Focusing on key elements of the story, this title highlights the themes of friendship and shared experiences. The mention of “carrots” reflects the bond that Blossom and her new friend Nutmeg form over their love for crunchy vegetables, while “friendship” underscores the central theme of forging connections with others.

• Title Option 3: Blossom Finds a Friend

This straightforward title succinctly captures the heartwarming essence of the story: a shy bunny named Blossom who discovers the joy of friendship. The phrase “finds a friend” conveys the journey of connection and companionship that Blossom embarks on, appealing to young readers’ curiosity and empathy.

When choosing a title for your picture book, consider the themes, characters, and tone of your story, as well as the preferences of your target audience. Experiment with different options, and don’t be afraid to seek feedback from friends, family, or writing peers to help you find the perfect title that will enchant and intrigue readers.

Creating a dummy book is an essential step in the picture book writing process, allowing you to visualise and organise the layout of your story. A dummy book is a mock-up of your picture book that includes rough sketches or placeholders for illustrations, text layout, and page design.

Let’s continue with our example and explore how to create a dummy book for this story:

• Gather Materials: Start by gathering materials such as blank paper, pencils, erasers, and a ruler. You’ll use these supplies to sketch out the layout of your dummy book.
• Sketch Thumbnails: Begin by creating thumbnail sketches of each page spread in your picture book. These small, rough drawings will help you visualise the composition and flow of your illustrations. Focus on capturing the key moments and scenes from your story, paying attention to pacing and page turns.
• Design Page Layout: Once you have your thumbnail sketches, use them to plan the layout of each page spread in your dummy book. Consider factors such as text placement, illustration size, and white space. Experiment with different arrangements to find the most visually appealing and reader-friendly layout.
• Add Text and Illustrations: With the page layout in place, add placeholders for text and illustrations to your dummy book. You can use handwritten text or printed text from your manuscript, along with simple sketches or stick figures to represent illustrations. Focus on conveying the narrative flow and visual storytelling of your picture book.
• Assemble the Dummy Book: Arrange your pages in sequence and secure them together to create your dummy book. You can use a binder, paper clips, or string to hold the pages together. Make sure the pages are easy to flip through and that the layout accurately reflects the pacing and structure of your story.
• Review and Revise: Once you’ve assembled your dummy book, review it carefully to identify any areas that need revision or refinement. Pay attention to the overall flow of the story, the balance between text and illustrations, and the coherence of the page layout. Make adjustments as needed to ensure that your dummy book accurately represents your vision for the final picture book.

By creating a dummy book, you’ll gain valuable insights into the visual and structural elements of your picture book, helping you refine your story and prepare it for the next stages of the publishing process.

Formatting your picture book involves arranging the text and illustrations in a way that enhances the reading experience and ensures visual coherence. Paying attention to formatting details such as page size, font choice, and text placement is essential for creating a professional-looking final product.

Let’s continue with our example of “Blossom Finds a Friend” and explore how to format the book for publication:

• Page Size and Layout: Determine the dimensions of your picture book, taking into account industry standards and printing specifications. Common picture book sizes include 8.5 x 8.5 inches or 10 x 10 inches. Choose a size that complements your illustrations and allows for easy readability.
• Text Placement: Decide on the placement of text within each page spread. Aim for a balance between text and illustrations, ensuring that the two elements complement each other and work together to tell the story. Experiment with different text arrangements, such as placing text above, below, or alongside illustrations, to find the most visually appealing layout.
• Font Choice and Styling: Select a suitable font for the text in your picture book, keeping in mind readability and aesthetic considerations. Choose a clear, legible font that aligns with the tone and style of your story. Consider factors such as font size, style (e.g., serif or sans-serif), and colour to enhance readability and visual appeal.
• Page Numbers and Pagination: Determine how you will handle page numbering and pagination in your picture book. Decide whether to include page numbers, and if so, where to place them within the layout. Considerations such as page breaks, chapter divisions, and endpapers should also be taken into account to ensure a seamless reading experience.
• Illustration Placement: Integrate illustrations seamlessly into the layout of your picture book, ensuring that they enhance the storytelling and capture the reader’s attention. Pay attention to the positioning and size of illustrations relative to the text, allowing for ample space and visual impact.
• Consistency and Cohesion: Maintain consistency throughout your picture book by adhering to a cohesive design aesthetic. Ensure that fonts, colours, and formatting elements remain consistent across all pages, creating a unified look and feel. Pay attention to details such as margins, line spacing, and alignment to achieve a polished and professional appearance.

By carefully formatting your picture book, you’ll create a visually engaging and cohesive reading experience that captivates young readers and brings your story to life.

Illustrations play a vital role in bringing your picture book to life, capturing the imagination of young readers and enhancing the storytelling experience. Whether you’re an illustrator yourself or collaborating with a professional artist, creating compelling and engaging illustrations is essential for captivating your audience.

There are several technical considerations to keep in mind when illustrating a picture book:

• Visualising Characters: Work with your illustrator to develop visually appealing and expressive character designs that reflect the personalities and emotions of your characters. For example, the shy bunny protagonist, Blossom, could be depicted with soft, rounded features and wide, expressive eyes to convey her gentle nature and timid disposition.
• Promoting Engagement: Incorporate interactive and engaging elements into your illustrations to capture the attention and imagination of young readers. For example, hidden details, interactive flaps, or playful visual motifs can encourage children to actively engage with the story and explore the illustrations more deeply.
• Page Size and Bleed: Ensure that your illustrations are sized appropriately for the dimensions of the book’s pages. Additionally, if your illustrations extend to the edge of the page (full bleed), you’ll need to include extra space around the edges to accommodate trimming during printing.
• Resolution: Illustrations should be created at a high resolution (usually 300 dpi or higher) to ensure crisp and clear printing. This is especially important for detailed artwork and images with fine lines or small details.
• Colour Mode: Use the appropriate colour mode for your illustrations. For print books, illustrations are typically created in CMYK colour mode to accurately represent colours when printed. If your illustrations are intended for digital distribution, RGB colour mode may be more suitable.
• File Format: Save your illustrations in a suitable file format for printing, such as TIFF or PSD for high-resolution images with layers, or JPEG for flattened images. Be sure to check the publisher’s specifications for preferred file formats.
• Text Placement: Leave space within your illustrations for text placement, especially if your illustrations include background elements or focal points where text will be overlaid. Consider how the text will interact with the illustrations and ensure that important visual elements are not obscured.
• Consistency: Maintain consistency in style, colour palette, and artistic elements throughout your illustrations to create a cohesive visual experience. This helps tie the illustrations together and reinforces the story’s themes and mood.
• Page Turns: Keep in mind the pacing and flow of the story when planning your illustrations. Consider how each page turn will reveal new information or advance the plot, and create illustrations that enhance the narrative tension and engagement.
• Accessibility: Ensure that your illustrations are accessible to all readers, including those with visual impairments. Avoid relying solely on visual cues to convey important information, and consider including descriptive text or alternative formats (e.g., braille) where appropriate.

By investing time and effort into creating captivating illustrations, you’ll create a visually stunning picture book that delights and inspires young readers, inviting them to embark on an enchanting journey of imagination and discovery.

The book cover is often the first thing readers see, making it a crucial element in attracting attention and conveying the essence of your picture book. A well-designed cover should intrigue readers, reflect the tone of your story, and entice them to pick up your book.

Let’s continue with our example of  “Blossom Finds a Friend”  and explore how to design an eye-catching cover for this picture book:

• Example: The title “Blossom Finds a Friend” is written in bold, playful lettering, with the author’s name, “Jane Doe”, placed below in a smaller font. Both elements stand out against a background of lush garden foliage, drawing the reader’s attention.
• Example: The cover features a charming illustration of Blossom the shy bunny peeking out from behind a bush, her eyes wide with curiosity as she gazes at the reader. In the background, colourful flowers and friendly woodland creatures add depth and visual interest to the scene.
• Example: The cover incorporates a bright and cheerful colour palette, with shades of green, pink, and blue dominating the background. These colours evoke the beauty and tranquillity of a garden setting, while also conveying a sense of joy and optimism.
• Example: The spine of the book displays the title and author name vertically, making it easy to identify when shelved alongside other books. The back cover includes a brief summary of the story, along with a small illustration of Blossom and her friends exploring the garden.

By carefully designing the book cover, you’ll create a captivating first impression that entices readers to pick up your picture book and embark on an enchanting journey with your characters.

Once you have completed the illustration process and made any necessary adjustments based on feedback, it’s time to update your dummy book to reflect the final layout and design of your picture book. This step ensures that the dummy book accurately represents the finished product before moving forward with publication.

Continuing with our example of “Blossom Finds a Friend” let’s explore how to update the dummy book with the final illustrations and design elements:

• Example: In the first dummy book, placeholder sketches were used to represent each page spread. Now, the final illustrations of Blossom the shy bunny and her garden adventures are added to the appropriate pages, bringing the story to life with vibrant colours and engaging details.
• Example: The text is carefully integrated into each page spread, with attention to text placement, font choice, and spacing. Captions and dialogue bubbles are added where appropriate, enhancing the storytelling and guiding the reader through the narrative.
• Example: The updated dummy book PDF is reviewed to ensure that the illustrations and text flow smoothly from one page to the next, capturing the reader’s attention and maintaining their interest throughout the story. Any inconsistencies or discrepancies are addressed to achieve a polished and professional final product.

By updating the dummy book with the final illustrations and design elements, you’ll have a clear representation of how your picture book will look and feel in its printed form. This step is crucial for ensuring that the final product meets your vision and expectations before proceeding to the next stage of publication.

Seeking feedback from others is a crucial step in the picture book writing process. Feedback helps you identify strengths and weaknesses in your story, gain new perspectives, and refine your manuscript to ensure it resonates with your target audience.

Continuing with our example of “Blossom Finds a Friend” let’s explore how seeking feedback can improve the quality of your picture book:

• Example: You provide copies of your picture book to a group of parents and their children for feedback. After reading the story together, the parents comment on the relatable themes and positive messages, while the children express excitement about the colourful illustrations and engaging characters.
• Example: You share your book with fellow writers in a picture book writing workshop. During a critique session, your peers offer suggestions for strengthening character motivations and tightening the pacing of the story. Their feedback helps you identify areas for improvement and revision.
• Example: You work with a children’s book editor who provides detailed feedback on your manuscript, including suggestions for enhancing dialogue, clarifying story arcs, and refining the emotional resonance of the narrative. Their expertise and insights help you elevate the quality of your picture book to industry standards.
• Example: You post a query about your picture book on an online writing forum for children’s authors. Within hours, you receive valuable feedback from writers, illustrators, and publishing professionals who offer insights into character development, plot pacing, and marketability.

By seeking feedback from a variety of sources, you’ll gain valuable insights into your picture book manuscript and identify opportunities for improvement. Embrace feedback as a valuable tool for honing your craft and creating a picture book that resonates with readers of all ages.

During the final polish stage, you’ll meticulously review and fine-tune every aspect of your picture book to ensure it’s polished, professional, and ready for publication. This step involves a comprehensive examination of the manuscript, illustrations, design elements, and overall presentation.

Let’s continue with our example of “Blossom Finds a Friend” and explore how to apply the final polish to your picture book:

• Example: You carefully review the book “Blossom Finds a Friend” paying close attention to sentence structure, word choice, and dialogue. You eliminate any redundant phrases, tighten up the prose, and ensure that the language is accessible and age-appropriate for your target audience.
• Example: You scrutinise the illustrations of Blossom and her garden adventures, checking for consistency in character design, background details, and artistic style. You adjust colours, refine linework, and add subtle details to enhance visual interest and reinforce the story’s themes.
• Example: You review the layout of “Blossom Finds a Friend” checking for alignment, spacing, and font consistency. You adjust page breaks, text formatting, and illustration placement to create a cohesive and visually appealing presentation that complements the narrative.
• Example: You enlist the assistance of a professional proofreader to review the final draft of “Blossom Finds a Friend”. Together, you meticulously comb through every page, checking for spelling errors, formatting inconsistencies, and layout issues. After thorough proofreading and quality assurance, you’re confident that the picture book is polished and ready for publication.

By applying the final polish to your picture book, you’ll ensure that it meets the highest standards of quality and craftsmanship. Take the time to review and refine every aspect of your book, leaving no detail overlooked. Your dedication to excellence will shine through in the finished product, delighting readers of all ages.

After months of hard work and dedication, it’s time to bring your picture book to life by publishing it and sharing it with the world. Publishing your book involves making decisions about printing, distribution, and marketing to ensure that it reaches your target audience and achieves success.

Let’s continue with our example of “Blossom Finds a Friend” and explore the process of publishing your picture book:

• Example: You opt for self-publishing “Blossom Finds a Friend” to maintain creative control and have the flexibility to bring your vision to life without the constraints of traditional publishing timelines.
• Example: You partner with a reputable printing company that specialises in children’s books and offers high-quality printing services at affordable rates. You collaborate closely with the printing team to ensure that the final product meets your expectations and aligns with your vision for the book.
• Example: You establish distribution channels for “Blossom Finds a Friend” by listing it for sale on major online platforms such as Amazon, Barnes & Noble, and independent bookstores. You also partner with local libraries and schools to make the book available to young readers in your community.
• Example: You launch a comprehensive marketing campaign for “Blossom Finds a Friend” including social media posts, blog tours, and virtual author events. You collaborate with influencers, parenting bloggers, and children’s book reviewers to generate excitement and positive word-of-mouth buzz about the book.

By publishing your picture book, you’ll share your creativity and storytelling with the world, bringing joy and inspiration to young readers everywhere. Embrace the journey of publication with enthusiasm and confidence, knowing that your hard work and dedication have led to this exciting milestone.

Looking for some additional resources on how to write a picture book? See the books below for more guidance and ideas (The links below are Amazon affiliate links):

• How to Write a Children’s Picture Book and Get it Published :

• Writing Picture Books: : A Hands-On Guide From Story Creation to Publication

Celebrating the completion of your picture book is an essential part of the creative process. It’s a moment to acknowledge your hard work, perseverance, and accomplishments as a writer and creator. Take time to revel in your success and commemorate the journey that led to the publication of your book.

Let’s continue with our example of “Blossom Finds a Friend” and explore ways to celebrate the completion of your picture book:

• Example: You host a book launch party for “Blossom Finds a Friend” at a local bookstore or community centre. You decorate the venue with colourful garden-themed decorations and provide snacks and drinks for guests to enjoy. You read excerpts from the book, sign copies for attendees, and mingle with readers to share your excitement.
• Example: You announce the release of “Blossom Finds a Friend” on your social media accounts, accompanied by eye-catching graphics and behind-the-scenes photos from the book’s creation process. You express heartfelt thanks to your followers, friends, and collaborators for their encouragement and support.
• Example: You treat yourself to a weekend getaway to a tranquil countryside retreat, where you can unwind, recharge, and reflect on your creative journey. Surrounded by nature and serenity, you savour the moment and revel in the sense of accomplishment that comes from bringing your picture book to life.
• Example: You journal about your experiences writing and publishing “Blossom Finds a Friend” capturing memories, insights, and reflections on the journey. You express gratitude for the opportunity to share your story with the world and celebrate the transformative power of storytelling.

By celebrating the completion of your picture book, you honour the effort and dedication you invested in bringing your vision to life. Embrace this moment of triumph and look forward to the exciting adventures that lie ahead as an author and creator.

Frequently Asked Questions

While there’s no one-size-fits-all structure for picture books, several common formats offer a solid foundation for your storytelling. Here are a few popular approaches:

• Beginning: Introduce your characters, setting, and the initial problem or challenge.
• Middle: Show your characters’ attempts to solve the problem, facing obstacles and setbacks along the way.
• End: Resolve the conflict or challenge, leaving the reader with a satisfying conclusion and takeaway.
• Introduce: Present the character, their world, and the problem they encounter.
• Attempts: Show the character’s multiple attempts to solve the problem, emphasizing their resilience and growth.
• Solution: Reveal the successful solution, showcasing the character’s learning and development.
• Departure: Show the character leaving their familiar setting or comfort zone.
• Challenges: Depict the obstacles and trials they face on their journey, highlighting their struggles and growth.
• Return: Showcase the character’s return, transformed by their experiences and carrying valuable lessons.
• Introduce: Present the initial element or situation.
• Additions: Gradually add new elements or characters, building on the previous ones.
• Resolution: Conclude with a satisfying payoff or twist that ties everything together.

These are just starting points. Feel free to adapt, combine, or invent your own structure based on your unique story and target audience.

Writing your first picture book can be an exciting and rewarding journey! Here are some steps to help you get started:

• Define Your Story Idea: Begin by brainstorming ideas for your picture book. Think about what themes or messages you want to explore, as well as the characters and setting you’d like to create.
• Develop Your Characters: Create memorable characters that will capture the imaginations of young readers. Consider their personalities, motivations, and arcs throughout the story.
• Outline Your Story: Once you have a clear idea of your characters and plot, outline the main events of your story. Determine the beginning, middle, and end, and identify key moments that will drive the narrative forward.
• Choose a Narrative Style: Decide on the narrative style that best suits your story. Picture books often use simple language and concise storytelling to engage young readers.
• Write the First Draft: Start writing your first draft, focusing on capturing the essence of your story and characters. Don’t worry too much about perfection at this stage—just get your ideas down on paper.
• Edit and Revise: Once you’ve completed your first draft, take time to revise and refine your manuscript. Pay attention to pacing, language, and clarity, and make any necessary changes to strengthen the story.
• Consider Illustrations: Picture books are a visual medium, so consider how your story will be enhanced by illustrations. You can either create your own illustrations or work with an illustrator to bring your story to life.
• Design Your Book: Think about the layout and design of your book, including the placement of text and illustrations on each page. Consider how the design will enhance the reading experience for young children.
• Seek Feedback: Once you have a polished draft of your picture book, seek feedback from trusted friends, family, or writing groups. Their input can help you identify areas for improvement and make your story even stronger.
• Finalize and Publish: After incorporating feedback and making final revisions, you’re ready to finalize your picture book and consider publishing options. Whether you choose traditional publishing or self-publishing, be sure to research your options and find the best fit for your book.

Remember, writing a picture book is a creative process, so don’t be afraid to experiment, take risks, and have fun along the way. With dedication and perseverance, you can bring your story to life and share it with young readers around the world.

The amount of money you can make from writing a picture book can vary widely depending on several factors, including the success of your book, your publishing arrangement, and your marketing efforts. Here are some potential sources of income from writing a picture book:

• Advance : If you’re traditionally published, you may receive an advance payment from your publisher. This advance is typically paid out in stages, such as upon signing the contract, upon delivery of the manuscript, and upon publication. Advances can range from a few hundred to several thousand pounds, depending on factors such as your publishing track record and the perceived marketability of your book.
• Royalties : In addition to an advance, authors typically earn royalties on sales of their books. Royalty rates vary depending on your contract and the format of the book (e.g., hardcover, paperback, e-book). Traditionally published authors typically earn royalties ranging from 5% to 15% of the book’s retail price. Self-published authors may earn higher royalty rates but are responsible for all production and marketing costs.
• Additional Rights Sales: Authors may also earn income from additional rights sales, such as foreign translation rights, audio rights, and merchandising rights. These rights can be licensed to other publishers or companies for a fee or a percentage of sales.
• Public Performance Rights: Authors may earn income from public performance rights if their book is adapted into other formats, such as a stage play, puppet show, or animated film. Public performance rights allow for the public performance or display of copyrighted works and can result in licensing fees or royalties.
• Author Visits and Speaking Engagements: Authors may supplement their income by conducting author visits and speaking engagements at schools, libraries, bookstores, and literary events. These appearances can generate additional income through honorariums, book sales, and merchandise sales.
• Merchandise Sales: Authors may also earn income from the sale of merchandise related to their book, such as T-shirts, posters, bookmarks, and other branded items. These sales can be conducted online or through book signings and events.

It’s important to note that while some picture book authors achieve significant financial success, many authors earn modest incomes from their writing. Success in the publishing industry often requires a combination of talent, persistence, and luck, as well as a willingness to adapt to changes in the market and industry trends. Additionally, income from writing can vary from year to year based on factors such as book sales, advances, and additional rights sales.

Writing a picture book can present its own set of challenges, but whether it’s “hard” can depend on various factors, including your familiarity with the genre, your writing experience, and your ability to craft a compelling story within the constraints of the format. Here are some factors to consider:

• Simplicity : Picture books are typically short, with limited word counts, so you must convey your story concisely and effectively. This can be challenging as you need to convey complex themes or ideas in a simple and accessible way.
• Visual Narrative: Picture books are a collaboration between words and illustrations, so you need to leave room for the illustrations to complement and enhance the text. Balancing text and visuals can be challenging, especially if you’re not an illustrator yourself.
• Audience Considerations: Picture books are primarily written for young children, so you need to understand your target audience and craft a story that engages and entertains them. This might require thinking about themes, language, and story structure from a child’s perspective.
• Story Structure: Even though picture books are short, they still require a well-developed plot, engaging characters, and a satisfying resolution. Crafting a compelling story within a limited space can be challenging and may require careful planning and revision.
• Market Competition: The market for picture books is highly competitive, with many talented authors vying for limited shelf space. Standing out in the crowded market can be challenging, especially for new and aspiring authors.

That being said, many writers find writing picture books to be a rewarding and fulfilling experience. Picture books have the power to inspire, educate, and entertain young readers, and seeing your book come to life can be incredibly gratifying. With dedication, perseverance, and a willingness to learn and grow as a writer, you can overcome the challenges and write a picture book that captivates readers of all ages.

Embarking on the journey of writing a picture book is an adventure filled with creativity, imagination, and endless possibilities. Whether you’re a seasoned author or a novice storyteller, the process of bringing your vision to life on the pages of a picture book is both challenging and immensely rewarding. By following the steps outlined in this guide, you’ll be well-equipped to embark on your own picture book journey and create stories that captivate and inspire young readers. 

And that wraps up our 18-step guide to writing your first picture book! I hope these tips help you bring your imaginative story to life for young readers. Let me know in the comments if you have any other questions on how to write a picture book – I’d love to hear from you!

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Blog • Perfecting your Craft

Posted on Mar 04, 2020

How to Write a Children's Picture Book in 8 Steps

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

It might be tempting to think that writing a children's picture book is easier than writing a full-length novel. However, a picture book actually requires all the same major storytelling elements that a novel does — such as well-drawn characters and an intriguing plot — just in a much smaller space.

The good news is that if you can achieve these things (with engaging illustrations to boot!), you’ll be poised to inspire the imaginations of young readers, who are always looking to welcome their next beloved picture book into their library.

To help all the aspiring authors who want to be the next Maurice Sendak or Margaret Wise Brown, we’ve put together this eight-step guide for how to write a children's picture book — plus tips for editing, illustrating , and publishing it!

Let’s start with the basics...

1. Come up with your idea

Successful picture books are the ones that strike the right balance between appealing to two different audiences: while a picture book is intended for children, it’s ultimately the parents who decide whether or not to buy it — or to read it aloud. (That being said, appealing to and entertaining adults shouldn’t take priority over the children you’re writing your children's picture book for.)

Luckily, coming up with an idea for your picture book is essentially the same as coming up with an idea for any book, for any age category. It’s how you present that idea that will differ. For instance, your picture book idea might center around specific childhood experiences, such as:

• Losing a favorite toy
• Bedtime struggles
• Imaginary friends
• Fear of the dark

But when you strip those ideas down to their core, you’ll find that their concepts are universal:

• Overcoming challenges

In that respect, successful books don’t connect with readers because they present an idea that’s never been explored before. They succeed because they convey topics in new and interesting ways. Sure, Goodnight Moon has been helping parents put their children to bed for over 70 years. But you can be sure that stories about bedtime will continue to hit the shelves for a long time to come, provided that they look at the topic from different angles or act as an educational tool.

To ensure your idea is solid, ask yourself the following questions:

• Am I presenting the theme of my book in a way that’s relevant to children?
• Do I explore the themes of my book in a way that feels unique?
• Will my book appeal to parents? This question can be trickier to answer, but if you can say “yes” to the first two questions, you’re probably on the right track here as well. Also, as an adult yourself, think about the picture books that have stuck with you, and then take note of the elements that keep the book fresh in your mind as an adult.

If you’re struggling to nail down the core concept of your book, this guide to story themes might help. Or perhaps it’s inspiration you’re after, in which case this list of the best 100 children’s books of all time is sure to get your creative wheels turning!

2. Identify your reading category

Let’s take a quick look at the different types of books that rely on illustrations, as well as some popular examples of each.

Board Books

• Reading age: 0-3 years
• Length: around 300 words
• Examples: Chicka Chicka Boom Boom by Bill Martin Jr., The Very Hungry Caterpillar by Eric Carle, The Snowy Day by Ezra Jack Keats

Picture Books

• Reading age: 4-6 years
• Length: 400-600 words
• Examples: Where the Wild Things Are by Maurice Sendak, The Polar Express by Chris Van Allsburg, Madeline by Ludwig Bemelmans

Early Readers

• Reading age: 6-8 years
• Length: around 2,000 words
• Examples: Amelia Bedelia by Peggy Parish, The Lorax by Dr. Seuss, Curious George by H.A. and Margaret Rey

Chapter books — for readers between 9-11 years-old — also typically contain illustrations. However, they’re often black and white sketches as opposed to full-color illustrations, and the pictures are used to complement the story rather than to help tell the story. If you’re looking for more in-depth details on the reading ages of various kid lit, check out this guide to writing a children’s book or sign up for the course below!

FREE COURSE

Children’s Books 101

Learn the ABCs of children’s books, from audience to character and beyond.

3. Work out your narrative voice

Even though many kids are able to read to themselves by the time they’ve graduated to the picture book and early reader categories, all books that rely heavily on illustrations are often still read aloud. That’s why rhyming in children’s books is pretty common — it creates a fun and engaging vocal storytelling experience. (Still, rhyming is not always a good idea for picture book writers — more on that below!)

Besides prose that sounds good out loud, there are a number of other factors to keep in mind regarding the narrative style of your picture book:

If you’ve ever casually dropped a word into a conversation with a child, only for them to ask you what it means, and stump you as you try to find a way to explain it, you’ll know the importance of tailoring the vocabulary of your picture book to the age range of your readers.

This, again, means striking the right balance. You want the vocabulary you use to be accessible to children. At the same time, you also want to offer young readers the chance to expand their understanding of language — aided by the illustrations. As children's editor Jenny Bowman says, “Children are smarter than you think and context can be a beautiful teacher.”

If you’re unsure whether the vocabulary in your book hits the right note, your best bet is to read other picture books to compare, and to get feedback from parents and children themselves. (But more on that later.)

On the note of helping young ones expand their vocabulary and reading skills: repetition plays a key role in many picture books!

The use of repetition allows children to anticipate what the next word or sentence of a story might be, encouraging them to participate in the act of reading and following along.

Examples include Bear Snores On by Karma Wilson, Brown Bear, Brown Bear, What Do You See? by Bill Martin, and One Day in the Eucalyptus, Eucalyptus Tree by Daniel Bernstrom. Oh, and almost anything from Dr. Seuss, of course!

As with repetition, rhyming can help children anticipate upcoming elements in a story. It can also contribute to a more fun, memorable reading experience — how many of us can still rattle off “I do not like green eggs and ham, I do not like them Sam, I am!”

However, as all aspiring picture book authors know, it’s incredibly tough to get rhyming really right . An otherwise wonderful book can be brought down by sloppy rhyming, and unless you’re Dr. Seuss’ equally-talented grandchild, publishers will likely be wary of your rhyming manuscript. So deciding to go the rhyme-time route is taking a risk.

But if you decide that rhyming is the style for you and anything else simply won’t do (see what we did there?), remember that the story should always come first. Don’t sacrifice plot or any other important story elements for the sake of your rhymes.

Point of View

Point of view refers to the perspective of the narrator. If a story is told from…

• First person, the narrator is the person the story is happening to and will use words like “me” or “I.” For example, Love You Forever by Robert Munsch.
• Second person, the narrator is placing the reader within the story and will use words like “you” or “your.” For example, In New York by Marc Brown.
• Third person, the narrator is telling the story from outside the action. In third person limited, the narrator is only able to reveal the thoughts and feelings of one particular character, while in third person omniscient, the narrator knows the thoughts and feelings of all characters. This POV uses words like “he” or “she.” For example, Corduroy by Don Freeman.

Deciding what POV you want to use is a big decision when it comes to how to write a children's picture book, and all of them have their own strong suits, depending on the story you’re telling. Love You Forever , for instance, is a book about unconditional love and is a comforting read (of course, until you’re older and suddenly it becomes a real tear-jerker!), so it makes sense that the narrator is speaking directly to the reader, using second person language like “you.”

Which famous children's author do you write like?

Find out which literary luminary is your stylistic soulmate. Takes 30 seconds!

Learn more about each narrative perspective in this guide to point of view.

4. Develop engaging characters

Writing a picture book is not an opportunity to scale back the work that goes into creating realistic, well-rounded characters with their own motivations, struggles, strengths, and weaknesses. Yes, you’re telling a story with far fewer words than a novel, and you have the benefit of using illustrations to help convey meaning, but your characters should still feel like real people .

Think back to the books you enjoyed as a kid. Likely, they stand out to you because you loved or related to their characters. If a parent or guardian knows their child has become a fan of a specific character, they’re also far more likely to continue buying more picture books about that same character. So taking the time to write fully-realized characters will not only allow you to hone your craft, but it’ll also allow you to build a fanbase.

Keep in mind that characters don’t need to mirror kids to appeal to them. You don’t need to worry about alienating your customer base by writing characters that don’t look, sound, or act as they do. Indeed, striving to create a cast with as broad appeal as possible is a ticket to creating forgettable characters. Don’t be afraid of cooking up unique characters that will connect with children in their own special ways — think about how many kids hold animals, aliens, or anthropomorphized objects near and dear to their hearts.

To help you out on that front, we’ve got three handy resources:

• A free downloadable template to help you build your character from the ground-up.
• A guide to building up your characters and really zero in on what makes them tick.
• This list of character development exercises that you can turn to any time you feel a sense of disconnect with your characters.

Don’t forget to consider the significance of providing children with access to characters that represent them. Read up about the importance of diversity in children’s books here.

5. Show, don’t tell

A piece of advice extended to all authors, “show, don’t tell” actually puts picture book writers at an advantage because of the illustrations that accompany their books! And you should absolutely rely on your illustrations to convey things to readers, allowing you to save your limited word count for other things.

Of course, the concept of “showing” by employing sensory details in your writing still applies to children's picture books, too. For instance, in Alexander and the Terrible, Horrible, No Good, Very Bad Day , author Judith Viorst doesn’t need to repeatedly remind readers about how annoyed Alexander becomes throughout the day. He does so by focusing on the frustrating events Alexander encounters, and by using the illustrations to elaborate on how Alex is feeling. Consider his disgruntled expression and tersely folded arms in the image above.

One tip for making sure your picture book shows instead of tells is to look for instances of the words “is,” “are,” “was,” or “were.” Double-check if any of the sentences associated with these words are telling the reader something you might be able to show them instead.

Brush up on this golden rule of writing with this comprehensive guide to “show, don’t tell.”

6. Edit and seek feedback

As we just mentioned, every word really needs to count in a book with so few words. So the first step of your editing process should be to go through your book line by line, and for each one consider: is this line crucial for my story? If the answer is yes, carry on. If it’s no, remove it!

After you’ve finished that, go back through your manuscript looking for any spelling or grammatical errors.

Once you’ve gotten your manuscript as polished as you can, it’s time to seek out feedback from the most honest beta readers out there: children!

If you have friends or family with children, ask them to read your book to their little ones, taking note of their feedback. Bonus points if you can watch someone reading your book to a child, as you’ll not only get their reaction, but you’ll also get a chance to hear what your book sounds like read aloud by another person.

There are also a number of great communities for children’s book authors out there that you can join for critiques and feedback.

Finally, if you want to be really sure that your picture book is ready to capture the imaginations of young readers, consider working with a professional editor . Editors pull from their insight into the publishing market they specialize in to inform their feedback — so the benefits an experienced children’s book editor can provide your story are significant.

If you want to dip your toes into the idea of working with a professional editor, you can sign up for a free Reedsy marketplace account and request quotes from a number of different children’s editors at no cost — including some who have worked with popular authors like R.L. Stine and Daisy Meadows!

Get a professional to edit your picture book.

Over 2,000 of the best picture book editors are on Reedsy. Sign up to meet them today!

Learn how Reedsy can help you craft a beautiful book.

At this point your children's picture book should be complete! You can now turn your sights to illustration and publishing.

7. Illustrate your picture book

If you’re hoping to have your book traditionally published, you can skip this step and go straight to the next. In just about every case, if your book is acquired by a publisher, they will want to choose their own artist to take care of the illustrations. In fact, sending a publisher your already-illustrated manuscript could harm your chances of landing a book deal as it may prevent editors from seeing how your book fits them . Think of it as going to see a house you’re interested in buying. If the place is covered with the current owner’s personality, you might have a tougher time seeing yourself living there. If the house is presented as more of a clean slate, you might walk in and spot the potential right off the bat.

Now, if you’re planning to self-publish your children's picture book, you will absolutely want to hire a professional artist to do the illustrations — unless you happen to be Eric Carle and possess both excellent writing and illustrating chops. Here's how to find the right illustrator for you.

1. Get an idea of the kind of illustrations you like.

Ultimately, the illustrator you hire will have input regarding what sorts of illustrations tend to work with the kind of book you’ve written. That being said, you should absolutely go into the process of finding the right collaborator with an idea of what you like. Head to your local bookstore and spend time browsing through the picture books there. Make notes of illustration elements you do or don’t like. Alternatively, scroll through these book illustration examples for illustration inspiration .

2. Establish a budget, brief, and deadline.

These are three key things you want to have in mind before you start looking for an illustrator. You want to know how much you can afford to spend on illustrations, how much work you need to be done (for instance, how many pages need illustrating and what type of illustrations you’re looking for), and what date you need the work completed by. This information will all play a big role in scouting out the designers that are right for your project. But remember, you may need to adjust your expectations as you start talking to illustrators and begin to get an idea of how much they typically charge and how long the average turnaround time is.

3. Thoroughly look through illustrator’s portfolios.

This is the best way to come up with a shortlist of illustrators you’re interested in working with. As well as getting a sense of their work and whether it’s up your alley, you should keep an eye out for their credentials: have they illustrated picture books for your age group before? Have they illustrated characters that resemble yours before? And so on and so forth.

4. Reach out to illustrators.

Once you’ve finalized your shortlist, start reaching out to illustrators by telling them about your book, and the budget, brief, and deadline details you worked out beforehand. If you’re looking for a secure environment to scope out experienced illustrators, sign up for a free Reedsy account to gain access to our vetted marketplace of professional illustrators. You’ll be able to check out their portfolios and past work experience with just the click of a button!

Looking for a professional picture book illustrator?

Over 100 of the best picture book illustrators are on Reedsy. Sign up for free to meet them!

8. Publish your picture book

If you’re not yet sure which publishing path you want to take , here are a couple of things to keep in mind.

Self-publishing a picture book

If you want to dictate the amount of time it takes to bring your book to market, have the final say on all creative decisions, and keep a much larger percentage of royalties, then self-publishing your picture book is likely the right move for you.

That being said, self-publishing also means that you need to be willing to do all the marketing and distribution work yourself — and the costs associated with publishing your book will all have to come out of your own pocket.

For many authors, one of the biggest draws of self-publishing is accessibility. The picture book market is notoriously competitive when it comes to landing a publishing deal. It can be a very long game with an unclear outcome. So if your primary goal above all is to see your book published and available for little readers, stick to self-publishing.

Here some resources to help you along the way:

• How to Self-Publish a Children’s Book [blog post]
• Guide to Marketing a Children’s Book [free course]
• Guide to Print on Demand [blog post]

Traditionally Publishing a picture book

In a plot twist that everyone saw coming , the benefits to traditional publishing coincide with the potential pitfalls of self-publishing. Those benefits include wider distribution and greater chances of seeing your book stocked in brick-and-mortar stores, a production team who will work on the book at no cost to the author, an advance against sales, and at least a degree of book promotion — though even with traditional publishing, authors are expected to shoulder a portion of marketing efforts as well.

On the other hand, there’s the inaccessibility, slower publishing timeline, less creative input, and smaller percent of royalties that we also mentioned above.

If you’re set on traditional publishing, don’t forget to consider smaller indie publishers and small presses outside of the Big 5 publishers , who might be more likely to take a chance on an unknown children’s author.

Here are is some extra reading to answer more of your trad publishing questions:

• How to Publish a Children’s Book [blog post]
• How to Write a Query Letter [blog post]
• How to Identify The Target Market of Your Children’s Book [blog post]

Finally, whether you’re planning to self-publish your book or go the traditional route, this free online course is a great resource that breaks the process of publishing a picture book down into manageable steps.

Free course: How to publish your picture book

Get your picture book into the hands of little readers everywhere with this 10-day online course. Get started now.

And there you have it: how to write a children's picture book in eight steps. Whether you’ve landed on this blog post at the very start of your writing journey or in the middle of the publishing process, remember to keep the goal of reaching young readers in mind every step of the way. Bonus points if you can approach this often-challenging endeavor with a sense of childlike curiosity and fun 😊

Are you in the process of writing a picture book? Tell us about it — and ask any questions you might still have — in the comments below!

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Activity for Teacher Educators

If you ask your participants to think about resources for teaching math to young children, they may not suggest picture books. However, just as picture books provide opportunities to develop literacy, they can also be used to promote children's mathematical thinking. 

When discussing how to use picture books to teach math, it is important to make a distinction between three types of books: those in which math is explicit, those in which math is implicit, and everything else.

Explicit math books are written for the express purpose of teaching children math. These may even contain a reference to mathematical concepts in their titles, as in the case of books such as  Mouse Shapes  by Ellen Stoll Walsh. But other books that also explicitly teach math concepts do not have such titles. For example,  Hippos Go Berserk by Sandra Boyton, is actually a counting book, but you would not know that from the title.

Other picture books do not explicitly address math, yet  the text and illustrations do afford students opportunities to learn about math concepts. A well-known example is  Goldilocks and the Three Bears , in which the story involves size comparisons. For example, Papa Bear is the biggest, Mama Bear is medium-sized, and Baby Bear is the smallest. While your participants may not think of  Goldilocks  as a math story, significant math ideas are implicit in it and important to the plot. Your participants can learn how to use both implicit and explicit math picture books to help children discuss and investigate math ideas.

Finally, we have the rather large category of  everything else, that is, books that are not written to teach math and which do not contain significant implicit math.  Every picture book page has objects arranged in space, an adult reader can always ask the child to count them, or talk about their location (for example, “The hat is on top of his head”). In other words, adults can interject math conversation in all children’s picture books because “math is all around us.” At the same time, we should not ruin an interesting story by interjecting math  to the point of distracting attention from the story line.

Introduction to Picture Book Analysis

An effective way to analyze picture books with participants is to read a picture book together as a whole-group activity. Although they will ultimately be presented with a guide to help them analyze books on their own, this first introduction can be less structured. In this example, we focus on counting.

To promote participants' learning about the qualities of books that lend themselves to math conversation, use a good book that also has some text or illustrations that may be confusing or especially challenging for young children. The book should be one well worth reading and should have many positive qualities, such as an interesting story. At the same time, the book should also include problematic text or illustrations that will provide opportunities for interesting group discussion.

Consider just this two-page spread from the counting book Ten Little Fish by Audrey Wood.

The illustrations in this book are colorful, beautiful and intricate. The text explains that there are eight fish and if you count them, there are. However, the fish on the left are meant to be deeper underwater. So, they are drawn smaller. They are also somewhat obscured by the light hitting the water. So, a very young child might have a hard time seeing and counting the fish on the left, even though they are swimming in a line.  

In addition, the text indicates that as one of the eight fish jumps out of the water, there are now only seven fish remaining in the water. However, all eight fish are still clearly visible. It may be hard for a child to understand that the number seven only refers to those underwater. This is still an interesting book, but it might be a better choice for children who are already good counters to teach them about simple subtraction. This might not be the best choice for young children just learning to count objects. There are many books with objects that are more easily countable.

Math Picture Book Analysis Guide

After participants have analyzed a picture book together, introduce the  Math Picture Book Analysis Guide (download below). This guide will help participants analyze any book and determine its suitability and usefulness for teaching math to children.

For example, the first question in the Math Picture Book Analysis Guide, shown below,  helps a participant determine if a particular book is developmentally appropriate. It suggests that if children can count already fluently count forwards and backwards, a book about adding and subtracting by one might be more appropriate. If you used the two-page spread from Ten Little Fish , shown above, you could point out that this book could be appropriate as a counting backward book or a subtraction book. Other questions in the  Math Picture Book Analysis Guide will help participants determine which books might be well suited to the children they teach.

Go through the other questions in the guide with participants. For example, you can present the two-page spread from Balancing Act by Ellen Stoll Walsh, which is shown below. In this book, two mice each stand on one side of the stick and were balanced. This page shows what happens when a salamander wants to join.

Show how questions 2 and 5 from the guide could be used to analyze a book like this. Start with question 2, shown below.

  Balancing Act is about measurement. The stick with animals on either side is like a balance scale and as animals jump onto either side, the weight on that side changes. Participants might also check “Other” saying that this book involves ideas of equivalence and nonequivalence.

Next, ask the participants to consider question 3.

  Point out that unlike Ten Little Fish, which encouraged the child to count objects, Balancing Act shows measurement in a more general way. Neither weights nor scales are explicitly mentioned, but it is clear that the changing weights are causing the stick not to balance. Move on to question 4.

  Many children can relate to the idea of balancing. For example, they may also have used see-saws at playgrounds or they may talk about a time when they had to put their arms out to balance while walking along a log. They may be familiar with weights, pointing out that they have seen weights on packages at the grocery store or they have seen their pets get weighed at the vet’s office. Participants can suggest activities that would incorporate ideas of balance and weight. For example, some preschool classrooms have balance scales that allow children to put different different objects on each side to see what happens.

Finally, discuss question 5.

In a book like Balancing Act , the illustrations from page to page show what happens as more and more animals jump on. It accurately shows the math content, but does not explicitly mention math.

Trying Out the Guide and Annotating Books

Next, break the participants into small groups to analyze some picture books using the Math Picture Book Analysis Guide as you did as a whole group.  Encourage them to check off boxes for each question and write comments.

Have participants annotate the picture books using sticky notes. On the first page, make general notes about the book and its usefulness.  Annotations for individual pages may include notes about the specific math found on the page, vocabulary (math or otherwise), general reactions or feelings about the book, as well as questions that a teacher might ask a child while reading. Here are some possible annotations for the Balancing Act spread .  

More detailed descriptions of how to annotate specific math books can be found in the Using Picture Books activities in the content modules. It is important to note, however, that only a small number of these questions should actually be used while reading. Pausing for too long and asking too many questions can easily frustrate children who are engaged in the story and eager to see what happens next.

Interactive Reading

Finally, after analyzing books, participants can select a picture book about a specific topic. Have them plan a lesson around the book.

Emphasize that reading books with math content is in many respects no different from reading other books. In both cases, the primary goal is to enjoy and learn from the books. Also, in both cases, the adult reader should employ interactive reading (similar to  dialogic   reading , that is, reading that engages adult and child in a conversation around reading): The adult asks questions about the book, encourages the child’s attention and participation, and in general takes the child on an intellectual adventure. Most likely, your participants will have studied interactive reading in classes on literacy, but if not,  A Teacher's Guide to Reading Math Picture Books (download below) presents the major principles of interactive reading in the context of picture books with significant focus on math.

Picture books afford many opportunities to explore children's mathematical thinking. This is true of explicit math books as well as books in which significant math is implicit. The Math Analysis Picture Guide and the other picture book resources mentioned across our modules can help participants analyze and select picture books effectively and use them to teach math concepts. 

Math_Picture_Book_Analysis_Guide.pdf 1.93 MB

A_Teacher's_Guide_to_Reading_Math_Picture_Books_1.pdf 658.71 KB

Check out our Using Picture Books resources for  Counting ,  Shape & Spatial Relations ,  Addition & Subtraction ,  Patterns ,  and   M easurement .  

How to Write a Children’s Picture Book in 11 Easy Steps

If you’re researching how to write a children’s picture book, you’ve probably been touched by a children’s story at some point in your life. Now, you’re ready to start creating a picture book of your own.

What’s the first book that you remember reading/listening to as a child? Was it a picture book? 

Whether it was a soothing lullaby, a gentle adventure about a bunny named Peter Cottontail, or a rhythmic, Seuss-type play on words, it probably had colorful illustrations on almost every page. 

There is a booming children’s picture book market, and for good reason. Picture books are FUN. Dare I say, they are the most fun way to learn how to read. So, why not learn how to write a children’s picture book yourself? It can be an incredibly rewarding experience.  Today, we’ll provide you with a step-by-step guide to learn how to write a children’s picture book. But before we get started on the details of creating a picture book, let’s discuss what they are and why they are so important in the world of literature.

This guide for how to write a children’s picture book covers:

What is a children’s picture book .

A children’s picture book is a book written for young readers that is composed of text paired with visual illustrations, pictures, or images to tell the story.  When learning how to make a picture book, the word choice should be considered carefully. You want to text to make the age and reading level of your target audience.

Why are picture books important for children? 

Picture book authors meet a crucial need in the early literacy of children.

New mothers are urged to begin reading to their four- to six-months-olds, by “lap reading,” which is when a baby sits in a parent’s lap, learning to look and listen.

Reading aloud to children from an early age offers numerous important advantages.

By learning how to write a children’s picture book, you will help children by:

• Strengthening their emotional bonds
• Developing their thinking skills
• Developing their oral language skills
• Encouraging them to sit still and listen
• Building their vocabulary
• Introducing concepts about the world around them

Children’s picture books, however, are not simply for reading aloud to babies and preschool children. 

Teachers use good picture books to teach a variety of reading and writing skills throughout elementary school…and beyond! 

Children’s picture books are often used to introduce topics in science, history, social studies, and math.

Savvy authors have a specific purpose for writing each book. They also have a specific audience in mind when creating a picture book, while the actual audience may include an unexpectedly wide range of readers (which we’ll cover more on later).

Ready to learn how to write a children’s picture book of your own? Let’s go!

How to write a children’s picture book in 11 simple steps

Here are the steps you should follow to learn how to write a children’s picture book successfully:

1. Find your idea

The first step in learning how to write a children’s picture book is to zone in on your big idea.

Why are you learning how to make a picture book? You have a story that needs to be told!  

Maybe you’ve jotted some preliminary ideas in a notebook; or maybe the first draft has been filed away on your laptop for 10 years. 

Whatever your idea for writing a children’s picture book is, it’s time to bring it to life.

As you begin, it’s important to keep in mind that sometimes a story that you want to write is fraught with such deep, personal emotions that the story just doesn’t end up sounding like a story for a child. 

My advice to you: Give your life experience to a fictional character, tone it way, way down, and make a happy ending! 

If your story is likely to traumatize a child, your chances of selling it as a children’s picture book are slim.

Or, maybe you have what it takes to write a winning story, but have no idea what to write about. 

Here are some suggestions for finding inspiration for your children’s picture book: 

• Go to the children’s section at your local library and browse the shelves. Take note of any topics that stick out to you. 
• Search the internet for lists of children’s popular book themes
• Ask kids what topics they are interested in and what they like to read about.

2. Focus on your target audience 

Who will be reading your book? Who will be buying your book? These are important questions to work through when learning how to write a children’s picture book.

Since we’re discussing writing children’s picture books, you might assume your audience is children. 

And, sometimes, it will be the child who sees your brightly-colored cover or reads the catchy title, and says, “Dad! I want this book!” But it’s usually the parent, grandparent, doting aunt, or classroom teacher who is out shopping for children’s books. 

Keep both shopper and reader in mind as you plan your children’s picture book.

Parents and teachers want a story that is fun to read aloud, so as you write the book, you’ll want to practice reading each line aloud, making sure the words flow without tripping up the tongue.

Teachers choose read-aloud books for one of the following reasons:

• Your book fits their list of grade-level topics they must teach (butterflies, frogs, honesty, friendship, bullying, etc.)
• The illustrations drew them to your book, and your story touched their hearts.
• Your book is written at a specific reading level for small literacy groups. 
• They heard about your book and simply must read it to the class!

Just think about it: There are always kids at every level of reading. Babies and eager nonreaders…young children just learning how to read…older kiddos who are now reading to learn …and adults reading your book to their children and grandchildren. 

You have to think of your target reader, and keep them in mind as you learn how to write a children’s picture book.  

3. Choose a topic you know very well

The next step in learning how to write a children’s picture book is to decide on a topic that you can write about with ease.

This means you’ll want to know a lot about your topic, so that you prevent making amateur mistakes. You should know your topic well enough to teach it, or explain it, to children. 

Some ideas for children’s picture book topics are: 

• A childhood experience (loose tooth, siblings, first day of school, tree climbing…)
• A topic you have researched thoroughly (maybe one that’s in line with your profession)
• An activity you’ve participated in (sports, music, ballet, skating…)
• An event you witnessed firsthand, as a mom/dad/grandma/grandpa…

For example, when I wrote my first children’s book, Grandpa’s Tree, I was a new grandma, totally infatuated with my three-year-old grandson. We went on nature walks and I learned to appreciate the long-forgotten world of tiny critters.

But no one wants to read about how wonderful my grandson is to me. So I jotted down blurbs and phrases about our walk…which triggered memories of my own childhood. 

Experiences from two childhoods became mingled with a bit of fiction and developed into a poem. A rhythm and cadence completed this fun, fictional tale, and my book was born!  

4. Decide what kind of story you will write

Once you have your topic chosen, the next step in learning how to write a children’s picture book is to decide on the type of story. 

These are some types of children’s picture books you can write:

• Circular tale when the main character takes a journey and returns home, or a life cycle
• Adventure with several problems to face
• Alphabet/counting / colors storybook 
• Nonfiction book with photos

Another tip is to think about why you dislike certain picture books . If you haven’t come across any children’s picture books that you don’t like yet, set out to look for some! 

Check out your local library or bookstore to browse children picture books for ones you don’t like, and make a list about why you don’t like them. 

Some common mistakes when writing children’s picture books are: 

• Font choice or crowded spacing of text lines
• Amateurish illustrations, drab colors, or poor overall layout
• Improper grammar or using too much slang
• A condescending tone (talking down to kids)
• A boring story that doesn’t engage the reader

When learning how to write a children’s picture book, it’s always helpful to remember what NOT to do so you can avoid making the same mistakes. 

5. Make a plan

Remember how you pre-planned your writing in elementary school? Your teacher provided all kinds of nifty “spiderwebs,” bubble charts, and a variety of other graphic organizers. 

You wondered why the teacher demanded that extra pre-writing step . Well, it’s because graphic organizers allow you to visualize the thinking sequence that’s happening as your brain flits from one possibility to the next.  

As a children’s book author, you’ll find that these pre-planning techniques can be very useful!

It doesn’t have to be perfect but, when learning how to write a children’s picture book, you should use a graphic organizer to brainstorm your picture book’s outline and sequence. 

You can mindmap, use a graphic organizer of your choice, or create a storyboard, like the one in the image below :

A book writing coach can also help you create – and stick to – your plan. Here at SelfPublishing, we pair our aspiring children’s book authors with experienced authors who have completed the book writing and self-publishing journey. That way, you’re getting advice from someone who’s truly been in your shoes.

5. Start writing your children’s picture book!

You know what kind of story you’re going to write and you have it all mapped out – now it’s time for the next step in learning how to write a children’s picture book. 

You’ll want to set some writing goals and stick to them every day. This will help you stay organized and make actual headway as you write.

It’s time to actually write that book! 

So, the million dollar question is: How long should your children’s picture book be?

The average length for a children’s picture book is 32 pages, but depending on the age range your book is targeted at, it may be even shorter. 

The word count should be no more than 500-600 words, but this will depend upon your purpose for writing. For children’s picture books, it’s important to let the illustrations tell most of the story. 

If you’re struggling to write your book, do some market research. See how successful authors have put together their children’s picture books. Read picture books that have already been published. This will help you get a better feel for how to write a children’s picture book of your own. 

As always, be sure to lean on your own creativity to write your story. Only you can tell it the way you want to!

Related: How to Write a Children’s Book (10 Stress-Free Steps)

7. Choose a title

Along with the colorful illustrations, a children’s book title is what grabs the attention of a potential reader. 

Make your title short and catchy! Use wordplay or simple literary elements , but don’t choose a title that confuses the reader. 

Create a list of possible titles. If you’re not sure where to begin, you can use our free book title generator for inspiration! Once you have your shortlist, take a poll that consists of both kids and adults to see which titles catch their attention most. This can help you decide on which one to use, but you still have the final say!

You can even draw inspiration from other published children’s book titles by doing some online research. 

8. Create a mock-up of your children’s book

When your story text is typed the way you want it, another graphic organizer used by authors is a “picture book dummy,” or a mock-up of your children’s book using thumbnails. 

This cut-and-tape procedure with paper allows you to turn real pages to see how your book layout will look and feel in the reader’s hands. 

Here is how to make a picture book dummy: 

• Print your typed manuscript on white paper and cut it into sentence or paragraph strips.
• Make a stack (eight sheets for a 32-pg book) of blank white copy paper.
• Fold the stack of papers in half, making each page 4.25” x 5.5”. Staple or sew the fold.
• Number the pages at the bottom, from 1 to 32. 
• Pages 1-3 will include copyright information, title page, and acknowledgments. 
• On page 4, add story strips to resemble your book layout, taping only the ends.
• Alternate story strip pages with illustration descriptions. 
• Move story strips and illustration descriptions until you are satisfied.
• Put your book together with actual text and artist’s illustrations/images, using the computer publisher format you have chosen to self-publish your children’s picture book.  

Playing with a full 32-page layout template on the computer is great, but always make a paper dummy picture book first ! 

You can more easily visualize left/right pages and keep illustrations with the correct text as you play around with your book layout. 

A dummy can keep you from making a costly and frustrating mistake! For example, if your illustration or photo is supposed to be spread across two pages, the book dummy will keep you from placing those two pages back-to-back.

9. Revise and edit your book

Yes, you need to edit, even when writing children’s books .

Even if you’re a writing pro who knows all about grammar, syntax, punctuation, and style – you still need an editor. 

You’d be surprised at how many errors or improvements a professional editor might find in your text. 

If you’re wondering how to find a book editor , you can check your local area for children’s book editors or search online job markets such as Thumbtack , Problogger, or Upwork . 

10. Find an illustrator 

Once your story is written and polished, the next step of learning how to write a children’s picture book is to pair your crafty words with engaging illustrations.

Who is going to illustrate your children’s picture book? Are you a professional illustrator? Are you willing to pay a professional artist for approximately 16 colorful and cute illustrations? 

If you choose the traditional publishing route for your picture book, most publishing companies do not want you to submit illustrations with your book manuscript.

Children’s book publishers often match their in-house artists to the few book manuscripts they choose to publish each year. This means you might have a say-so in the book’s illustrations, but you might not. 

If you self-publish your children’s picture book, you’re completely in charge of finding an illustrator , and you have total creative say-so. You can find illustrators to work with in your local area, or online. 

Don’t skimp on quality when it comes to your illustrations. Invest in a professional illustrator, and it will show!

When I finally decided to create and publish my first children’s picture book, I connected with a talented artist who happened to be my friend’s daughter. We worked out an arrangement where she was compensated per book sold, rather than upfront. We worked together successfully, even though it was long distance, and developed a trusting professional relationship.  

For my next children’s picture books, my sister (a budding artist) and I published Grandma’s Lullaby, Grandpa’s Hidden Gold Farm , and several supplementary children’s publications about bees and pollination. 

Shop around! There are professional artists in the most unexpected places. Just make sure the person is professional, talented, and trustworthy before approaching them about illustrating your book.

11. Start the publishing process

You’ve reached the last step in learning how to write a children’s picture book – hooray!

Your book is written, illustrated, and ready to go. What now? It’s time to get it published! 

There are two options: Try to pursue a traditional publisher or self-publish your book. This detailed report on self publishing vs traditional publishing will help you decide which route is best for you. 

The basic difference is that traditional publishing is extremely competitive and time consuming . It requires you to send your manuscript to agents. If a literary agent for children’s books accepts you, your manuscript will then be sent to publishers.

Once your manuscript is accepted by a publisher, you will be offered a book contract and the publishing company will take care of the production process, However, you’ll most likely be in charge of marketing your book yourself. 

On the other hand, you can self-publish your children’s picture book – which means it’s all up to you . You determine when you want to publish your book, and are in charge of the entire production process.

This means that you have to hire professionals to do the things you may not be able to do yourself – like editing and illustrating. You’ll also need to learn which self-publishing companies are best to publish and market your book. 

Because there are multiple steps involved in self-publishing your book, it requires a whole new article on the topic. You can use this detailed guide on how to publish a book to learn the exact steps you’ll need to take. 

We also recommend investing in a self-publishing course , which is extremely helpful for first-time self-published authors .

Regardless of how you choose to publish your book – the bulk of the work of how to make a picture book is done by this point! 

You’ve learned how to write a children’s picture book, and have successfully brought your vision to life. 

Celebrate this milestone, and get ready to start your publishing journey!

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When I was a kid, my father read some story books, magazines, and some interesting and funny stories in the newspaper for me. He always told me that reading and learning helpful and useful books will add more to your knowledge. Before school, I was interested in reading story books containing colorful pictures, but I wasn’t able to read and write, so I was just looking at the photos in the books, magazines and newspapers

Essay on Personal Narrative- My Love of Reading and Writing

Reading was the new outlet for my imagination and the stories I read fascinated me. They weren’t too unlike the scripts of computer games or the own stories I came up with on my own, but books actually had the action and emotional aspects written out. And again, while my peers were reading things about growing up, things that had morals and would teach valuable lessons (I remember one book about a shoplifter who had to do community service at an animal shelter), I read real fiction: Jurassic Park, Dragonriders of Pern, Lord of the Rings… Stuff of fantasy and science-fiction that let my mind stray from reality. Stuff that kept my imagination alive while I was being forced to learn multiplication and the names of countries. Of course, my teachers encouraged me to keep reading, as long as I wasn’t doing the reading in the middle of their lectures. But it wasn’t because of their influence, however, that kept me interested in books. It was because I loved it. It put pictures into my head and made me think. So I kept reading. But even then I knew reading wasn’t enough… Yes, the stories were fascinating, but they weren’t what I wanted. Back then I wasn’t sure what I wanted, but as middle school came to a close, I found it.

The History of Childresn Literature Essay

Children’s literature is defined many different ways. It can be simply defined as a book that a child reads, or as Kiefer defined it “as the imaginative shaping of life and thought into the forms and structures of language.” (Kiefer, 2010, p.5) Literature has been around for hundreds of years, although not in the form that we are used to seeing now. There have always been stories to be told for as long as one can remember.

The Importance Of My Reading Story

I first learned about the connection of ideas to letters when I was in preschool and realized the letters c-a-k-e beneath a photograph of a decorated birthday cake represented my favorite dessert. After that, I was eager to learn more. As a preschooler, I loved the fairy tales “Cinderella,” “Snow White,” and “Rapunzel.” Some, however, such as “Little Red Riding Hood” or “The Three Little Pigs” or “Hansel and Gretel” frightened me with their macabre themes and violent plots. Still, I loved stories. The little golden books such as The Color Kittens and The Little Engine that Could were the ones I picked each night to have read aloud. Before prayers, my mother would read me stories and set me on my dream journey.

My Dream Experience

I loved when the teachers read stories, books, or showed movies. As a child, imagination was a constant escape from school. Imagination made everything seem conceivable, with all the types of dreams one was able to conquer. Of course, I mostly cherished action and adventurous types of novels. What kid doesn’t love a bloody war scene?

Related Topics

• Caldecott Medal
• Children's literature

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19 of the Best Opinion Writing Mentor Text Picture Books

These days, there is a ton of great literature that lends itself to opinion writing . Not only do mentor texts for opinion writing contain a fun and engaging story, but they also include pictures that draw the reader in and prompt them to ask more questions about the text.

Use these opinion writing read alouds to introduce the concept of opinion writing or investigate specific components of opinion writing to hone students’ writing skills.

Opinion Writing Unit for Second and Third Grade

You may also be interested in my Opinion Writing Unit for second and third grades. This unit includes scaffolds for teaching each component of the opinion writing process. It guides students through writing well-crafted opinion paragraphs and essays.

Use the opinion writing mentor texts to introduce a component of opinion writing, then use the included worksheets, games, and cooperative learning strategies to solidify students’ understanding of that writing component.

How to Teach OPinion Writing with Read Alouds Using an Anchor CHart

Before reading any persuasive book, consider creating an anchor chart that will carry you and your students through your entire opinion writing unit. Use the anchor chart to introduce opinion writing and follow up with it as you explore each component of opinion writing in depth.

The anchor chart should have several columns, including:

• The book and/or text title. In addition to writing the title, consider making a photocopy of the cover or printing an image of the cover that you find online. This gives students a quick way to find the book on the long list that you will create.
• Opinion Statement – This is where you will record the opinion statement from the book.
• Reason #1, Reason #2, Reason #3 . Or just a column for all reasons.
• Introduce the Topic
• Conclusion Statement

Consider adding examples to the list above if you’re teaching third grade. Students will be taught these components of opinion writing throughout your opinion writing unit and the components they will look for in each of the opinion writing picture books.

Many persuasive books you read will not follow the formatted opinion writing process you are teaching. Students will need to understand that authors are creative. Once they have learned the structure of a writing style, many authors move outside of that structure.

When recording the components of opinion writing on the anchor chart, consider using the academic language you expect students to use in their own writing. This is just one more opportunity to model academic language.

Free Digital Anchor Chart of Opinion Writing Picture Books

Would you like a free digital anchor chart of the opinion writing picture books in this blog post? Click the image below and sign up for a link to copy this fully editable Google Slides file.

19 Opinion Writing Picture Books to Use as Read Alouds in Your Classroom

Here is a variety of opinion writing picture books you can use to teach opinion writing to your students. Use them to introduce opinion writing, identify opinions, supply reasons, and provide examples.

When choosing persuasive books for your students, be sure to consider the level of new content vs. the type of academic language you are asking them to produce.

If you want students to use higher levels of academic language in discussions and writing, use more accessible content. While some of the books in this post may seem too young for your grade level, most students love re-reading old favorites. They know the storyline so well that they can focus on the academic task vs. the book’s plot.

Along the same lines, don’t ignore higher content. When you read mentor books for opinion writing that contain harder concepts and higher content, start by helping students form opinions orally during classroom discussions. Do the oral practice often, and it will transfer to writing.

Emily’s Perfect Pet

Pets are one of the easiest topics to use in opinion writing. At some point in their childhood, most kids try to convince their parents to get a coveted pet. Emily is no different. In this book, she tells about the attributes of specific pets and why they are perfect for her. This is a great book for giving reasons.

Hey Little Ant

This is one of my favorite persuasive books to use for opinion writing! It is a fun book about different perspectives and why ants are important and shouldn’t be stepped on.

A Pig Parade is a Terrible Idea

Do you think a Pig Parade is a good idea? This fun and engaging book explains why you should not have a pig parade. It is a great book for supplying reasons.

Stella Writes an Opinion

This is a perfect book for teaching opinion writing! Stella, the main character, wants a morning snack and uses her persuasive opinion skills to give reasons and even includes a closing statement. It even includes some ideas for teacher use in the classroom.

A Bad Case of Stripes

This is a great book on many different levels. Not only does it work with supplying reasons why she shouldn’t eat lima beans, but it also deals with social issues and peer pressure.

I Wanna Iguana (and other books from the series)

In this book, Alex is trying to convince his mom to let him have a pet iguana. He gives plenty of reasons why he should have the pet and backs them up with how he will take care of it. It’s a fun, engaging book that develops the skills of supplying reasons.

Who Would Win Books

The Who Would Win series of books are nonfiction books that compare and contrast two animals. Readers learn about each animal’s attributes, behavior, and more. Not only will students be able to give an opinion about which animal would win in a battle, they learn science content as well!

The Day the Crayons Quit

A fun book about crayons that refuse to be crayons. This book is great for explaining why specific colors quit being crayons. Each color has a reason and gives clear examples on why they want to quit being a crayon. This book is great for supplying reasons as well as explaining those reasons.

Pigeon Books

Pigeon is quite a character! Most of the books are great demonstrations of opinion writing. Pigeon is always trying to convince the reader why he should be able to do something and the author is using opinion language to tell why he shouldn’t. While this book is great for younger kids to enjoy, it works well for older students to analyze the written components.

A Fine, Fine School

Do you think students should go to school on Saturdays? Tillie’s principal does! He loves school so much that he decides everyone should go to school all the time! This is a great springboard for some of the most common opinion writing topics, like whether should we extend the school day. If we’re in school more, do students learn more?

The Big Bed

A fun book about a toddler who doesn’t want to sleep in her own bed and uses all sorts of reasons to convince her dad to sleep on a cot. This fun book is great for supplying reasons.

The Perfect Pet

In the Perfect Pet, Elizabeth explores the different pets and the reasons why some are better than others. She ends up with an unusual pet.

Click Clack Moo Cows that Type

This is a beloved classic about cows that ask for quite a few things from Farmer Brown. It’s great for reasons and explanations.

I Can be Anything

This is a great book about setting goals and not listening to the voices that tell us we can’t do something. I love the book for goal setting, but it is also great for giving reasons and explaining why you can be anything you dream.

The Amazing Collection of Joey Cornwell

This is a great story about an artist and how he collected everything as a child. That collection grew and he realized that certain things looked good together. This is a great book to introduce kids to art, but can also lead to some discussions about opinions.

Dog vs. Cat

If you have students write about which pet is the best, this book brings out all of their good and bad qualities. It gives a lot of reasons why one may be better than another. It’s a fun and engaging book for younger learners.

Give Bees a Chance

I love this book for the opinion writing aspects of it but also because it’s focused on science. Many of the books in this list are fiction and fun books. This one is more about the benefit of bees.

Red is Best

In this book, the main character lists reasons why he loves the color red. It is a great book to help students develop the skill of supplying reasons when giving opinions and fits perfectly with that week of teaching opinion writing.

Which Would You Rather Be

This book doesn’t try to convince the reader of anything but poses questions. It’s a great book for classroom discussions or a community circle. It works well for the week of stating your opinion. This is a great book to help students practice using sentence frames. Be sure to preview the book ahead of time. There may be a few questions you want to skip.

You could extend a few of these opinion-writing picture book discussions into identifying points of view, as well as stating an opinion and supplying reasons.

Videos for Opinion Writing

Many of the books above also have video versions available. Providing students with links to the videos adds a different way to hear the story that might spark even more opinion-writing ideas. Here are links to a few of the videos.

Opinion Writing Blog Post Series

This blog post is part of a series of content all about Opinion Writing. While this blog post about mentor books to teach opinion writing is a great place to introduce opinion writing, the following blog posts are some of my favorite ways to extend learning in the classroom.

Here are other posts that you can use to teach opinion writing in your classroom.

Read More Opinion Writing Strategies

7 Ways to Introduce Opinion Writing Picture Books to Teach Opinion Writing Teaching Ideas to Solidify Students’ Understanding of Opinion Writing Teaching How to State an Opinion Teaching How to Supply Reasons Teaching How to Introduce the Opinion Writing Teaching How to Conclude the Opinion Writing

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Analysing picture books: Out of the Egg

Learning intention.

Students are learning to:

• Respond to visual texts
• Analyse the use of visual techniques in a picture book and the impact on readers
• Understand the role of texts, such as picture books, in society
• Write creatively

Success criteria

Students will be successful when they can:

• Make connections between the world of the text and the real world
• Use and understand the impact of visual techniques such as colour
• Think creatively and critically to respond to a picture book

Analysing Colour

Students analyse the use of colour to position readers to respond to the text in a particular way.

Students explore the use of symbolism in the story.

Representing change

Students discuss the message conveyed in ‘Out of the Egg’ before analysing the role of picture books in society.

Students compose a sequel to the story.

NSW Syllabus for the Australian Curriculum English K-10

• Text requirements
• EN4-RVL-01 uses a range of personal, creative and critical strategies to read texts that are complex in their ideas and construction 
• EN4-URA-01 analyses how meaning is created through the use of and response to language forms, features and structures 
• EN4-ECB-01 uses processes of planning, monitoring, revising and reflecting to support and develop composition of texts 

A student will:  

EN4-RVL-01 

• Explore the main ideas and thematic concerns posed by a text for meaning 
• Engage with the ways texts contain layers of meaning, or multiple meanings 
• Understand the ways reading helps us understand ourselves and make connections to others and to the world 

EN4-URA-01 

• Use appropriate metalanguage to describe how meaning is constructed through linguistic and stylistic elements in texts 
• Understand how language forms, features and structures, in a variety of texts, vary according to context, purpose and audience, and demonstrate this understanding through written, spoken, visual and multimodal responses 
• Analyse how figurative language and devices can represent ideas, thoughts and feelings to communicate meaning 

EN4-ECB-01 

• Engage with the features and structures of model texts to plan and consider implications for own text creation 
• Reflect on own composition of texts, using appropriate technical vocabulary to explain choices of language and structure in line with the target audience and intended purpose 
• Describe the pleasures, challenges and successes experienced in the processes of understanding and composing texts 
• Consider how purposeful compositional choices are influenced by specific elements of model texts 

Across the stage, the selection of texts must give students experience of:

• a wide range of literary texts from other countries and times, including poetry, drama scripts, prose fiction and picture books
• texts that include aspects of environmental and social sustainability
• nonfiction, picture books, graphic novels

Sustainability 

Critical and creative thinking 

Literacy 

Focus texts

Out of the Egg by Tina Matthews

Picture Book

Background information

Tina Matthews is an author and illustrator. Her first book, Out of the Egg , was published in 2007. It is the story of a hen, a seed and a little chick – inspired by the old story of The Little Red Hen, but with a new ending for a new generation. The illustrations were created using woodblock prints. This involves drawing the picture on paper then transferring it to a woodblock, carving the picture out of the wood, inking it, then printing it. All preliminary sketches, drafts, woodblocks and the final artworks for the illustrations are held in the State Library’s collection.

Source list for illustrations

All woodblock illustrations in this learning activity were created by Tina Matthews for the picture book 'Out of the Egg' published in 2007 by both Walker Books Australia and Houghton Mifflin Books.

Related content

Poetic battles with henry lawson.

Through engaging in an examination of collection items related to A. B. Paterson and Henry Lawson, students will analyse visual language, compose their own poetry and create a visual representation.   

Illustrating explained

Have you ever wondered how picture book illustrators bring a story to life?

Picture books reimagined

Students use the original artworks of a published illustrator and the original manuscript of a well-known children's author.

Analysing picture books with Shaun Tan

Students will use Shaun Tan’s original sketchbooks, oil sketches and final artworks for the picture book Dog to develop an understanding of the process of illustrating picture books, before creating their own illustration.

PICTURE BOOKS: Who Are They For?

  An early essay written in 2002, presented at a conference of the Children’s Book Council of Australia, challenging the assumption that illustrated stories are only for very young readers, with particular reference to The Lost Thing and The Red Tree (newly published at the time).

One of the questions I am most frequently asked as a maker of picture books is this: ‘Who do you write and illustrate for?’ It’s a little difficult to answer, as it’s not something I think about much when I’m working alone in a small studio, quite removed from any audience at all. In fact, few things could be more distracting in trying to express an idea well enough to myself than having to consider how readers might react!

The idea of a picture book, as a literary or visual art form, carries a number of tacit assumptions: picture books are quite large, colourful, easy to read and very simple in their storyline and structure, not very long and (most significantly) produced exclusively for a certain audience, namely children, especially of the younger variety. Picture books are generally put on the shelves of bookstores, libraries, lounge rooms and bedrooms for young children, where they apparently belong. Picture books are synonymous with Children’s Literature. But is this is a necessary condition of the art form itself? Or is it just a cultural convention, more to do with existing expectations, marketing prejudices and literary discourse?

The simplicity of a picture book in terms of narrative structure, visual appeal and often fable-like brevity might seem to suggest that it is indeed ideally suited to a juvenile readership. It’s about showing and telling, a window for learning to ‘read’ in a broad sense, exploring relationships between words, pictures and the world we experience every day. But is this an activity that ends with childhood, when at some point we are sufficiently qualified to graduate from one medium to another? Simplicity certainly does not exclude sophistication or complexity; we inherently know that the truth is otherwise. “Art,” as Einstein reminds us, “is the expression of the most profound thoughts in the simplest way.”

And it’s clear that older readers, including you and me, remain interested in the imaginative play of drawings and paintings, telling stories, and learning how to look at things in new ways. There is no reason why a 32-page illustrated story can’t have equal appeal for teenagers or adults as they do for children. After all, other visual media such as film, television, painting or sculpture do not suffer from narrow preconceptions of audience. Why should picture books? It is interesting that observe that when I paint pictures for gallery exhibitions, I am never asked who I am painting for.

Rather than talk about the differences between older and younger readers, I would prefer to consider what they might actually have in common. In particular, we are all interested in playing. We like to look at things from unusual angles, attempt to seek some child-like revelation in the ordinary, and bring our imagination to the task of questioning everyday experience. Why are things the way they are? How might they be different? As an artist, these ‘childish’ activities are the things that preoccupy me when I draw pictures and make up stories, and they don’t necessitate a consideration for any particular audience. What matters are ideas, feelings and the pictures and words that build them. How can they be playful and subvert our usual expectations? What are the ways that something can be represented to most effectively invite us to think and ask questions about the world we live in? 

This is perhaps the key question for me as an artist as well as a (mostly) functional person, and the one I ask myself often; not quite aware of a fixed answer. Writing and painting is very much about trying different things based on hunches and intuition, often in a silly and playful way, and then looking at them critically to see if they make any kind of sense when cast against the backdrop of lived experience. Do imaginary objects stand up as meaningful metaphors? Do they ‘make sense’ on their own, without being pushed. Being an artist is not about manipulating objects or an audience so much as constantly assessing a series of often accidental and mysterious ideas.

My picture book “The Lost Thing”, published in 2000, began as a small unimportant doodle in a sketchbook, and for me many stories begin this way, quite unexpectedly and without a serious attempt. (Serious attempts of ‘I’m going to write a good story’ all to often end up as miserable failures! Otherwise there would be a lot more of them.) The doodle was of a man apparently talking to a crab on a beach, which came about from looking at a photo of a little blue pebble crab on a nature magazine cover and simply imagining it was enormous, rather than tiny (so the guy was just there to show scale). I do hundreds of little sketches every year, most which I don’t have much response towards, but this one raised many questions. Where did this creature come from, and more importantly, why is the guy talking to it rather than running away… what would I do if I was that guy?

A year and many drafts, notes, drawings, paintings and designs later, ‘The Lost Thing’ ended up being a very different story to the one I expected, and significantly works on a number of levels by appealing to the reader’s critical imagination, by asking many more open questions, regardless of whether that imagination belongs to a child or adult. It is both simple and complex - depending upon how the reader chooses to understand it (as with any interesting tale, including those of life in general).

Everybody would be familiar with the story; a boy discovers a lost animal, one that is tame and friendly, and tries to find out who owns it or where it belongs. The text alone offers little else in the way of insight; the animal in question is described only as a “lost thing”, and little is said of where this story is set, or who might be telling it. Yet there is enough there that we recognise what is going on. After a number of failed attempts, the boy finally discovers a what appears to be an appropriate home for the lost thing. The story ends, although no particular conclusion is put forward.

It is within this simple narrative shell that our recognition is played with and our comprehension challenged. For a start the ‘lost pet’ is unlike anything we might normally expect. It is a huge tentacled monster, not quite animal or machine, with no particular function or origin. Whimsical, purposeless and estranged from everything around it, it is out of place in a much deeper sense than just being ‘lost’. The environment described by the illustrations also resists any simple reading: a treeless industrial metropolis full of excessive plumbing, mysterious and dehumanising architecture, green skies and cheerless citizens. Furthermore, nobody pays any attention to the lost creature, despite its disruptive presence as a conspicuous absurdity. What’s going on? A passage between familiarity and strangeness is opened, and the reader cannot help but ask questions in the absence of any explanation.

The first person narrative is deliberately deadpan; inconclusive to the point of casual dismissal. “That’s the story,” the boy tells us at the end. “Not especially profound, I know, but I never said that it was. And don’t ask me what the moral is.” Even the blurb on the back of the book says nothing about it; there is no insistence that anything be ‘correctly interpreted’.

Any real meaning is left to the reader to find for themselves, rather than overtly stated or implied, with an encouragement towards a close visual reading against quite minimalist text. Why are the colours limited to industrial greys and browns? Why are there pieces of physics, algebra and calculus text-books framing every scene, and text written by hand on scraps of lined paper? Why do all the houses look the same, why is everything draped in shadow, what are those images of clouds about? What is that strange place glimpsed through a doorway at the end of an anonymous alley? What is the lost thing?

It’s not as if the book is a puzzle punctuated by clues, that needs to be solved. Unlike a riddle, there is no clear answer to these questions, which remain open. I myself continue to find new meanings in the words and pictures as I did when producing the story over the course of a year. It could be read as a critique of economic rationalism, for instance, or the transition from childhood to adulthood; about the value of whimsy, our obsession with categories and bureaucracy, about alienation, claustrophobia, altruism, disability, entropy and the possibility of joy in places where this has been extinguished.

In asking questions of the book, the reader is inevitably asking questions about their own experience in seeking individual closure. What aspects of it are familiar, and why? What does it remind you of, or make you think about? This is a picture book that works through such resonance rather than recognition, or any didactic imperative; ideas and feelings are evoked rather than explained.

For the moment, one possible reading of “The Lost Thing” that I’d like to suggest has to do with the theme of reading itself. It’s actually a very self-reflexive book in that it is about ‘visual literacy’, and the importance of having a critical imagination, and of playing. There are two oppositional ways of seeing, understanding and experiencing the world that are presented by the story.

The first type of visual literacy is one restricted to the recognition of familiar things. This is a literacy based on fixed definitions, control, order and efficiency, the kind of ‘reading’ that takes place when we observe street signs, look at maps or watch the nightly news. This action is something we do all the time, a passive decoding that allows us to manage our day to day lives, particularly as responsible adults, to recognise relationships between things and events as efficiently as possible. However, this kind of ‘closed reading’ can go too far to the extent that it makes alternatives invisible, and anything unfamiliar is dismissed as foreign, useless and unwelcome. Thus we have the “Federal Department of Odds and Ends”, a concrete building without windows into which anything strange, miscellaneous or otherwise challenging - outside the familiar prescriptions of recognition - is conveniently “swept under the carpet” once the correct forms have been filled in. Meaning is a function of bureaucracy, and literacy is there to measure prescribed value; does this ring any bells in our own social and political universe?

The other kind of visual literacy, as represented by the disruptive presence of the lost thing within this closed system, is one that works through playful questioning, enigma and absurdity. The lost thing resists classification and passive recognition, to the extent that it moves through the city unnoticed, unable to be ‘read’ by those with “more important things to do”. The counterpoint to the morgue-like Department of Odds and Ends is a bizarre landscape of happy freaks, fleetingly glimpsed through a back-alley doorway. This can be read as the world of imagination and open-ended meaning: playful, chaotic, purposeless, and with much greater promise of  aesthetic and intellectual freedom. Nothing actually belongs  here - or more to the point, the question of belonging is kept open, like a back-alley exit.

The lost creature is provocative rather than explanatory; you can’t help but ask questions and consider what kind of metaphor it is. For me, as a creator of picture books, it tends to represent that window of imagination: strange play, disruption and child-like wonderment that is always available, but only if you’re willing to look up and notice it.

Returning to that question, “Who do you write and illustrate for?” Perhaps the best answer I can give is this: anyone who reads and looks. That is, anyone who is curious, who enjoys strangeness, mystery and oddity, who likes asking questions and using their imagination, and is prepared to devote time and attention accordingly. “Books are not a way of letting someone else think in our place,” writes Umberto Eco, “on the contrary, they are machines that provoke further thought.” The failure of the narrator in The Lost Thing to realise any meaning in his own story, seeing it as pointless, leaves such responsibility in the reader’s hands. For me, a successful picture book is one in which everything is presented to the reader as a speculative proposition, wrapped in invisible quotation marks, as if to say “what do you make of this?”

At the end of the day, any work of art finds it’s own audience, inviting them to make what they will of this or that idea. This is probably the main reason that The Lost Thing has been successful with all kinds of readers, including those who are normally quite reluctant to read picture books. “There are many lessons to be learned from this book, but there is no requirement to learn them,” writes one reviewer. “The reader can get as much or as little as they want.” Another critic comments that “despite the off-handedness, some readers will inevitably seek meaning and indeed the style of the book invites such inquiry.” 

The Red Tree can to some extent, like The Lost Thing , be read as a statement about my approach to illustration itself, and again plays with the relationship between image, text and meaning. As another challenge to the usual picture book conventions, it has no story, almost no text, is quite dark in content, no characters as such, and no immediately clear continuity. There is only a nameless, unhappy girl who wanders through a series of disconnected landscapes.

This originated as a idea for a book of illustrations of  different emotional states - joy, fear, confusion and so on - much as a child might paint pictures of rainbows or monsters depending upon their mood, or the way we use colourful word-pictures in everyday language such as ‘snowed under’, ‘out of the frying pan into the fire’, ‘over the moon’, or ‘up the creek’, only taken to a different level to escape the banality of cliche. After playing with this a bit, I found that the darker emotions were more interesting, both visually and in terms of a coherent theme; so the book ended up being about misery and despair.

I’m sometimes asked why my illustrations often deal with dark subjects - death, disaster, depression, and the like, with plenty of monsters, ominous machines, brooding skies and so on. I do other things as well, of course, but I am attracted to a certain kind of disquiet; not violent or confronting, but just ‘not quite right’. Perhaps this is because such things are more thought-provoking than something light or harmonious, in the same way that you can’t have drama without conflict of some sort. The Red Tree may have been a celebratory book about positive emotions, but my feeling is that such emotions pretty much take care of themselves; it’s the darker, less resolved stuff that seems to demand contemplation, a much more curious problem.

Many of the ideas for Red Tree paintings were, like the starting point for The Lost Thing, drawn from sketchbooks filled with occasional doodles, notes, interesting cuttings and photos. The large fish floating down a street was ‘inspired’ by a photo of a groper in a diving magazine, and the section of street by an abandoned building in Fremantle, Perth. The ‘deaf machine’ on one page is a combination of WW2 fighter planes and Aztec carvings, the tree itself was a tiny doodle of a tree with ‘the red tree’ scribbled underneath, that somehow seemed significant in a sea of other small drawings. The monster of ‘Terrible Fates’ emerged from a sketch of a jack-in-a-box dragon, a board game and walking up to the shops from my house and noticing the rooftops and chimneys of my local area.

From these various disparate and essentially unconnected ideas, I developed several sketches, some of which went on to be developed into oil paintings. Along the way I would be trying different combinations of elements and simply asking ‘does this suggest a meaning?’ and then focusing on those parts which ‘made sense’ or generated a particularly strong feeling (many sketches don’t at first). I was writing the text simultaneously with this in mind, but only finalised the words and their sequence upon completion of the illustrations, which essentially carry the weight of ‘meaning’. The text itself is consciously minimal and prosaic so as not to get in the way of the mysterious invitation offered by each painting to the reader, by not saying too much and certainly not referring to its content in any literal, descriptive way.

What I like about this book in retrospect is that it is not necessarily sequential, and exploits the fact that picture books (unlike film and animation for instance) have no specific duration - you can look at things for as long as you want, and at any point without the pressure of linear narrative. As far as the pictures go, they are as open to personal interpretation as I could get them, largely through a healthy dose of surrealism - the waiting monster in the painting “terrible fates are inevitable” could represent anything from death to having to go to school, hypochondria, drug addiction, a credit card bill or the end of the world. Interestingly, readers appear to have no problem with the weirdness of the paintings, and in fact seem to find that this encourages accessibility, perhaps because it’s obvious from the outset that it doesn’t ‘mean’ anything in particular.

For all it’s contemplation of misery, grief, boredom, fear, loneliness and anxiety, the ‘story’ does end on a positive note (rest assured), which is equally open to interpretation; an unnamed red tree appeared suddenly, without explanation, in the middle of a small bedroom. At every step, my concern is to involve the reader by the use of their own imagination, in trying to make sense of the ‘unfinished’ stories that I’m presenting to them. Illustration is a quite unique form of story-telling expression that is perfect for the task, inviting the reader’s own imagination to draw upon their reactions in making sense, in their own way and at their own pace.

What makes art and literature so interesting is that it presents us with unusual things that encourage us to ask questions about what we already know. It’s about returning us, especially we older readers, to a state of unfamiliarity, offering an opportunity to rediscover some new insight through things we don’t quite recognise (as it was for all of us in the very beginning). This is perhaps what reading and visual literacy are all about - and what picture books are good for - continuing that playful inquiry we began in childhood, of using imagination to find significance and meaning in those ordinary, day-to-day experiences that might otherwise remain unnoticed. The lessons we learn from studying pictures and stories are best applied to a similar study of life in general - people, places, objects, emotions, ideas and the relationships between them all. At it’s most successful, fiction offers us devices for interpreting reality, and imagining how many such interpretations might be possible. The novelist Milan Kundera has said that we go on being children, regardless of age, because in life we are always encountering new things that challenge us to understand them, instances where a practised imagination is actually ‘more useful than all laboriously acquired knowledge’.

Picture Books That Demonstrate Narrative Writing for Older Students

If there’s one subject that seems to befuddle homeschoolers more than any other, it’s writing. I hear it during homeschool consultations and casually talking among homeschool friends. Plus, I see questions about it all over the internet.

People are often surprised when I tell them I don’t formally teach writing until middle school. Really, I don’t. And here’s my reasoning…

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Why We Wait For Formal Writing Lessons

In elementary school, children are physically working hard just to form letters. It takes a lot of effort to practice a few sentences of copywork . With so much effort to simply write words on paper, it’s often too frustrating for them to focus on creating stories as well. Additionally, when you think about the various stages of cognitive development , most children aren’t ready to pull together their own stories before 5th or 6th grade anyway.

Does this mean there is no writing in our elementary homeschool besides copywork? Of course not. We work on sentence formation and even paragraph writing in 3rd-5th grades. There are writing components during project-based learning assignments and lapbooking, too.

So, the writing that waits until middle school is formal writing. These include narratives, descriptive writing, persuasive essays, and expository writing. In other words, the writing where a whole lot of thinking and processing has to occur to pull together a well-thought-out, organized, creative piece.

I Use Picture Books with Middle School and High School Students

When it is time to teach writing styles, I LOVE to use picture books as examples. Why? They have been written by master authors. Even better, I love to use books that my children have read many times over in their earlier years. In this case, they already know the stories and can see them with fresh eyes as they look from the perspective of a particular writing style.

Today, I’d like to share some of my favorite picture books to use when teaching middle and high school students narrative writing. Some people will think, “You’re using picture books with middle and high school students??” Yes. Heck, I use picture books with people of all ages because so many of them are just plain wonderful! More importantly, though:

• Picture books are a good length for teaching lessons in a reasonable amount of time.
• They make writing a narrative seem doable (not overwhelming).
• Their use of illustrations helps new writers understand that good writing should invoke illustrations in the mind of the reader.

Picture Books to Teach Narrative Writing

Take a peek at my favorite books for teaching narrative writing below. Then keep reading to see how I use them in lessons.

The Relatives Came by Cynthia Rylant tells the story of a yearly family reunion. The perspective makes you feel like you’re right there with the family enjoying food and festivities – even sleeping uncomfortably amongst too many people! The book helps your own writer think about using words to evoke feelings.

When I Was Young in the Mountains by Cynthia Rylant gives a first-person account of growing up in coal country where life was simple, yet sweet. It helps your writer think of everyday things as powerful memories.

Owl Moon by Jane Yolen takes the reader on a wonderful father-daughter walk late one evening in search of an owl. This story can help your writer learn how to take a simple, even short event and turn it into a magical story.

The Rag Coat by Lauren Mills is written in first person and tells the sometimes sad, but heartwarming story of a young girl who found courage amidst tough situations. Young authors learn how to write honest memories and find positive endings from those memories.

Three Days on a River in a Red Canoe by Vera B. Williams is written in first person and recounts a fun camping and canoeing adventure. It helps writers learn to recount family vacations in a way that people actually want to read.

Thunder Cake by Patricia Polacco tells the story of a grandmother who bakes a cake to help her grandchild get over her fear of a thunderstorm. It’s an excellent example of how to craft a happy memory.

Mailing May by Michael Tunnell tells the story of a parent’s ingenious plan to get their daughter to grandma’s house. Writers learn how to build a narrative that doesn’t spill all the beans too early in the story.

Aunt Flossie’s Hats (and Crab Cakes Later) by Elizabeth Fitzgerald Howard shares the tales of two sisters who spend Sunday afternoons with their great-aunt. It encourages writers to think about simple days as wonderful memories worth writing about.

Baseball Saved Us by Ken Mochizuki recounts a touching memoir of overcoming the confines of a Japanese-American internment camp after the bombing of Pearl Harbor. This book is especially good at showing writers how to convey emotion without being overly explicit.

Chicken Sunday by Patricia Polacco shares a tale about friendship, family, and a misunderstanding. It’s a good book to teach how weaving a tale of the actual events makes a story much more interesting than just citing the events in order.

The Babe & I by David Adler tells a story from the Depression era from the perspective of a little boy whose father has lost his job. The main event of meeting Babe Ruth is actually only part of a much bigger story of perseverance. I love using this book to teach the importance of building a background for the audience.

Roxaboxen by Barbara Cooney makes a simple summer childhood memory come to life. It’s often hard for young writers to write more than a paragraph or two about simple memories. I use this book and its use of descriptive language to help remedy that problem.

Goin’ Someplace Special by Jerry Pinckney is a precious story of a little girl’s bravery during the time when segregation was normal in America. You can almost feel her fear and then her triumph as you read along. It’s a great example to teach students to share feelings.

Apples to Oregon: Being the (Slightly) True Narrative of How a Brave Pioneer Father Brought Apples, Peaches, Pears, Plums, Grapes, and Cherries (and Children) Across the Plains by Deborah Hopkinson takes a regular narrative about pioneer life and turns it into a tall tale. I not only use this book to teach tall tales but also the use of humor, too.

Picnic at Mudsock Meadow by Patricia Polacco recounts the happenings of a Halloween picnic and the bravery of one little boy who faces the ghost of Titus Dimworthy. (You may have noticed that I’ve included more than one book by Patricia Polacco on this list. Generally, all her picture books are amazing.) This book builds great characters, which is the mini-lesson I usually teach.

How to Use Picture Books to Teach Narrative Writing

There are several ways to use picture books to teach narratives, but essentially all of them follow the same general principles:

• Read one picture book with your student(s).
• Discuss the particular element(s) of writing you want to highlight.
• Reread a few sections that demonstrate the element(s) well.
• Discuss how young writers might use the element(s) in their own writing.
• Do a bit of oral storytelling together using the element(s) so creative juices begin to flow.
• Begin writing a narrative with a particular focus on the element(s).  Remember that writing a good narrative, including revisions and editing, will take several days.

In the end, you have a narrative that has at least grown in the use of the elements you focused on during your mini-lesson. Next time, you can focus on new elements and slowly, but surely, build a writer’s toolbox that will last a lifetime!

Do you have any stellar picture books you’ve found for use in teaching narratives?

Need a little more direction in this method?

I taught a practical class that can help!

Be sure to check out my other posts about using picture books to teach various forms of writing!

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16 Comments

I love this idea! This is my second year homeschooling my 2 girls (3rd and 5th grade). The thing I have struggled with the most is figuring out a good english/writing program. I haven’t liked anything I’ve seen. And we haven’t been happy with what I’ve boughten. 3 weeks ago I bought your grammar packs. My 5th grade daughter loves them and tells me it now makes sense because she can see it “in action”. I’m excited for these writing posts.

Oh, I’m so thankful the grammar packs are working with your daughter! Thank you for taking the time to tell me. 🙂 I’m really excited about these writing posts, too!

Could you tell a little bit more about these elements you speak of ?

Phyllis, I’ll be writing a post soon about various elements, so stay tuned. 🙂 Basically, though, elements can be anything from setting, characters and plot to using alliteration, metaphors or imagery.

I hold a “writing workshop” each week for two 7th graders, which I’ve done now since they were in 4th grade (my son and a friend who joins us each week). The longer I homeschool, the more uses I find for picture books. The books are short, but they can illustrate the point I’m trying to get across much faster than if I tried to find a selection out of a chapter book (although they can be great, too). I’ve used Owl Moon and Apples to Oregon numerous times, as well as Franklin books, anything by Jan Brett or Jane Yolen and so many others. Thanks for this series, I am looking forward to your future posts and to finding a few more new books to use.

I’m so glad to hear picture books have been useful in your writing classes, too, Carrie!

Oh thank you I love this! I never thought of demonstrating for my middle school son and daughter with picture books and living books at that. I will be using this in the future. Thank you

I {heart} picture books SO much!

•Discuss the particular element(s) of writing you want to highlight. Where do you get the “elements” of writing that you want to highlight? from a book? website? Is there a “spine” you use for this? thanks!

Kaci, I was referring to the lesson ideas I specifically mentioned with each book. While I don’t use a spine, there is a great PDF I print off for my son’s reference that I think you might find useful – http://www.mollyjscanlon.com/Elements%20of%20Narrative.pdf . 🙂

Thank you! That is exactly what I was looking for. Do you have one of those “cheat sheets” for each of the styles? (Persuasive, expository etc?) Thanks for helping me out throughout the years!

Unfortunately, no. Let me know if you find some that are worthwhile!

Hi Cindy! I’ve enjoyed your writing and plan to follow your models for writing using picture books for my high schoolers. Could you be a bit more specific though on writing a narrative essay? I’m in the process of also teaching how to do a research paper. Do you also have any ideas to share about that as well? Thank you in advance! 🙂

LT, I hope you enjoy using picture books as mentors in your classroom! There is a brief how-to for teaching narratives near the bottom of the post. I don’t currently have any resources for teaching research papers, but I love using Research in Increments with my children. https://amzn.to/2Ecnn6c

I’ve found that a lot of art lessons for older and younger students can be derived from picture books also!

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22 Good Compare and Contrast Examples in Picture Books

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Teach kids to compare and contrast is an important thinking skill for young learners so they can determine categories and classifications by considering what’s similar and what’s different. That’s why I’m going to share the best mentor text children’s books with compare and contrast examples to read aloud with children. You’ll want to start early–long before your children are writing contrast essays in high school with thesis statements and fully developed arguments. Comparing and contrasting is an essential skill!

What is the definition of compare and contrast? W hat does compare and contrast mean? Comparing the similarities and differences between two or more things or concepts is comparison and contrast.

Use these picture books as mentor text examples and models to compare and contrast thinking in preschool, elementary, or even middle school, teaching Venn Diagrams, or introducing basic writing compare/contrast text structure which features similarities and differences between two different topics or subjects. 

Compare and Contrast Thinking Maps

For younger students, start with a Venn Diagram .

To support kids with the compare and contrast thinking strategy, take notes using a thinking map such as the double bubble map.

If you’re using the notes to write a compare and contrast essay, help students to use the block method to write paragraphs that discuss similarities in one paragraph and contrasts in another paragraph, or more. The thesis statement should be a general statement of what you’re comparing and contrasting and what the overarching similarities and differences are.

Compare and Contrast Questions

As you compare and contrast, guide students to deepen their thinking with these questions.

• What is the author comparing and contrasting? (Go point by point.)
• How are these things (ideas) similar? How are they different?
• Are there more similarities or more differences or is it the same?
• Do the authors use transition words to indicate a comparison?

You can even compare and contrast children’s books by the same author, style of illustration, style of writing, or two different characters. In fact, there are many possibilities if you want to drill down into even more specific literary elements or writing techniques.

In this list, you’ll discover picture books that include comparisons or that lend themselves to thinking about similarities and differences.

However, before you read, start by practicing with other compare and contrast examples. Here are some things you can compare and contrast for practice:

• Animals or animals and humans

What are compare and contrast transition words?

• compared with
• as opposed to

Compare and Contrast Examples in Picture Books

This Baby. That Baby  written by Cari Best, illustrated by Rashin Kheiriyeh Two babies in two different apartments go about their day — and this adorable story shows exactly what this baby and that baby do during the day. They play and read and look out the window. They nap or don’t nap, eat and drink. Finally, they walk to the park.  Not only is this day-in-the-life cute, but it’s also sweet and fun.

Birds of a Feather Bowerbirds and Me by Susan L. Roth Beautiful collage illustrations illustrate these fascinating comparisons between a collage artist and a bowerbird who have more in common than you might think. It’s very out-of-the-box thinking which you will love. Use this brilliant book for teaching kids about making art with found objects as well as comparing and contrasting similarities and differences.

Tiny Dino by Deborah Freedman Learn all about the characteristics of dinosaurs as you compare the little bird’s many features to those of a dinosaur. The plot is clever and the dialogue between the animals is engaging.

Up in the Garden and Down in the Dirt  written by Kate Messner, illustrated by Christopher Silas Neal See what’s happening above and below ground as a little girl and her grandmother work in the garden from the beginning of the spring planting season until autumn gives way to cold snow. It’s an oversized book with marvelous illustrations and juicy descriptions. Beautiful!

Goodbye, Friend! Hello, Friend!  by Cori Doerrfeld These best friends show us how to say goodbye and hello. In fact, every goodbye leads to a hello.  For example, saying goodbye to Mom at the bus stop leads to saying hello to a new friend at school. “ Goodbye to snowman…/…is hello to puddles! ” Sweet example after example captured in tender, charming illustrations reassures kids that endings can lead to wonderful new beginnings.

So Big and So Small   written by John Coy, illustrated by Steph Lew A little boy explores size as he compares himself  (so big, even gigantic) to different things like a pebble or a butterfly then so small when he compares himself to animals at the zoo and so tiny compared to a waterfall or mountain. “ I’m just right ,” sums up his thinking as he plays with his baby sister.

Poo-Dunit? A Forest Floor Mystery   written by Katelyn Aronson, illustrated by Stephanie Laberis One morning, Mouse finds a huge poo outside her house — and she decides to investigate to find out who pooed it.  Mouse asks the forest friends if it’s theirs but they each explain why their poo is different in DETAIL (gross and informative!) until they finally discover who did it. But then they have to get it out of Mouse’s way — and the mice work together to spread it as fertilizer for flowers.

Anni Dreams of Biryani  written by Namita Moolani Mehra, illustrated by Chaaya Prabhat Anni enters a determined quest to find the ingredients to make the best biryani  just like Uncle makes in the cafe across the street. This is a delicious story filled with dreams, culture, perseverance, and food.

Inside Outside by Anne-Margot Ramstein and Matthias Aregui Gorgeous, oversized illustrations with no text are meant to show readers the inside and outside of something — things like inside an anthill (ants) and outside the anthill (anteater waiting.) Inside an apple is a worm on one page. The next page is a bigger perspective showing a lady about to take a bite out of the apple. Some of the illustrations aren’t perfectly clear so this book begs thoughtful inference and discussion. It’s quite profound.

It’s Not Jack and the Beanstalk  written by Josh Funk, illustrated by Edwardian Taylor On every page, the narrator of this hilarious story interrupts narration to boss Jack around. Of which Jack isn’t a fan because he doesn’t really want to be a thief and murderer. His dialogue with the narrator will crack you up. Finally, at the giant’s house in the sky, Jack changes everything. He befriends the giant, makes him a taco salad, and goes to Cinderella’s house for a party. It’s the  perfect updated version of Jack and the Beanstalk with a take-charge hero and curmudgeonly narrator. Use this picture book to compare the two different voices.

A New Home by Tania de Regil Parallel stories show  a little girl and a little boy who are nervous about moving, one is moving from Mexico City to New York City, and the other is moving from New York City to Mexico City. They each share the fun things they’ll miss about their home. As they do, we notice how fun each city is and feel reassured that they’ll probably love their new, fun home. Simple, clear text accompanies charming illustrations.

Wagons Ho!  written by George Hallowell and Joan Holub, illustrated by Lynne Avril Side by side stories in diary and scrapbook form share two girls’ experiences, both of who are moving from Missouri to the West . One story takes place in 1846, the other, in the present day. It’s a fascinating comparison of what is the same and what is different from each girl’s different setting.

I Will Fight Monsters for You written by Santi Balmes, illustrates by Lyona This clever parallel story is of a young girl (and a young monster) who are both frightened to sleep because of the upside-down world of monsters (and humans) beneath (above) their beds. Luckily, dads will fight monsters for their kids, and they give good advice: “the size of the monsters depends on how scared you are. If you feel very brave, the monster will shrink and run away.” Creative, reassuring, and heart-warming!

Lovely by Jess Hong Striking illustrations show “ lovely ” people who are different, short, tall, simple, complex, fluffy, sleek, and more. Use this book to teach adjectives, opposites, and appreciation for diversity.

When the Shadbush Blooms by Carla Messinger with Susan Katz, illustrated by David Kanietakeron Fadden Compare and contrast past and present cultural traditions and values of the Lenni Lenape. See both past and present-day families planting corn, playing games, harvesting crops, telling stories, and more. Learn the Lenape words for different seasons and moon cycles for significant aspects of nature. Several pages of back matter explain the words and their meanings.

Up and Down Mom by Summer Macon This little girl lovingly discusses her mom’s days in bed contrasted with her mom’s days of excitement. She shares that she feels many different feelings — and how she stays with her granddad or friends when her mom has to go to the hospital. I’m impressed with how much about bipolar disorder that this book covers in kid-friendly, relatable language.

KEEP READING:

How to Use Colors to Improve Learning

All Mentor Text Book Lists for Reading & Writing Instruction

Book Series

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Persuasive Writing

Melissa Taylor, MA, is the creator of Imagination Soup. She's a mother, former teacher & literacy trainer, and freelance education writer. She writes Imagination Soup and freelances for publications online and in print, including Penguin Random House's Brightly website, USA Today Health, Adobe Education, Colorado Parent, and Parenting. She is passionate about matching kids with books that they'll love.

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Sophistication in Picturebooks: Beyond Child's Play

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How to Use Picture Books to Teach Literary Analysis

In 2013, we had our first baby, Gianna. Taking the advice of a mentor and a colleague*, I started collecting picture books.  With a bouncy baby girl on my knee, I read classics, like “Goodnight Moon , ” and New York Times best sellers, like “The Pout-Pout Fish.” It didn’t take long for me to realize their complexity. Then, something else strange started happening. I began to see literary concepts jump out at me right from the pages. It wasn’t long before I started conducting research. 

Picture Books Research

I discovered that back in 1984 authors Beckman and Diamond suggested the benefit of using picture books with kids of all ages to promote language arts learning. Though the focus of their work was on middle school and junior high levels, the authors identified significant universal experience. Namely, they indicated the same misconception that many of us secondary teachers hold: “[teachers] may assume their students are too old for picture books” (p. 102), and Watson (1978) expressed another: teachers conclude that picture books for big kids are “too babyish” (p. 208). On the contrary, I found many researchers who agree that picture books provide an accessible way to add varied materials to the curriculum, improve reading comprehension, incorporate visual literacy, stimulate higher-order creative thinking, and introduce vocabulary with rich language (Beckman & Diamond, 1984; Giorgis, 1999; Senokossoff, 2013; Tiedt, 2000; Watson, 1978). 

Getting Started with Picture Books

I am so excited to share my research using picture books in secondary ELA to teach literary analysis. Because this is a topic that I fear too many secondary teachers (my former self included) pass off as too elementary or not academic, I find it important to share my research and sources. This article will not only help you plan your own lessons using picture books, but it will provide you with the support to justify its value and feel confident with this topic. I presented on this topic at the Keeping the Wonder Workshop Season 1, and if you’re interested in learning the exact lesson plans that I use, I’d love for you to join our virtual workshop where I break down this information further.

The first step is to understand the ways that picture books can be used in your secondary ELA classroom. I created three overarching actions to help me when lesson planning: 1) introduce a literary concept, 2) explore literary devices, and 3) extend a literary theme.

Introduce a Literary Concept with Picture Books

A picture book read aloud is a great anticipatory activity to introduce a literary concept. In fact, I’ve used a traditional read aloud model to introduce literary concepts, such as tonal shifts. My Advanced Placement Literature and Composition students often have a hard time connecting tonal shifts in poetry to author’s purpose. Therefore, I started the lesson with a read aloud of the well-known picture book, “Llama Llama Red Pajama” by Anna Dewdney. This picture book about a little Llama waiting for his mother to check on him before bed includes several deliberate tonal shifts tied to the author’s intent: to show little readers that they shouldn’t panic when their parents have work to do at bedtime. While this message of patience is a good reminder (myself included), the real magic happens when my students recognize the significance of the tonal shifts.

These tonal shifts are brilliantly represented by rhythmic verse and memorable illustrations, which help my secondary students identify the tonal shifts and connect them to the purpose. After introducing this concept, students have a much easier time applying their understanding of tonal shifts and author’s purpose to 17th century poetry.

In this example, I use a picture book to introduce a challenging literary concept, tonal shifts. The read aloud structure is an important aspect of this introduction. In fact, reading aloud to adolescent students helps them to understand “the power of the spoken word and the bond that develops between speaker/oral reader and audience” (Megyeri, 1993, p. 186). Performing a read aloud to students is something that takes practice, and I do mean performing. Using intentional voices for dialogue, inflection, and emotion help students understand tone and mood and increases their engagement. If you don’t feel comfortable right way (or ever), there are other strategies to incorporate picture books for academic purposes that require student voices. 

Explore Literary Devices with Picture Books

This next method involves student voice as an inquiry-based approach, an approach that requires students to explore a question, problem, or scenario to arrive at an understanding, solution, or hypothesis, and as a way to build what Jacobson (2015) described as a “community of readers” (para. 17). Using a stations strategy, I identified five literary devices. Then, I paired a children’s book with each literary device. Students worked in groups of five to complete the task of 1) reading the book aloud by taking turns, 2) defining the literary terms through their own research, and 3) identifying how and why the literary term was exemplified by the picture book.

For example, when my AP Language and Composition students were studying writer’s craft, station one was the picture book, “All the World,” by Liz Garton Scanlon, which was paired with the term, asyndeton, and station two, included “Goodnight Moon,” by Margaret Wise Brown paired with the term, polysyndeton. Each station followed this pattern. By the end of the activity, the students read a total of five picture books and explored each term through an inquiry-based approach. They overwhelmingly agreed that this process was much more engaging and helpful than a typical slideshow and notes lesson. 

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Extend a Literary Concept with Picture Books

The final category that I identified is to use picture books as an extension of a literary concept, theme, or unit of study. In other words, once the concept is taught, a picture book can function as an extension or remedial activity. Jacobson (2015) used the term “companions to classics.” In this case, picture books provide a new lens for which to interpret important themes and concepts (Jacobson, 2015). In addition, visual literacy, the skills necessary to analyze the complexities of an image, is an important skill that can be developed during these supplemental lessons (Senokossoff, 2013). 

In my AP Language and Composition class, students analyzed the rhetorical situation in Malala Yousafzai’s Nobel Peace Prize Acceptance Speech. After studying her speech, I performed a read aloud with Malala’s picture book, “Malala’s Magic Pencil.” The visual imagery and symbolism is spellbinding. Not only does it highlight a moving rendition of her harrowing personal and global triumph for girls’ education against misogyny and violence, but it also signifies the core of her message as expressed in her acceptance speech. 

When it comes to student interaction with picture books, traditional approaches to analysis can be applied to picture books. In fact, picture books provide an excellent opportunity for close reading both textually and visually and a new lens for discussion and analysis (Senokossoff, 2013). Depending on your classroom goals, guided listening and looking activities can be completed before, during, or after read alouds or group activities. These guided reading opportunities can align specifically to your classroom goals. 

Here are some additional ideas  that can be used as your extension activity:

• create picture books mimicking the writer’s style and diction
• analyze the effectiveness of the illustrations
• write and share a critic’s review of the picture book
• analyze the subject, occasion, audience, purpose, and speaker
• complete a reader response journal entry or free write
• participate in a Socratic Seminar to compare the picture book to the traditional content

When it comes to introducing the selected picture to your secondary students, there are some best practices, or rather worst practices. It’s so easy to start with an apology or a justification for any new strategy, but I caution you to use positive intentional language when introducing the picture book to the class. As you’ve now read, there is a very solid research base to support the benefits of using picture books for secondary students, not to mention the literature that supports the value of picture books in general.  Giorgis (1999) expresses this very clearly: [when a teacher] 

apologizes to the students and tries to explain the reasons for bringing a book for “little kids” to the class. Students immediately perceive that they are going to be “read down to” and often are put off by the experience. If students reject picture books in their classroom, the question should be raised as to how the book was introduced. If the picture book is explained as an inferior text, then students will develop a negative mindset before the reading occurs, and the experience is doomed to failure. (p. 52)

To summarize, when introducing picture books treat them with the academic value they deserve, and watch your students literary analysis skills soar to new heights. 

*The advice from my mentor was “love them and read to them.” It’s advice that I’ve tried to use as a mom and a teacher.

Beckman, J., & Diamond, J. (1984). Picture books in the classroom: The secret weapon for the creative teacher. The English Journal, 73 (2), 102-104. doi:10.2307/817545

Giorgis, C. (1999). The power of reading picture books aloud to secondary students. Clearing House, 73 (1), 51-53.

Jacobson, L. (2015). Teachers find many reasons to use picture books with middle and high school students. The School Library Journal . Retrieved from https://www.slj.com/2015/09/books-media/teachers-find-many-reasons-to-use-picture-books-with-middle-and-high-school-students/#_

Megyeri, K. A. 1993. The reading aloud of ninth-grade writing. Journal of Reading, 37 : 184-90.

Robinson, J. (2010). Little kids, stuffed animals, and picture books at a high school? Reading Today, 27 (4), 36.

Tiedt, I. M. (2000). Teaching with Picture Books in the Middle School . Newark, DE: International Reading Association.

Senokossoff, G.W. (2013). Picture books are for little kids, aren’t they? Using picture books with adolescent readers to enhance literacy instruction. Reading Horizons, 52 (3), 211-232.

Watson, J. (1978). Picture books for young adolescents. The Clearing House, 51 (5), 208-212. Retrieved from http://reddog.rmu.edu:2083/stable/30184980

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For information about how you can use picture books in conjunction with teaching poetry, check out this article I wrote about teaching poetic analysis.

Picture books make a great introduction for literary lenses. Read this article about literary lenses for information.

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Analysing Image-Language Relation in Picture Books Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

Analysing image language relations in picture books.

Children picture books have had an increasingly significantly important place in early childhood learning. Visual communication relies on both the eyes that see the images and the brain that processes and makes sense of the information received. An active mind therefore is capable of remembering visual images; consequently having both text and images enables one to analyze the pictures.

As a result educators are progressively acknowledging that it is imperative to integrate images in the texts and comprehension as it helps the readers and viewers to make meaning faster.

The paper analyses the image language relations in two text book chapters with special attention to the way in which the ideational, interpersonal and compositional meanings constructed verbally extend, contradict, subvert, or overlap with those constructed visually.

Summary: Little Red Riding Hood by Anderson Hans Christian (1935) and Royal Ravens by Wilhelm Hans (1996)

The first chapter, the Little Red Riding Hood by Anderson Hans Christian is a story of a little girl living with her mother and father in a small beautiful cottage. The family stays next to the cottage of the little girl’s grandmother. The little girl-Little Red Riding Hood-is sent to take some food items to her grandmother who is unwell.

The excited girl goes to the woods to pick flowers to take her grandmother when she is approached by the wolf. The wolf cunningly obtains information from the little girl and plans to eat her. Fortunately, before the wolf eats her, her father comes to her rescue by killing the wolf with an axe. Both stories are intended for children from across all races and cultural settings as they endeavor to teach family values among children.

The second story, Royal Ravens describes a Crawford that has just hatched from the egg. The Crawford, however, quickly realizes that nobody is around to welcome him to the world. Moreover, he felt that the other birds were different from him, making him to start looking down upon himself.

Despite the earlier encounters, the Crawford still believes he is special and different. The Crawford is furious about the reception that he receives and wishes he looked different.

Crawford attempted to change this in vain. In the end, Crawford went to see a magician woman who transformed him. Crawford, in his effort to get noticed, moved to the Royal Garden where he eventually got noticed by the princess. However, it was not long before Crawford was kicked out of the royal garden.

Children literature should meet certain criteria defined by the intended audience. A picture in children books therefore should be accompanied by a caption that provides salient information about the picture to helps a reader to conceptualize and appreciate the work. However, many literatures in the area of Multi-modal communication analysis explore the grammar of different semiotic modes (Kress & Van Leeuwen, 1996).

Yet, the language is just one of the many modes of communication that are employed in communicating messages. For example, images accompany written languages, while facial and body expressions accompany language.

Indeed, multimodal discourse does not only include spoken and written language but also images (Painter, 2008).) In order to make sense of the world, Matheson (2005) argues that it is necessary to explore the other modes besides language.

According to Kress and Van Leeuwen (1996), one way to recognize the modes apart from language is multimodality. That is, “the use of more than one semiotic mode and their combination to result in a semiotic event or product” (p. 20). By acknowledging the fact that communication is not single phased rather an amalgamation of different modes, multimodality enables in depth understanding of communication.

According to Barthes (1989) as cited in Kress and Van Leeuwen (1996) in communication language was superior to image because the meaning attached to an image was largely dependent on the text. As a result, one image could have multiple meanings that could be stabilized by text.

Therefore, “…literacy pedagogy can no longer be confined to realm of language alone…but should account for the role of images as well other modes.” (Unsworth, 2006 p. 55)

The story Little Red Riding Hood by Anderson Hans Christian’s presentation characteristically combines the use of both image and text relying on the exchange of meanings between the two. According to Meek (1998) as cited in (Matheson, 2005), children’s picture books are significant educational texts as they provide the children with implicit and explicit literacy lessons.

Furthermore, such books are powerful ideological tools that can be employed in challenging popular social values about home, school, childhood, and family. According to Nodelman (1998), picture book stories can never be understood by reading the words or viewing the pictures alone, but meanings emerges out of the mutual inter animation of the two.

Thus, the pictures and words must be viewed and read concurrently in order to achieve a whole experience with picture books. In fact, the communication of visual information and ideas for the last four centuries has been the function that has enabled science to advance, has it has helped people to see how things work.

Therefore, following Barthes (1989) as cited in Kress and Van Leeuwen (1996), it can be said that the language used makes the images more specific.

The images in the story deal with factors that language is clearly ill equipped to handle, to be precise the visually salient elements of their subjects and of their spatial relations with each other (Kress & Van Leeuwen, 1996). A picture still can also invoke meanings by adding information to the words presented, for example, the story teaches on family values of care, protection and love for family members.

At the onset the viewers or readers of the story are introduced to the family of a sweet little maid living in a pretty little cottage not so far from her grandmother’s home. Onwards, family love is discussed and the acts expression of love is depicted by the gifts that receive from family members.

Figure 1.1: Little Red Riding Hood and her mother outside their cottage

Efforts by adults and the society in general to instil particular codes of behaviour and value systems in children have been an integral part of community life and parenting. Moreover, educational institutions and religious organizations, too, have long professed the advantages of such training from an early age (Unsworth, 2001).

Further on the Little Red Riding Hood is set off to go visit the grandmother who had been feeling unwell. Family values are further enhanced in the child by the love and care that her mother extends to the grandmother. The little girl even stops over the woods to pick her favourite flowers to take to her grandmother (See figure 1.2).

Figure: 1.2 Little Red Riding Hood picking flowers for her ill grandmother

Note the basket full of items given by her mother to take to her grandmother.

Visual representational meaning of the stories conveys the relationship between the participants and the depicted structuring. The creation of a visual representational meaning proposed the space-based model for analysis centered in the placement of objects within the semiotic space (Jewitt & Oyama, 2001).

However, there has been contention on the harmonious co-existent between the text and the image has been brought by different commentators, still, the images above contents that outside the resistance-compliance question raised by other commentators, their exist a verifiable cosy relationship between the photo and the text.

According to Kress and Van Leeuwen (1996), the relationship between the visual participants-interactive or represented- in each particular image is realized by elements defined as vectors or processes which correspond to a group of action verbs.

In the two stories, the ‘vectorial’ relations are represented narrative process that according to Jewitt and Oyama (2001), serve to depict the participants in action movement, in terms of dynamic “doings” and “happenings” (p. 141).

Furthermore, the narrative processes “…present unfolding actions and events, processes of change, transitory spatial arrangements” (Kress & Van Leeuwen, 1996 p. 56).

Moreover, visual analysis of the images presented in the story can be achieved through conceptual processes that are visually characterized by the absence of vectors (Jewitt & Oyama, 2001). They argue that these conceptual processes define, analyze and classify places, people or things including abstract ones.

These processes can be classified into Classificational, Symbolic, and Analytical. Kress and Van Leeuwen (1996) state that the Classificational categorizes people, things or places in a tree structure in which things are represented as belonging to a particular class or order.

In the story conceptual processes occur when the little girl encounters a cunning wolf that after some interaction with the girl goes ahead to the grandmother’s cottage to wait for her there. The wolf is shown opening the door of the Little Red Riding Hood’s grandmother’s house after mimicking the little girl’s voice.

The presentation of the wolf in the story is presented as a new item to the audience so that it has the potential attract attention because it presents problematic and contestable information, as such the audience must pay special attention. For example, the viewers or readers will take keen interest on a wolf that can talk and act like a human character. See Figure 1.3 and 1.4

Figure: 1.3 The wolf opening grandmother’s Cottage

Figure: 1.4 The wolf’s head is axed

Finally, the father who was passing by heard the screams of her daughter and rushed in axing the wolf’s head. This event further illustrates the intent of the story to instil family values on children.

According to Kress and Leeuwen (1996), there are three kinds of meanings that are concerned with building relationships between the reader or viewer and the text: those of (1) attitude, (2) social distance, and (3) contact. Contact is one of the most important visual systems as it enables the viewer or reader to distinguish between images that depict different objects, such as person or animal.

Contact visualization is commonly achieved by use text that introduces the characters at the beginning of the story. The first story the Royal Ravens focuses on the aspect of childhood development of from the perspective of a Crawford.

In the family context the book shows two families: one, family where almost everybody is left to fend for himself/herself like the case of the Crawford that hatches from the egg alone and none of the other birds even show any little concern for the Crawford’s arrival into the world. This is typical of life of animals in the jungle.

On the other extreme end, the book presents a second family that is responsible for its members even having a princess and with a family where the crow is taken into for some time. However, from the story and the pictures, this family everybody is held accountable for their actions and when the Crawford messes up during a family dinner he is kicked out of the home.

Furthermore, the story also creates what Kress and Van Leeuwen (1996) refer to as attitude. Attitude, according these authors, relates to the way the viewer or reader relates to images in either horizontal or vertical angle. As Kress and Van Leeuwen (1996) argue, the reader or viewers look from a vertical angle to depict power relations.

For example, when the reader or viewer looks up from a low angle, they show authority. On the other hand, when the viewer looks down from a high angle, they show vulnerability. In the story Royal Ravens , the author indicates that after the Crawford had been banished to a huge golden cave, he looked sad and yearned for freedom. The picture presented by the author of the Crawford as he is being led to the cage shows vulnerability.

In addition, in the story the Royal Raven , the contact image and social relations between humans and animals is depicted in the shifts in roles of the Crawford that makes the viewer to feel sympathy for him. An example occurs when the Crawford is caged in the royal garden and the Crawford had to literally pluck out its feathers in order to attain his freedom.

Despite having abandoned his family for the Royal family, the Crawford is welcomed back even with no feathers on his body. It shows that family is highly valued in both worlds even though at times in the jungle, they might not openly show it.

On the other hand, value for family is indicated by the way they princess react when the Crawford messes during a family dinner. The princess realizes that family comes first and cages the Crawford in spite of his beauty.

The meanings expressed by humans through visual forms have been conceived to have no literal equivalent in any other form of human communication. Both Arnheim (1969) and Goodman (1968) proposed that it is not possible to transfer thought from one form to another without distortion. According to them, visual and verbal thinking are equal but separate.

In a sense, the viewer’s evaluation of the images is facilitated by the far social distance from which they are depicted. Such a distance consists of a level of visual perception between the total intimacy promoted by a close-up shot and the complete detachment promoted by a long one.

From a far social distance, the viewer’s judgment about the represented participant has ‘a more formal and impersonal character than that in the close phase’ (Kress & Van Leeuwen, 1996 p.113).

In conclusion, besides the language used in communication, in the contemporary society, images also form an important mode of communication. The images offer a reader or viewers with domain of human experience that was both a unique way of knowing and containing a unique content.

The stories have achieved their intended purpose of not only instilling family values such as sharing and love in children, but also acting as a deterrence to children who might wonder or interact with strangers. They are taught to keep family secrets to only family members and never to share it with strangers.

Table 1: Royal Ravens by Wilhelm Hans (1996).

Table 2: Little Red Riding Hood by Anderson Hans Christian (1935)

Arnheim, R. (1969). Visual Thinking. Berkeley: University of California Press.

Goodman, N. (1968). Languages of Art: an approach to a Theory of Symbols . Indianapolis: Bobbs- Merrill.

Jewitt, C., & Oyama, R. (2001). Visual Meaning: A Social Semiotic Approach in Handbook of Visual Analysis . London: Sage.

Kress, G., & Van Leeuwen, T. (1996). Reading Images: The Grammar of Visual Design . London: Routledge.

Matheson, D. (2005). Media Discourses: Issues in Cultural and Media Studies .

Maidenhead: Open University Press.

Nodelman, P. (1988). Words about Pictures . Athens: The University of Georgia Press.

Painter, C. (2008). The Role of Color in Children’s Picture Books: Choices in Ambience. In L. Unsworth (Ed.), New Literacies and the English Curriculum (pp. 89-111). London: Continuum.

Unsworth, L. (2001). Describing Visual Literacies in Teaching Multiliteracies: Changing Contexts of Texts and Images in Classroom Practice . Buckingham: Open University Press.

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IvyPanda. (2019, May 20). Analysing Image-Language Relation in Picture Books. https://ivypanda.com/essays/analysing-image-language-relation-in-picture-books-essay/

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IvyPanda . 2019. "Analysing Image-Language Relation in Picture Books." May 20, 2019. https://ivypanda.com/essays/analysing-image-language-relation-in-picture-books-essay/.

1. IvyPanda . "Analysing Image-Language Relation in Picture Books." May 20, 2019. https://ivypanda.com/essays/analysing-image-language-relation-in-picture-books-essay/.

Bibliography

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Countering the mainstream

Picture the Book: A Photo Essay of a Memoir

by Sorayya Khan | Feb 22, 2023 | Commentary , Featured

The first time I drove on Route 13 in Ithaca, New York, after my mother died, I crept along at the 40 mph minimum speed limit. On the gentle descent into town on that summer’s day in 2016, Cayuga Lake lay in the west as it should. But in front of me, the road’s white lane markings jiggled, threatening to peel away. Frustrated drivers sped past at alarming speeds, but my confidence in the road was broken.

In the days following my mother’s death, words, too, jiggled on the page. They bounced up and down, keeping sentences out of reach. Had it been otherwise, I might have turned to the years of correspondence between my parents that I’d inherited. Instead, I opened my mother’s childhood photo album. The old black and white images didn’t bounce. They lay still on the page, neatly affixed with yellowing adhesive corners, waiting. They invited me into an unfamiliar time and place, a different world. The longer I studied the photographs, the more certain I became that I would one day write about them.

Inspiration for my novels had always come in different forms. A childhood memory of a red banner hanging across Mall Road in Lahore. Faded newsprint stumbled upon in the University of Denver’s library stacks. A long ago dream in Islamabad that haunts me still. But my steadiest source of writing inspiration is the trove of images imprinted in my mind’s eye. In preparation for “ We Take Our Cities with Us: A Memoir ,” I returned to that method and covered a wall with such imagery, as if the act of seeing was a requisite for writing.

In memoir, time can be difficult to apprehend. In mine, I strive for time to be fluid, to inhabit the page the way memories inhabit us. The flickering flashlight of the present illuminates the past that was once the future. Several of the images that guided me have a then and now . Juxtapositions like those depicted below propel the story.

In Maastricht’s famous cathedral-cum-bookstore, a book falls open to a photograph. A man leans against my great grandparents’ home on the Oeverwal where just outside the frame, in a war several decades into the future, the St. Servatius Bridge will be destroyed. The date in the caption coincides with my great grandparents’ residency, and although I will never know if this is true, I pretend that my great grandfather is posing on a winter Sunday when, for once, he attends church with his wife.

A view of my great grandparents’ house on the Oeverwal in Maastricht, May 1930. The photograph is included in Wil Lem’s “Wyck: Entree van Maastricht” (Maastricht: Uitgeverij Aprilis, 2008). The caption (translated from Dutch) reads: Row of houses along the Oeverwal, located on the west, to the left and right of the “western” entrance of W. Heidenstraat, May 1930.

The view of my great grandparents’ house on the Oeverwal from the St. Servatius Bridge in Maastricht, October 2018.

Shortly after my father dies, my mother prepares to leave Pakistan. One day, she sets fire to an effluvia of papers in our Islamabad garden, but a map of squiggles is spared. I find it in a folder after my mother’s death and do not think of it again until years later, when I rifle through documents in anticipation of a research trip to the Netherlands. The map directs me in Amsterdam’s Buitenveldert cemetery; it leads me to my great grandmother’s gravesite where now another woman’s bones are interred.

A map of Amsterdam’s Buitenveldert Cemetery (listing gravesite #461) found in my mother’s papers.

Gravesite #461 in Buitenveldert Cemetery, Amsterdam, in which my great grandmother was once buried, October 2018.

In the last months of her life, my mother annotates a few pages in an old photo album, as if to help me navigate the past. She includes an Amsterdam street sign, which I will discover is her estranged father’s office address. When I visit the location, the receptionist at the now hotel explains that the building was once a brothel.

Street signs on a building at the intersection of Pieter Jacobzstraat and Nes, Amsterdam, as depicted in a photograph in my mother’s photo album, 1980s.

The building that once housed my grandfather’s office on Nes, a narrow street in central Amsterdam, a few steps from the intersection with Pieter Jacobzstraat, October 2018.

I’ve never seen this photograph when I come upon it in an old family album. My mother and her mother stand aboard a ship on a fall day in 1952 that marks my eighteen-year-old mother’s departure from the Netherlands. Years later, the port building still sports the name of the shipping line, Holland Amerika Lun, and I eat a bowl of potato soup on the premises, which is now Hotel New York.

My mother and her mother before they say goodbye on board the ship that will take my mother to the United States, Port of Rotterdam, October 1952.

The old Holland America Line building dwarfed by recent construction, October 2018. My mother boarded her ship to the United States from this building in the Port of Rotterdam.

Early on in the pandemic, a Dutch cousin I’ve recently come to know sends me photographs of the home our grandfather made with his mistress. The villa is outfitted like a museum and grand paintings decorate the walls. One painting in particular catches my attention, and months of online research leads to Hofstede de Groot Cornelis’ “Catalogue Raisonee of the Works of the Most Eminent Dutch painters of the Seventeenth Century,” where the painting by Aelbert Cuyp (1620-1691) is described as “A view of the open flat Country in Holland, exhibited under an aspect of a fine summer’s morning.”

An Aelbert Cuyp painting (middle) on my grandfather’s living room wall in Laren, the Netherlands, mid-1950s.

An image of Aelbert Cuyp’s painting, titled “Herder met een kudde schapen op een weide,” that I discover in the online archives of the Städel Museum, Frankfurt, Germany.

When I am a young writer, already certain that the house is my subject matter, I ask my aunt to draw 5 Queen’s Road, Lahore. The ballpoint sketch of my grandparents’ home sits on my desk while I struggle with a manuscript. When I begin “We Take Our Cities with Us,” I recover my aunt’s work from a long forgotten box and return it to my desk. I imagine my mother’s arrival in Lahore and that January day in the early 1960s when my father takes a photograph on the back lawn.

The ballpoint sketch of 5 Queen’s Road, Lahore, by my aunt, Nasreen Chaudhri, 1993. My novel “Five Queen’s Road” shares its title with the address of my grandparents’ home.

Photograph of my mother and me on the back lawn of 5 Queen’s Road, Lahore, taken by my father in January 1963.

My mother buys a painting by Pakistani artist Ismail Gulgee in 1972. I grow up believing, like all my family, that the  لا إله إلا ٱللَّٰهُ محمد رسول ٱللَّٰهِ sweeping downwards from right to left is a calligraphic rendering of one of Islam’s primary tenets, the shahada. When I research the painting, Gulgee’s son, also an artist, explains that it is but a gestural abstract.

Painting by Ismael Gulgee, 1972, that now hangs on a wall in my home.

Sorayya Khan’s “ We Take Our Cities with Us: A Memoir ” is available from Ohio State University Press/Mad Creek.

Sorayya Khan is the author of “ We Take Our Cities with Us: A Memoir ” and three novels: “ Noor ,” “ Five Queen’s Road ,” and “ City of Spies ,” which won the Best International Fiction Book Award at the Sharjah International Book Fair. Her work appears in Lit Hub , Guernica , Longreads , Electric Lit , The Rumpus , Oldster , Journal of Narrative Politics , The Kenyon Review, and more, and her fiction is included in several anthologies. She is the winner of a Malahat Review Novella Prize and a Fulbright Scholar Award. She is the daughter of a Pakistani father and a Dutch mother, was born in Europe, grew up in Pakistan, and now lives in Ithaca, New York, with her family. Follow her on Instagram at @SorayyaKhan, or find her at www.sorayyakhan.com .

Header photos of Maastricht’s bookstore, Boekhandel Dominicanen/Maastricht’s archive, Historisch Centrum Limburg.

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Benefits of Picture Books for Children

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• Taking into account the ‘reading aloud together’ aspect of picture books which, according to this research, stimulates the brain for physical well-being as well as the work on sensual learning, the picture book is potentially an essential learning tool.
• Taking this idea further, the lyrical nature of many picture books should also be noted. For example, The Giant Jam Sandwich employs strict couplet rhyme scheme:

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This is used to compare the visual from before, in which the children looked as if they weren’t human and detached from one another. Dominating the image are two young children who are laughing and entertaining themselves with a spade and shovel, portraying the immediate shift in behaviour once they are initiating in proper social activities. Thus, readers are enlightened and encouraged to stand up and be apart of the solution. Smith also provides the audience with a range of advantages in taking the kids outsides, from no more “arguments and demands” to “a child’s first ecstatic experience of buoyancy”; they are positioned to prevent further interactions with screens by allowing them to experience the outside world and enhance their “world of senses” and “childhood

The Veldt And Puppy Analysis

“Children are carpets, they should be stepped on occasionally” (Bradbury). This quote from “The Veldt” by Ray Bradbury helps to tell the overall tone from “The Veldt” and “Puppy” by George Sanders involving the author’s perception on parenting. The quote refers to what the author believes is the right amount of parenting. Not too much, and not too little. Literary devices like imagery, personification, and metaphor help to tell the tones throughout “The Veldt” and “Puppy” by going into detail.

What Is The Mood Of The Veldt By Ray Bradbury

In his short story,“The Veldt”, Ray Bradbury uses imagery, tone, repetition, and symbolism to illustrate the children’s destructive thoughts. Bradbury uses imagery and tone to encourage the reader to make connections; enforcing the plotline and exciting the text. His descriptive imagery transports readers to his elaborate settings. Other readers may believe that similes and metaphors provide more for the story. However, imagery, tone, repetition and symbolism appear more frequently and suggest a stronger message hidden deep within the story.

Curious George And Babar The Elephant Analysis

Growing up we 've read picture books that have introduced us to literature, wildly funny characters and taught us how to use our imagination. However, have you ever thought maybe these children books aren 't just for entertainment? What if they have hidden messages with racist undertones or represent political movements. Sometimes what we see is not always what you get so I 've studied two popular children 's figures, Curious George and Babar the Elephant.

Into The Wild Argumentative Essay

In life some feel the need to prove something to others. That they are better, stronger, or even more intelligent. Whatever the case may be people will go through extreme measures to prove themselves. But who do we really need to prove anything to? Is it our parents?

The Day The Crayons Quit Analysis

This is a skill children will use throughout their education and well into their adulthood as the enter into careers working with colleagues. After reading this story, children may be able to reflect on how each crayon felt and why to better understand where that character was coming

Argumentative Essay Of Mice And Men

In “Of Mice and Men” by John Steinbeck, George made the right decision in shooting Lennie because Lennie did not know his own strength. Another reason is If George did not kill Lennie others would have killed him. However, the other side might argue that Lennie did not mean to kill Curley’s wife, thus he deserves to live. George should have killed Lennie because Lennie did not know his own strength, that is the reason why he killed many things by accident and caused many problems. “Why do you got to get killed?

Imagery And Diction In Alice Walker's 'The Flowers'

Alice Walker uses imagery and diction throughout her short story to tell the reader the meaning of “The Flowers”. The meaning of innocence lost and people growing up being changed by the harshness of reality. The author is able to use the imagery to show the difference between innocence and the loss of it. The setting is also used to show this as well.

Dr. Seuss Impact On Children's Literature

To be successful in life, it is required to know how to read. Reading brings knowledge and knowledge brings intelligence, wisdom, and understanding. People learn from many different forms of literature. One of the most important kind of literature is children's literature. It is responsible for teaching children things like vital knowledge that are required for school and life.

Argumentative Essay: The Lady And The Tiger

Lady and the Tiger Argumentative Essay “She knew in which of the two rooms that lay behind those doors stood the cage of the tiger, and which waited the lady.” Which did she choose? In Frank Stockton's short story, the Lady and the Tiger, the lovely princess loves deeply for a man, but now that her father has found out she is with a man in a lower social class, she had to witness her soul mate be sentenced to her father’s coliseum. The princess loves this man greatly, but she is scared that she would have to watch her lover being mauled by a tiger or fall in love with a woman that she deeply despises.

The Flowers By Alice Walker Literary Devices

In the short story “The Flowers”, Alice Walker sufficiently prepares the reader for the texts surprise ending while also displaying the gradual loss of Myop’s innocence. The author uses literary devices like imagery, setting, and diction to convey her overall theme of coming of age because of the awareness of society's behavior.     At the beguining of the story the author makes use of proper and necessary diction to create a euphoric and blissful aura. The character Myop “skipped lightly” while walker describes the harvests and how is causes “excited little tremors to run up her jaws.”. This is an introduction of the childlike innocence present in the main character.

Childhood And Adolescence In Lord Of The Flies

In some works of literature, childhood and adolescence are portrayed as times graced by innocence and a sense of wonder; in other works, they are depicted as times of tribulation and terror. In Lord of the Flies by William Golding the author portrays that children are not completely innocent. Golding’s representation of childhood and adolescence also shows us the attitudes children have towards participating in work. In Lord of the Flies Golding portrays that children are not completely innocent.

One Boy Told Me Analysis

The imagery of a “shoe full of honey” indicates that toddlers possess a unique thought process with a rationale for their theories. “Can noodles swim” is a personification where the boy gives noodles the human characteristic of swimming because they seem to move and float in

Argumentative Essay Of Banning Books

Lots of parents and businesses think that books should be banned, do you? I am for banning books because I feel that books should not talk about homosexuality, drugs, alcohol, smoking, nudity etc. Books should be banned due to bad language and bad content. I feel like bad words shouldn 't be allowed in books because kids learn things from books and if it has bad words and bad content in them unfortunately kids will learn inappropriate things. Books should be banned if they have PDA especially with two people of the same gender.

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The 100 Best Books of the 21st Century: A Printable List

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The New York Times Book Review I've I want THE 100 BEST BOOKS OF THE 21ST CENTURY read to it read it 1 My Brilliant Friend, by Elena Ferrante 26 26 Atonement, by lan McEwan 2 The Warmth of Other Suns, by Isabel Wilkerson 27 Americanah, by Chimamanda Ngozi Adichie 3 Wolf Hall, by Hilary Mantel 28 Cloud Atlas, by David Mitchell 4 The Known World, by Edward P. Jones 29 The Last Samurai, by Helen DeWitt 5 The Corrections, by Jonathan Franzen 30 Sing, Unburied, Sing, by Jesmyn Ward 6 2666, by Roberto Bolaño 31 White Teeth, by Zadie Smith 7 The Underground Railroad, by Colson Whitehead 32 The Line of Beauty, by Alan Hollinghurst 8 Austerlitz, by W.G. Sebald 33 Salvage the Bones, by Jesmyn Ward 9 Never Let Me Go, by Kazuo Ishiguro 34 Citizen, by Claudia Rankine 10 Gilead, by Marilynne Robinson 35 Fun Home, by Alison Bechdel 11 The Brief Wondrous Life of Oscar Wao, by Junot Díaz 36 Between the World and Me, by Ta-Nehisi Coates 12 The Year of Magical Thinking, by Joan Didion 37 The Years, by Annie Ernaux 13 The Road, by Cormac McCarthy 38 The Savage Detectives, by Roberto Bolaño 14 Outline, by Rachel Cusk 39 A Visit From the Goon Squad, by Jennifer Egan 15 Pachinko, by Min Jin Lee 40 H Is for Hawk, by Helen Macdonald 16 The Amazing Adventures of Kavalier & Clay, by Michael Chabon 41 Small Things Like These, by Claire Keegan 17 The Sellout, by Paul Beatty 42 A Brief History of Seven Killings, by Marlon James 18 Lincoln in the Bardo, by George Saunders 43 Postwar, by Tony Judt 19 Say Nothing, by Patrick Radden Keefe 44 The Fifth Season, by N.K. Jemisin 20 Erasure, by Percival Everrett 45 The Argonauts, by Maggie Nelson 21 Evicted, by Matthew Desmond 46 The Goldfinch, by Donna Tartt 22 22 Behind the Beautiful Forevers, by Katherine Boo 47 A Mercy, by Toni Morrison 23 Hateship, Friendship, Courtship, Loveship, Marriage, by Alice Munro 48 Persepolis, by Marjane Satrapi 24 The Overstory, by Richard Powers 49 The Vegetarian, by Han Kang 25 25 Random Family, by Adrian Nicole LeBlanc 50 Trust, by Hernan Diaz I've I want read to it read it

The New York Times Book Review I've I want THE 100 BEST BOOKS OF THE 21ST CENTURY read to it read it 51 Life After Life, by Kate Atkinson 52 52 Train Dreams, by Denis Johnson 53 Runaway, by Alice Munro 76 77 An American Marriage, by Tayari Jones 78 Septology, by Jon Fosse Tomorrow, and Tomorrow, and Tomorrow, by Gabrielle Zevin 54 Tenth of December, by George Saunders 55 The Looming Tower, by Lawrence Wright 56 The Flamethrowers, by Rachel Kushner 57 Nickel and Dimed, by Barbara Ehrenreich ཤྲཱ རྒྱ སྐྱ A Manual for Cleaning Women, by Lucia Berlin The Story of the Lost Child, by Elena Ferrante Pulphead, by John Jeremiah Sullivan. Hurricane Season, by Fernanda Melchor 58 Stay True, by Hua Hsu 83 When We Cease to Understand the World, by Benjamín Labatut 59 Middlesex, by Jeffrey Eugenides 84 The Emperor of All Maladies, by Siddhartha Mukherjee 60 Heavy, by Kiese Laymon 85 Pastoralia, by George Saunders 61 Demon Copperhead, by Barbara Kingsolver 86 Frederick Douglass, by David W. Blight 62 10:04, by Ben Lerner 87 Detransition, Baby, by Torrey Peters 63 Veronica, by Mary Gaitskill 88 The Collected Stories of Lydia Davis 64 The Great Believers, by Rebecca Makkai 89 The Return, by Hisham Matar 65 The Plot Against America, by Philip Roth 90 The Sympathizer, by Viet Thanh Nguyen 66 We the Animals, by Justin Torres 91 The Human Stain, by Philip Roth 67 Far From the Tree, by Andrew Solomon 92 The Days of Abandonment, by Elena Ferrante 68 The Friend, by Sigrid Nunez 93 Station Eleven, by Emily St. John Mandel 69 59 The New Jim Crow, by Michelle Alexander 94 On Beauty, by Zadie Smith 10 70 All Aunt Hagar's Children, by Edward P. Jones 95 Bring Up the Bodies, by Hilary Mantel 71 The Copenhagen Trilogy, by Tove Ditlevsen 96 Wayward Lives, Beautiful Experiments, by Saidiya Hartman 72 22 Secondhand Time, by Svetlana Alexievich 97 Men We Reaped, by Jesmyn Ward 73 The Passage of Power, by Robert A. Caro 98 Bel Canto, by Ann Patchett 74 Olive Kitteridge, by Elizabeth Strout 99 How to Be Both, by Ali Smith 75 15 Exit West, by Mohsin Hamid 100 Tree of Smoke, by Denis Johnson I've I want read to it read it

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John McMurtrie crafts ‘Literary Journeys’ for the armchair traveler

John mcmurtrie’s new book is a collection of original essays by a team of more than 50 critics, scholars and writers..

Former Chronicle book editor John McMurtrie is the general editor of “Literary Journeys: Mapping Fictional Travels Across the World of Literature,” due out in September. 

John McMurtrie doesn’t need to venture far to travel the world. 

The Albany writer, editor and book curator arrived at Heyma Yemeni Coffee on University Avenue in Berkeley on a bike he bought on Treasure Island. In his bag, he carried a copy of his new book “Literary Journeys: Mapping Fictional Travels Across the World of Literature,” a collection of essays, illustrations and archival materials.

McMurtrie, the general editor of the project, has explored quite a few places in his life, from France to Yugoslavia to his home in the Bay Area, but still considers himself an avid “armchair traveler.”

“That’s what I love about books, how they’re a window to the world,” McMurtrie told the Chronicle. “There’s nothing like books that can do that.”

“Literary Journeys” compiles original essays by an international team of more than 50 critics, scholars and writers, with an introduction and final installment written by McMurtrie. It begins with Homer’s mythological classic “Odyssey,” makes a stop “On the Road” with Jack Kerouac, moves through magical portals in Mohsin Hamid’s “Exit West” and finishes with Amor Towles’ story of a 10-day road trip in “The Lincoln Highway.”

Beyond the written word, the multicolored visuals, including archival paintings and illustrated maps, aim to bring the literary explorations to life “and to encourage people to explore the books themselves on their own or revisit some that they might have read many years ago,” said Anne Savarese, the book’s editor at Princeton University Press.

“Literary Journeys” compiles original essays by an international team of more than 50 critics, scholars and writers.

Though the volume is international in scope, many entries pass through the Bay Area, McMurtrie noted. Jack London’s “Call of the Wild” opens in Santa Clara, migrants Saeed and Nadia seek refuge in Marin in “Exit West,” and Jules Verne declares that “San Francisco was no longer the legendary city of 1849” in the adventure novel “Around the World in Eighty Days.”

McMurtrie has lived in the Bay Area for 25 years but said he continually sees the region through new eyes. During the pandemic, he began to ride his bike more often, leading him to discover places he never knew existed, such as Berkeley’s Strawberry Creek Park. 

Biking “awakens you to so much. I think it makes you present,” he said. “Being in a car, you’ve got this barrier between you and the world.”

In “Literary Journeys,” McMurtrie isn’t just interested in the destination but the mode of transportation. In his closing essay on “The Lincoln Highway,” for instance, he describes the open road as a “tabula rasa,” or blank slate, for the novel’s central characters to satisfy their individual desires. 

But perhaps more relevant to McMurtrie’s riding habits is H.G. Wells’ comic novel “The Wheels of Chance,” which documents the rise of the bicycle in the 1890s and its relation to a new social mobility for women and the working class. 

Literary Journeys: Mapping Fictional Travels Across the World of Literature Edited by John McMurtrie (Princeton University Press/Elwin Street Productions; 256 pages; $29.95)

“Literary Journeys” book launch: 7 p.m. Sept. 10. Free. Clio’s, 353 Grand Ave., Oakland.

The book “has you thinking about how around the turn of the century, biking became a real big deal,” McMurtrie said. “In a way, biking was eclipsed by the automobile. It’s fun to see how the bike has come back now.”

McMurtrie doesn’t have a formal academic background in literature, having studied political science at the University of Massachusetts Amherst, but he’s well versed in the literary world. He was the Chronicle’s books editor for a decade, before the position was dissolved in 2019, and worked as an editor at McSweeney’s Publishing. Most recently, he’s joined Kirkus Reviews, where he’ll be assigning and writing book reviews and features as the nonfiction editor. 

John McMurtrie joined Kirkus Reviews as the nonfiction editor in August. 

Additionally, McMurtrie works as a curator at Clio’s , a new bookstore and bar in Oakland. The books are arranged chronologically from antiquity to present, creating their own literary journey through time, he noted. 

Timothy Don, founder of Clio’s and the Oakland Book Festival, looks forward to receiving a copy of his friend and colleague’s new project. A scholar in the “history of ideas,” he’s excited to revisit the included books from a new perspective. 

“It’s going to be particularly special knowing that John is the person who’s assembled them and ordered them and put them together,” Don said. “He’s got a very, very light touch and a very intelligent touch as an editor. Everything he does comes out flawlessly.”

Reach Lauren Harvey: [email protected]

Lauren Harvey is an intern on the Chronicle's Datebook team. Harvey is a recent graduate of UC Berkeley, where she studied English, journalism and public health. She previously worked for her campus newspaper, the Daily Californian, as the arts and entertainment editor and special issues editor. Additionally, Harvey’s work appears in Fifty Grande magazine and uDiscover Music, the in-house music magazine at Universal Music Group. In her free time, she enjoys reading, teaching yoga and attending the San Francisco Ballet. In the fall, she will be pursuing her Master of Science in communication data science at the University of Southern California. 

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As a Teenager in Europe, I Went to Nudist Beaches All the Time. 30 Years Later, Would the Experience Be the Same?

In July 2017, I wrote an article about toplessness for Vogue Italia. The director, actor, and political activist Lina Esco had emerged from the world of show business to question public nudity laws in the United States with 2014’s Free the Nipple . Her film took on a life of its own and, thanks to the endorsement from the likes of Miley Cyrus, Cara Delevingne, and Willow Smith, eventually developed into a whole political movement, particularly on social media where the hashtag #FreeTheNipple spread at lightning speed. The same year as that piece, actor Alyssa Milano tweeted “me too” and encouraged others who had been sexually assaulted to do the same, building on the movement activist Tarana Burke had created more than a decade earlier. The rest is history.

In that Vogue article, I chatted with designer Alessandro Michele about a shared memory of our favorite topless beaches of our youth. Anywhere in Italy where water appeared—be it the hard-partying Riviera Romagnola, the traditionally chic Amalfi coast and Sorrento peninsula, the vertiginous cliffs and inlets of Italy’s continuation of the French Côte d’Azur or the towering volcanic rocks of Sicily’s mythological Riviera dei Ciclopi—one was bound to find bodies of all shapes and forms, naturally topless.

In the ’90s, growing up in Italy, naked breasts were everywhere and nobody thought anything about it. “When we look at our childhood photos we recognize those imperfect breasts and those bodies, each with their own story. I think of the ‘un-beauty’ of that time and feel it is actually the ultimate beauty,” Michele told me.

Indeed, I felt the same way. My relationship with toplessness was part of a very democratic cultural status quo. If every woman on the beaches of the Mediterranean—from the sexy girls tanning on the shoreline to the grandmothers eating spaghetti al pomodoro out of Tupperware containers under sun umbrellas—bore equally naked body parts, then somehow we were all on the same team. No hierarchies were established. In general, there was very little naked breast censorship. Free nipples appeared on magazine covers at newsstands, whether tabloids or art and fashion magazines. Breasts were so naturally part of the national conversation and aesthetic that Ilona Staller (also known as Cicciolina) and Moana Pozzi, two porn stars, cofounded a political party called the Love Party. I have a clear memory of my neighbor hanging their party’s banner out his window, featuring a topless Cicciolina winking.

A lot has changed since those days, but also since that initial 2017 piece. There’s been a feminist revolution, a transformation of women’s fashion and gender politics, the absurd overturning of Harvey Weinstein’s 2020 rape conviction in New York, the intensely disturbing overturning of Roe v Wade and the current political battle over reproductive rights radiating from America and far beyond. One way or another, the female body is very much the site of political battles as much as it is of style and fashion tastes. And maybe for this reason naked breasts seem to populate runways and street style a lot more than they do beaches—it’s likely that being naked at a dinner party leaves more of a permanent mark than being naked on a glamorous shore. Naked “dressing” seems to be much more popular than naked “being.” It’s no coincidence that this year Saint Laurent, Chloé, Ferragamo, Tom Ford, Gucci, Ludovic de Saint Sernin, and Valentino all paid homage to sheer dressing in their collections, with lacy dresses, see-through tops, sheer silk hosiery fabric, and close-fitting silk dresses. The majority of Anthony Vaccarello’s fall 2024 collection was mostly transparent. And even off the runway, guests at the Saint Laurent show matched the mood. Olivia Wilde appeared in a stunning see-through dark bodysuit, Georgia May Jagger wore a sheer black halter top, Ebony Riley wore a breathtaking V-neck, and Elsa Hosk went for translucent polka dots.

In some strange way, it feels as if the trends of the ’90s have swapped seats with those of today. When, in 1993, a 19-year-old Kate Moss wore her (now iconic) transparent, bronze-hued Liza Bruce lamé slip dress to Elite Model Agency’s Look of the Year Awards in London, I remember seeing her picture everywhere and feeling in awe of her daring and grace. I loved her simple sexy style, with her otherworldly smile, the hair tied back in a bun. That very slip has remained in the collective unconscious for decades, populating thousands of internet pages, but in remembering that night Moss admitted that the nude look was totally unintentional: “I had no idea why everyone was so excited—in the darkness of Corinne [Day’s] Soho flat, the dress was not see-through!” That’s to say that nude dressing was usually mostly casual and not intellectualized in the context of a larger movement.

But today nudity feels loaded in different ways. In April, actor and author Julia Fox appeared in Los Angeles in a flesh-colored bra that featured hairy hyper-realist prints of breasts and nipples, and matching panties with a print of a sewn-up vagina and the words “closed” on it, as a form of feminist performance art. Breasts , an exhibition curated by Carolina Pasti, recently opened as part of the 60th Venice Biennale at Palazzo Franchetti and showcases works that span from painting and sculpture to photography and film, reflecting on themes of motherhood, empowerment, sexuality, body image, and illness. The show features work by Cindy Sherman, Robert Mapplethorpe, Louise Bourgeois, and an incredible painting by Bernardino Del Signoraccio of Madonna dell’Umiltà, circa 1460-1540. “It was fundamental for me to include a Madonna Lactans from a historical perspective. In this intimate representation, the Virgin reveals one breast while nurturing the child, the organic gesture emphasizing the profound bond between mother and child,” Pasti said when we spoke.

Through her portrayal of breasts, she delves into the delicate balance of strength and vulnerability within the female form. I spoke to Pasti about my recent musings on naked breasts, which she shared in a deep way. I asked her whether she too noticed a disparity between nudity on beaches as opposed to the one on streets and runways, and she agreed. Her main concern today is around censorship. To Pasti, social media is still far too rigid around breast exposure and she plans to discuss this issue through a podcast that she will be launching in September, together with other topics such as motherhood, breastfeeding, sexuality, and breast cancer awareness.

With summer at the door, it was my turn to see just how much of the new reread on transparency would apply to beach life. In the last few years, I noticed those beaches Michele and I reminisced about have grown more conservative and, despite being the daughter of unrepentant nudists and having a long track record of militant topless bathing, I myself have felt a bit more shy lately. Perhaps a woman in her 40s with two children is simply less prone to taking her top off, but my memories of youth are populated by visions of bare-chested mothers surveilling the coasts and shouting after their kids in the water. So when did we stop? And why? When did Michele’s era of “un-beauty” end?

In order to get back in touch with my own naked breasts I decided to revisit the nudist beaches of my youth to see what had changed. On a warm day in May, I researched some local topless beaches around Rome and asked a friend to come with me. Two moms, plus our four children, two girls and two boys of the same ages. “Let’s make an experiment of this and see what happens,” I proposed.

The kids all yawned, but my friend was up for it. These days to go topless, especially on urban beaches, you must visit properties that have an unspoken nudist tradition. One of these in Rome is the natural reserve beach at Capocotta, south of Ostia, but I felt a bit unsure revisiting those sands. In my memory, the Roman nudist beaches often equated to encounters with promiscuous strangers behind the dunes. I didn’t want to expose the kids, so, being that I am now a wise adult, I went ahead and picked a compromise. I found a nude-friendly beach on the banks of the Farfa River, in the rolling Sabina hills.

We piled into my friend’s car and drove out. The kids were all whining about the experiment. “We don’t want to see naked mums!” they complained. “Can’t you just lie and say you went to a nudist beach?”

We parked the car and walked across the medieval fairy-tale woods until we reached the path that ran along the river. All around us were huge trees and gigantic leaves. It had rained a lot recently and the vegetation had grown incredibly. We walked past the remains of a Roman road. The colors all around were bright green, the sky almost fluorescent blue. The kids got sidetracked by the presence of frogs. According to the indications, the beach was about a mile up the river. Halfway down the path, we bumped into a couple of young guys in fanny packs. I scanned them for signs of quintessential nudist attitude, but realized I actually had no idea what that was. I asked if we were headed in the right direction to go to “the beach”. They nodded and gave us a sly smile, which I immediately interpreted as a judgment about us as mothers, and more generally about our age, but I was ready to vindicate bare breasts against ageism.

We reached a small pebbled beach, secluded and bordered by a huge trunk that separated it from the path. A group of girls was there, sharing headphones and listening to music. To my dismay they were all wearing the tops and bottoms of their bikinis. One of them was in a full-piece bathing suit and shorts. “See, they are all wearing bathing suits. Please don’t be the weird mums who don’t.”

At this point, it was a matter of principle. My friend and I decided to take our bathing suits off completely, if only for a moment, and jumped into the river. The boys stayed on the beach with full clothes and shoes on, horrified. The girls went in behind us with their bathing suits. “Are you happy now? my son asked. “Did you prove your point?”

I didn’t really know what my point actually was. I think a part of me wanted to feel entitled to those long-gone decades of naturalism. Whether this was an instinct, or as Pasti said, “an act that was simply tied to the individual freedom of each woman”, it was hard to tell. At this point in history, the two things didn’t seem to cancel each other out—in fact, the opposite. Taking off a bathing suit, at least for my generation who never had to fight for it, had unexpectedly turned into a radical move and maybe I wanted to be part of the new discourse. Also, the chances of me going out in a fully sheer top were slim these days, but on the beach it was different. I would always fight for an authentic topless experience.

After our picnic on the river, we left determined to make our way—and without children—to the beaches of Capocotta. In truth, no part of me actually felt very subversive doing something I had been doing my whole life, but it still felt good. Once a free breast, always a free breast.

This article was originally published on British Vogue .

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Fiona Wright named Charles Perkins Centre 2024 Writer-in-Residence

Acclaimed Australian poet, editor and critic Fiona Wright is the 2024 Judy Harris Writer-in-Residence Fellow at the Charles Perkins Centre , receiving $100,000 to support the next 12 months as she embarks on her third collection of essays. Coming out of her experience of COVID, the collection will examine future perspectives on science, society and selfhood.

Now in its eighth year, the Fellowship is a pioneering initiative that enables leading Australian creative writers to navigate the complex health and social challenges our world faces, alongside global health researchers and educators at the University of Sydney.

“The residency at the Charles Perkins Centre has always been appealing to me – I’ve applied every year since it started in 2016,” Wright said. “As a writer I’ve had a long-held interest in science and medicine, and the interconnections between society, science and selfhood. I am also fascinated by how new and emerging ideas find traction and become embedded in our lives.” 

Acclaimed poet and essayist Fiona Wright is the 2024 Judy Harris Writer-in-Residence Fellow. Photo: Michael Amendolia.

Personal storytelling

Wright is renowned for the deeply personal revelations in her work, detailing her own experiences with eating disorders, autism, and disability, a practice she wishes to continue during her fellowship.

“My work has always been interested in the possibilities of personal stories, as a powerful means of building empathy and awareness, and exploring the ways in which big-picture issues are experienced and felt across our individual lives.”

Her anticipated third collection of essays arose out of a series of questions she encountered during the pandemic and is still grappling with in its aftermath.

“After the pandemic, I became really interested in the stories that we tell ourselves about the future and the ways we imagine and expect it to play out,” Wright said. “In the first lockdown, there was a lot of grief and confusion. A lot of people around me were saying things like ‘this isn’t supposed to happen’ or ‘this isn’t following my plan’ and it blew my mind. I've never been a planner or thought that you have much control over your future.” 

What happens when the future fails us?

Drawing from research from a wide range of disciplines as well as personal stories and lived experiences, Wright’s idea for the essay collection is to explore the narratives we carry that shape our expectations for our lives and of the world; assumptions that are often so ingrained and familiar, sometimes they’re impossible for us to see until they’re shattered.

“Living with chronic illness and receiving my autism diagnosis in 2020, right at a time when the world suddenly became unavailable, upended some of my long-held narratives about myself and my future,” she said. “The narratives I had absorbed about medicine – about its infallibility and objectivity, and about control – proved flawed, and the loss of these narratives affected me deeply. Watching other people begin to grapple with this kind of loss over these last years has been a profound experience. 

“I became fascinated by ideas about the future – both on a personal and societal level – where they come from, how they are understood by neuroscience and psychology, or affected by history and cultural norms, what they might mean and what we might need instead, in a time of ever-increasing precarity and existential threat.”

The science of poetry

Professor Stephen Simpson and Judy Harris. Photo: Michael Amendolia.

It's the second time a poet and essayist has been selected for the residency, after Sarah Holland-Batt in 2021.

“I am drawn to essays and poems as a form because they allow for many-angled examinations of complex questions that resist tidy answers,” Wright said. “So much of my work as a poet is just me in a room, working through the thoughts in my head. It’s been incredible to receive feedback from previous applications and now financial support from the Charles Perkins Centre to be part of something more collaborative through this year’s Fellowship.” 

The 2024 Fellowship is the final year that Professor  Stephen Simpson , Academic Director of the Charles Perkins Centre, will be involved before he  moves to another role at the University . 

“Fiona is an outstanding and acclaimed writer with an impressive body of work that is insightful, powerful and moving,” Professor Simpson said. 

“It makes me incredibly proud that the Writer-in-Residence program, generously funded by our donor and patron Judy Harris, is highly regarded by Australia’s creative writer community. The transformative Fellowship has greatly enriched the Charles Perkins Centre, the University of Sydney and our wider community, and has supported many of Australia’s premier writers.

"I am delighted that Fiona is joining us and I look forward to working with her as she explores some of the great health challenges and questions that shape us and our society, particularly through times of uncertainty and upheaval."

Fiona Wright’s writing has been published in various literary journals, newspapers, art catalogues and magazines across the world. Her debut collection of poetry, Knuckled (2011) received the Dame Mary Gilmore Award in 2012, and her book of essays Small Acts of Disappearance: Essays in Hunger  (2015) won the Kibble Award, the University of Queensland Non-Fiction Book Award in the Queensland Literary Awards, and was shortlisted for the Stella Prize and the NSW Premier’s Literary Awards for non-fiction in 2016. Her latest book of essays, The World Was Whole (2018) was longlisted for the Stella Prize in 2019 and the Nib Award for research, and shortlisted for the NSW Premier’s Prize.

Read more about the  Judy Harris Writer-in-Residence Fellowship at the Charles Perkins Centre.

Hero photo: Professor Stephen Simpson, Fiona Wright and Judy Harris in the Charles Perkins Centre. Photo: Michael Amendolia.

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