picture books for literary essays

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Jenna Copper

Teaching Secondary English Language Arts

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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. 

Sign up here, and I’ll email you my favorite picture book pairings!

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

More Resources

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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Reader Interactions

September 13, 2019 at 4:06 am

I’m geeking out right now because you quoted and cited my former professor, Dr Cyndi Giorgis! Best teacher and mentor I’ve ever had!

September 21, 2019 at 12:57 pm

Wow! What a small world! Thank you for sharing. This made my day!

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Picture Books to Teach Literary Techniques

I’ve been sharing a little series of posts about how to use living literature to teach writing – specifically, narratives and persuasive pieces .  In this post, I’m focusing less on a particular style of writing and more on writing with style – otherwise known as literary techniques.

No matter the age of your children, you can use these picture books to teach literary techniques.  However, since I don’t begin formal writing lessons until 5th or 6th grade, I only casually mention the literary techniques to elementary students.  So, yes, you read correctly…When it comes to actual writing lessons, I’m using these picture books with middle and high school kids !

Why use picture books to teach literary techniques?

While I could (and do) certainly use longer literary works and poetry to demonstrate literary techniques, picture books make for quick reads that get the lesson concept across clearly.  Not to mention, {living} picture books are really good at helping young writers learn how to compose short pieces well.  Most young writers I meet aren’t writing 300 page novels in the beginning.  In fact, asking them to write three pages can be overwhelming.  Picture books help writers see that even short stories can be written well.

What is a literary technique?

Don’t be confused.  Literary techniques are not the same as literary elements.   Both are important in writing!  I like to think of literary elements as the building blocks of a story, while literary techniques use words artistically.

Literary elements – characters, setting, plot, theme, moral – are the basic parts included in most stories.

Literary techniques – alliteration, metaphors, onomatopoeia, personification – might or might not be included in a story.  They play with words to develop interest and variety.

Together, these are known as literary devices.  Both are important to purposely teach and develop.  Today, I’ll only focus on literary techniques.  There are many literary techniques used in writing .  I’ve only included books that teach the most common techniques to get you started.

While it’s first on my list alphabetically, allegory is actually the most difficult technique (of those I’ve included) because it’s typically used throughout an entire story, rather than here and there like other techniques.  An allegory tells one story, while the underlying meaning transfers to something else.  That’s hard to understand, isn’t it?

As an example, The Squire and the Scroll tells the story of a young squire who must bravely follow the words from his scroll in order to survive and even defeat an evil dragon.  The allegory of the story helps readers understand the importance of purity and following the Word of God.

Alliteration

Alliteration uses the same letter or sound several times throughout a sentence, paragraph or story.  It’s used to focus the reader’s attention.

An example:  Peter Piper picked a peck of pickled peppers.

Hyperbole, otherwise known as exaggeration, is another technique that tends to be used throughout an entire story rather than in just a few places within a story.  Many of us would call these stories “tall tales.”  Tall tales usually have an element of humor in them, making these fun to write.

If I’m being truthful, idioms drive me crazy!  My youngest son loves them, though, so I get to read lots and lots of idioms.  His favorite idiom stories are the Amelia Bedelia books.  If you’ve ever read Amelia Bedelia, you’ll know that she takes idioms literally.  If someone tells her to dress a turkey, she puts clothing on a turkey.  Idioms, then, are phrases that shouldn’t really be taken literally like “it’s raining cats and dogs.”

Imagery is vivid and descriptive language that paints wonderful pictures in the reader’s mind as it evokes the senses.  Obviously, imagery utilizes adjectives, adverbs and rich words well.  An example: “The aroma of freshly brewed hot chocolate filled the room making everyone feel warm and cozy.”

When something is ironic, it’s the opposite of what you would have expected.  In the book Caps for Sale , for instance, the peddler tries and tries to get monkeys to take his caps off of their heads.  Ironically, once he gets angry and throws his cap down, the monkeys (mimicking his every move) throw the caps down.  It’s not at all what the peddler expected.  It was ironic that they did what he wanted when he stopped trying.

Metaphors and Similes

Both metaphors and similes compare things.  Typically, similes use the words “like or as” within the phrase of comparison.  For example, “I was as cold as ice.”  Or, “It felt like a razor on my back.”

Metaphors make comparisons without using the words “like or as.”  For example. “The store was a gold mine.”  Or, “The fog was a curtain.”

In both cases, the techniques help readers to build clear mind pictures.  I love how easily they can be inserted into any type of writing to create a strong impact.

Onomatopoeia

Onomatopoeia is such a big word for such an easy technique.  Basically, any word that sounds like its name is onomatopoeia.  “Achoo” “Buzz” “Creak” “Zoom” “Pop”

These words, used sparingly, can pack a lot of emotion into a story.

Personification

Personification is one of my favorite literary techniques.  Any time a non-human takes on characteristics of a human in stories, it’s called personification.  So, when a tree can think or a mouse can talk or a car has feelings, that’s personification.  We see examples of personification all over the place, but these three books have made me happy for years and years, so they get the honor of being highlighted.

How do you use the books?

Usually, I introduce my children (or co-op students) to the literary technique first.  I give them a definition and some examples, then ask them to help me come up with some examples.

Next, we’ll read the book together paying special attention to the use of the technique.

Afterwards, we’ll talk about how the author crafted his or her words and made the technique really work with the story.  Again, we work together to write some examples.  (These are always better than the examples before the book was read!)

Sometimes I just challenge the kids to use the technique more often.  Other times, we go directly into some story writing time where they must use the technique effectively.

And, there you have it.  Use a few of these books to teach your writing lessons and watch your writers grow exponentially!

Need a little more direction in how to use picture books to teach writing?

I taught a practical class that can help!

Be sure to check out the other posts in this series to get ideas for using picture books with various styles of writing and literary techniques!

20 Comments

Loving this series! Thank you for making it easy for us to incorporate wonderful books into the teaching of writing. What a fun way to learn about these writing techniques! You are a blessing!

Corinne, YOU are a blessing for taking the time to share such a sweet comment!

This is SUCH a great post, cindy!

Thank you, Alicia! Picture books are my happy place.

Thanks for this series–I really am enjoying it, and taking notes for upcoming lessons. Picture books are the best!

Cindy, you just really inspire me! Every time I visit your blog, I am more inspired to teach my children with more creativity and enthusiasm. This is a great post, and my all-time favorite picture book is on this list: Sylvester and the Magic Pebble–such a moving book. It takes you to utter despair and then to elation, all within 32 pages! Cindy, I used to be a more eclectic homeschool mom, like you, but now I have two toddlers who capitalize almost all my energy, and I am not sure how to fit it in anymore. My oldest kids are very independent learners, and they take pride in that, but I want to be more involved, like when we read lots of picture books together. I guess I haven’t found that balance. At least I can do all that sort of stuff with my two youngest ones.

Alicia, I hear you about balance! That’s definitely tough and I’ve been there. I finally decided it was really OK for my big kids to work mostly independently (and is very good for them.) I’m not constantly hands-on with them in every subject. And, I KNOW you are an awesome teacher for your kids! 😉

This is my first time visiting your blog and I just have to thank you! This is awesome! My kids and I will love revisiting some of these books that we did unit studies on long ago! I have used a picture book called “Aunt Isabel Tells a Good One” with kids in upper elementary to help understand literary elements of a short story. I love these ideas for introducing literary techniques as well. Thanks so much for sharing.

Thank you, Melissa! I can wait to check out the book you mentioned!

These look like some great suggestions – I love using picture books with older kids!

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This is fantastic! You know, I would happily buy a download that included these and more of the literary techniques illustrated through children’s books. Such a great and accessible way to demonstrate this! Also- I just want to thank you for linking to Barnes and Noble instead of Amazon. I worked there for several years before leaving to homeschool, and I loved every minute of it. My co-workers were awesome & many of them are still working there. Just appreciate anything that keeps a brick-and-mortar afloat & helps out my friends .

Jennifer, thanks so much for sharing this with me! I’ve had a few other requests for a download recently. It’s definitely on my to do someday soon list. 🙂

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Very helpful and inspiring. You are such an angel full of blessings. Would feel lucky if more knowledge in children’s literature and writing style is provided.

I’m glad it was helpful, Minu! 🙂

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20 Picture Books for High School English

Are you using picture books for high school English classes? 

Whether you have five extra minutes in class or you need to add another dimension to your lessons, these twenty picture books for high school English will benefit your classroom. At first, you might be skeptical that children’s books, picture books, pre-chapter books—whatever you call them—belong in the high school classroom. They absolutely do!

Picture Books with High School ELA

Years ago, I began exploring ways to implement picture books in my secondary classroom. Students responded well, and our discussions covered concepts that never appeared within our normal curriculum. Students picked up these books and read them when they had a few extra minutes. I find students browsing them, simply enjoying literature, before the bell rings. Basically, I’ve acquired dozens of picture books for my older students and incorporate diverse topics with picture books into my lessons, and I continue growing my collection.

Below, I’ve included twenty picture books * that work well with my secondary English students. For ease of providing examples, I divided the books into six categories: social emotional learning, creativity, kindness, everyone can write, poetic devices, and background knowledge. Those categories came from conversations students and I had, but I’m sure as you use these books and other ones, you’ll think of other categories.

And? You don’t need categories! Sometimes a bit of structure might give you an idea of where you can add a picture book, but don’t hesitate to grab one and just share it with your students. Read on for twenty fabulous picture books.

Social Emotional Learning with Picture Books for High School English

Reading older students as you discuss taking care of yourself and working with others can feel awkward. Since I dislike simply bringing a topic out of nowhere, I use a book to discuss SEL topics. The books provide an opening for discussion and a loose framework.

Here are three picture books to use with SEL.

Book: A Sick Day for Amos McGee

Overall: Amos visits his friends at the zoo every day. One day, he is sick and stays home to rest. His friends visit him.

Discussion: Even though Amos had a schedule, he knew when he needed to stay home sick from the zoo. (A reminder that I often need. . .) His friends cared enough about him to visit him and help him as he had helped them. Our society is changing, more toward staying home when you are sick rather than forcing yourself to go to school or work. This book is a great example of taking care of yourself and helping friends.

Book: a kids book about failure

Overall: Misspellings and mistakes are kept in this peppy book about failure.

Discussion: Dr. Layman Hicks acknowledges the feelings that accompany failure and the many times in life a person can face failure. He also stresses the growth and experiences people have when they attempt something new —knowing they might fail.

This book works well after a rough lesson! I had a coworker use this book in conjunction with writing feedback.

Book: Keeping It Cool

Overall: I love Melissa Boyd and own her other book, B is for Breathe . Boyd is a psychologist, and her books focus on developing healthy coping skills. Both books will provide steps for coping.

Discussion: Sometimes, older students simply lack the tools for coping with stress, change, and other tough situations. Not a lot of discussion is required with Boyd’s books because they are outlined so well—which is perfect for older students who might not readily discuss that they struggle to deal with overwhelm.

Creativity with Picture Books for High School English

With any class, but specifically with creative writing , students often need a pep talk about creativity.

What is creativity? Well, that concept is hard to articulate, but people often know creativity when they see it. Part of creativity comes from authentically sharing ideas, no matter how silly you fear others might think they are. Here are two picture books that model creativity in different ways.

Book: Cloudy With a Chance of Meatballs

Overall: Grandpa tells the tale of a town, Chewandswallow. Food comes from the sky, but eventually, the townspeople leave because the “weather” worsens.

Discussion: The cover of Cloudy With a Chance of Meatballs   boasts that over 4.5 million copies have sold—and I just bought it this year! I never read it with my personal kiddos, so I’ll share it with my students. We discuss taking liberties with names, story development, characters, and setting. The story has deeper meanings that students can discover online, but even if you don’t take that approach, you’ll still have a creative story and pictures to analyze.

Book: Hair Love

Overall: Some students may have seen the short that this book is based on. The creator of that short wanted to combat stereotypes and encourage the embracement of natural hair.

Discussion: The book flap of Hair Love says that the book celebrates “the joy that fills you up when you get to express yourself freely.” What would students experience if they expressed themselves freely? What part of their culture do they believe a story would help to provide a different angle?

Book: If I Built A Car

Overall: A little boy wonders what kind of car he would have if he were in charge of building a car. The results are interesting.

Discussion: The entire book rhymes and has a rhythm to it. The car floats, has an ice cream parlor, and drives itself. I wonder if the author wrote about his dream car before he realized what a car can’t do.

Kindness with Picture Books for High School English

Sprinkle some kind messages in your secondary classroom with picture books. Most picture books model good behavior, but these three do so in ways that my older students always appreciate.

Book: Rescue Bunnies

Overall: Newbie is new to the Rescue Bunny Squad. He must complete tests and follow procedures, but eventually, he breaks protocol and stays with a giraffe who is stuck in mud. He refuses to abandon the giraffe as hyenas approach.

Discussion: The discussion with Rescue Bunnies leads itself. Would you stay with someone stuck in a bad situation? What if hyenas were approaching? Are you comfortable breaking rules for the greater good?

Book: Frog and Toad Are Friends

Overall: I started reading these stories aloud for selfish reasons: They are some of my favorite picture books. Frog and Toad are so mismatched, and they are so grumpy. I love their small interactions like making lists or gardening together.

Discussion: Students typically gravitate to a discussion about friends or couples who simply understand each other—nuances, mannerisms, needs, and wants. More than any other book series, Frog and Toad discussions connect to characters from stories we read as a class.

Book: Don’t Let the Pigeon Drive the Bus!

Overall: The bus driver steps away. The pigeon wants to drive the bus. Readers are not to allow the pigeon to drive the bus.

Discussion: Students love this book, and I get it—it’s hilarious. The pictures are darling. With older students, this book is perfect for discussing peer pressure and the stress that can arrive in unforeseen circumstances.

Everyone Can Write Picture Books for High School English

This category is important to me. One of my classroom messages is that literature, for readers and for writers, is for everyone. I want my students to see themselves as both readers and as writers. I can stress that message with these three picture books for high school English.

Book: I Promise

Overall: LeBron James walks students through ideas for doing well in life. This book is uplifting and encouraging.

Discussion: Students know LeBron James, but they might not know he is a writer too. In I Promise , he stresses that the promises students make for their lives will help them to succeed.

Book: We Are in a Book!

Overall: Mo Willems’ We Are in a Book! breaks the fourth wall as Elephant and Piggie discuss what page number the book ends and how the reader interacts with the reader.

Discussion: I know that Mo Willems is on my list twice, but students respond so well to his books. Why? Our discussions often wrap back to why this author resonates with so many people. His illustrations and stories are fresh, and my students can write fresh stories too.

Book: The Book With No Pictures

Overall: How can a picture book have no pictures? This book requires the reader to say ridiculous statements, so be prepared for your teens to laugh at you.

Discussion: Students know the author from his acting work, but they might not realize he is a writer too. Hence, everyone can write.

Poetic Devices with Picture Books for High School English

Throughout my poetry units, I read from picture books. Students might tell me that they don’t enjoy poetry, but I want to show them that they have already read poetry, probably as young children. These picture books provide scaffolding and examples for poetic devices.

Book: Poetry for Young People (series)

Overall: These poetry books are beautiful and contain brief histories of the author. You can spend about ten minutes on each book—maybe fifteen.

Discussion: When I read about a poet, I ask students to research a bit about the author. Then we combine our knowledge and head into reading the poetry. Along the way, we discuss poetic devices that we learn about together.

Book: Giraffes Can’t Dance

Overall: Gerald is a sweet giraffe who cannot dance. Other animals can dance. Eventually, Gerald finds music that fits his style.

Discussion: The last page does not rhyme, and that drives students crazy. What is the effect of that? What liberties can an author take with poetry?

Background Knowledge Picture Books for High School English

On a completely anecdotal note, I have found that younger kids do not specifically enjoy nonfiction. That could absolutely not be true in your experience, but overall, older students tell me that they enjoy informational texts more than they did when they were younger. Well, let’s read them! Grab these beautiful books that provide snippets of history, and put them in your students’ hands.

Book: The Story of Ruby Bridges

Overall: Ruby Bridges is a Civil Rights icon and activist.

Discussion: The author of this book is a psychology professor at Harvard. Often, I start the discussion after reading this book by asking why a psychology professor would write about Ruby Bridges. Older students immediately pick up on the trauma and study that diverse fields have with the Civil Rights Movement. Our conversation unfolds from there.

Book: Classic Lit A to Z

Overall: This book is a simple A-Z book with references to Romeo and Juliet , Wuthering Heights , The Wizard of Oz , and more.

Discussion: Some students enjoy the classics, and this book has snippets about each character or book that each letter references. Our best discussions with this book come from our realizations over what books we have read and either enjoy or dislike.

Book: Friends for Freedom

Overall: Did you know Susan B. Anthony and Frederick Douglas were friends? Had disagreements like friends? Their history is interesting!

Discussion: When I teach about important historical figures like Frederick Douglass with his Narrative of the Life of Frederick Douglass , I try to pull in other pieces to show students many parts of his life. Hopefully, additional research and information will spur interest and encourage further research.

Book: The Gay BCs

Overall: This book has basic definitions for the LGBTQ community.

Discussion: Students simply might not know proper terms, but this book provides basic definitions while normalizing sexual orientations and gender identities. This book is continuously read in my classroom, and when students have a question, we consult it together.

Activities for Picture books

Typically, I use a one pager with my lessons for older students. Students pull verbs, adjectives, and adverbs from a review of several picture books. Then, they reflect on the types of words used.

What do students notice by studying the language in picture books?

Two key concepts: Verbs have power, and modifiers relate to each other. That is, writers use specific word choice to amplify their storytelling.

Then, my high school students and I can apply that concept to our creative writing , a perfect class for using picture books for high school English.

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Those are my twenty books!

Since I’m acquiring new picture books (all the time!), I’d love for you to add a title and to explain why it works so well with your older students.

creative writing activities literature picture books SEL learning

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Effective Read Alouds for Teaching Literary Elements

If you are a middle or high school teacher, and you’re not incorporating picture books in your curriculum, why not!? Creating mini lessons with short texts is one of the best ways we can introduce reading literature skills and concepts so that they will stick. Without a mentor text, it’s hard to create a mini lesson. Enter picture book read alouds for teaching literary elements!

If you want students to analyze how the…

• setting impacts the plot
• characters shape the theme
• word choice impacts meaning
• allusions to other texts impact the tone
• structure contributes to meaning and style
• point of view creates humor

…these picture books will be helpful. You can read them with students before or during a mini lesson and then refer back to them during guided and independent practice.

Let’s take a look at the books. At the end of the post, I’ll give a little bit more insight as to how to use these as interactive read alouds with secondary students.

Setting Impacts Plot

The Farmer and the Monkey by Marla Frazee is a wordless picture book about a lost monkey who unexpectedly follows a farmer home. The farmer lives – seemingly – in the middle of nowhere. But, the happy little monkey pokes around the house, peeks in windows, and knocks on the door until the farmer lets him in. In true monkey fashion, the little circus animal destroys the house in no time, and the farmer banishes him outside.

Soon, it begins to snow. Monkey is sad, homeless, and cold. The pitiful sight of the monkey neck deep, nearly frozen in snow causes the farmer to have a change of heart. Crying, the farmer picks him up, thaws him out, and proceeds to treat him like a beloved child until the night when the monkey finally finds his train again.

In this book, the setting (cold, snowy winter) impacts the plot. Had the monkey not frozen, the farmer’s heart probably would not have softened toward him. And, their beautiful friendship would not have blossomed.

Characters Shape the Theme

In Gurple and Preen by Linda Sue Park, the two characters (a purple and green robot) crash their spaceship. As the story progresses, Gurple and Preen act as dynamic foils, highlighting one another’s opposite reactions to the tragic opening event. While Gurple runs around frantically, yelling, breaking crayons, and having a generally pessimistic outlook, Preen is busy being productive. Silently, Preen uses all of the “rubbish” that Gurple discards to repair the ship.

As the two climb into their repaired rocket and take off at the end of the story, Gurple asks, “Where to next?” and Commander replies, “Everywhere. The whole galaxy. Star by star by star.” The differences between these two characters help to shape the theme: With a universe of creativity, anything is possible.

Word Choice Impacts Meaning

If Dominican Were a Color by Sili Recio is rich with vibrant vocabulary and figurative language.

If Dominican were a color…it would be the sunset in the sky, blazing red and burning bright. The shade of cinnamon in your cocoa, the drums beating so fast, they drive you loco.

The description in this book brings Hispaniola to life. Why does the author choose the word blazing to describe the redness? Why is Dominican the sunset in the sky? What do these colors symbolize? What images do they evoke?

We can have rich conversations with students about purposeful word choice and intentional imagery as an author. How would these lines read differently if the author had used the adjective bright red instead of burning red? The connotation and denotation change, which alters the meaning and mood of the passage.

Allusions Impact Tone

If you’re looking for a humorous book, Duck for President by Doreen Cronin and Betsy Lewin is highly entertaining. In this story, Duck is a humble farm animal who works his way to the top of the political food chain only to realize he’d rather just be a duck on a farm.

In addition to personification, the book includes political-style allusions. For example, Duck appears on a late night television show. And, readers will encounter references to famous speeches and slogans (for instance, “A Duck for Change”  and “Duck, Making Us Proud Again” can be connected to recent presidential slogans). Also, in his autobiography, Duck writes the following…

Four score and seven years ago (Lincoln’s Gettysburg address)

The only thing we have to fear (Franklin Roosevelt)

Ask not what your country (John F. Kennedy)

Running a farm is very hard work.

Clearly, these allusions impact the piece by working in tandem with Duck’s unique personality and the personification to create a comedic, light-hearted tone.

Structure Contributes to Meaning

I adore the book When I Draw a Panda by Amy June Bates. The front pages of the book include step-by-step directions for how to draw a variety of animals and images “perfectly.” These same images frame the end of the book, but the perfect step-by-step instructions are scribbled all over, symbolizing that there is no one right way to draw. The entire book is threaded with the message that creativity and an independent spirit are to be celebrated.

The way the author structures the lines in this book, including the title, is perfectly askew. Lines are not arranged linearly. For example, one of the first pages reads, “Sometimes when they say / to draw a perfect circle, / mine turns out … a little wonky.” The words “a little wonky” are situated diagonally on the page…just enough to be unique and independent.

Some of the words are larger than others, and each page pops with abstract art, perfectly imperfect illustrations, and a panda that comes to life.

Point of View Creates Humor

Unicorns are the Worst by Alex Willan may sound like a book older students wouldn’t enjoy, but it’s really for all ages. The goblin who narrates the story has such a begrudging, biased perspective of unicorns. His stereotyping and close-mindedness manifests in bitter comments, misconceptions, and missed opportunities to make new friends.

As the story progresses, readers can infer that the little goblin has probably formed some of these misled opinions after feeling slighted. For example, he complains, “I have studied forgotten magic, know spells that can transform socks into slugs, can turn broccoli into ice cream, and have mastered the three-strand braid. But despite all of this, does anyone ever ask to have a Goblin-themed birthday party?” and “It’s not like they ever ask me to one of their tea parties.”

The protagonist is the narrator of the story, and his humorous quips and misguided opinions create a point of view that leaves readers giggling, especially when we realize he is friends with the unicorns at the end of the book, only to begin the cycle of bitterness and jealousy with a new animal – the dragon!

Tips for Interactive Read Alouds in Secondary

To share these stories with your classes, it can be powerful to read them aloud together. Whether you are in person or teaching remotely, all students enjoy interactive read alouds.

If your middle and high school students are not used to read alouds, you may wish to frame their value. We read books aloud because they open up thinking and discussion. Read alouds create opportunities for empathy and a broader understanding of the world. Plus, there are entry points for discussing pretty much any literary standard under the sun in an organic, authentic way. Read alouds also help to create a relaxing, warm classroom community.

As you read a picture book with older students, pause on key pages (plan these stops in advance and mark them with sticky notes, if necessary), and pose natural questions.

What are you…thinking? noticing? feeling? wondering?

Entertain all ideas, and praise students for sharing their thinking. These questions create a dynamic, interactive element to the read-aloud experience. (Grab a free download by clicking on the image below!)

By including picture book read alouds in our secondary curriculums, we will create a bank of rich mentor texts we can refer back to throughout the year as we teach a variety of skills and standards with more complex texts.

Further Reading:

Picture book lessons and mentor texts, picture book ideas for older students, related resource.

Scaffold literary element analysis with these digital and print graphic organizers for any text.

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The Colorful Apple

Picture Books to Teach Descriptive Writing

Picture books are a treasure trove of inspiration for teaching young students the art of descriptive writing. These delightful stories not only captivate young minds but also provide valuable opportunities to explore vivid language and imagery. As an experienced elementary school teacher, I’ve found that using interactive read-aloud lessons with picture books can be a powerful tool for enhancing students’ descriptive writing skills. In this blog post, I’ll share some strategies on how to use picture books to teach descriptive writing effectively.

I’m sharing all of these books on video as well! Check out the  Picture Books to Teach Descriptive Writing video on my Youtube channel:

This post contains affiliate links.  Read my full disclosure  here .

How to Use Picture Books to Teach Descriptive Writing

Step 1: choose the right picture book.

The foundation of any successful interactive read-aloud lesson is selecting an engaging and descriptive picture book. Look for books with rich language, vivid illustrations, and a story that resonates with your students. A great choice often includes a story that evokes strong emotions, places, or characters that students can easily visualize.

Step 2: Pre-Reading Discussion

Before diving into the story, engage your students in a pre-reading discussion. Ask open-ended questions that encourage them to share their thoughts and feelings about the book’s cover, title, or any prior knowledge they might have related to the story’s theme. This discussion helps students activate their prior knowledge and prepares them for a more immersive reading experience.

Step 3: Interactive Read-Aloud

During the read-aloud, use interactive techniques to involve your students actively. Pause at key moments to ask questions about the story, the characters, or the setting. Encourage students to make predictions, share their reactions, or discuss any unfamiliar words or phrases. This engagement keeps students connected to the text and encourages them to think critically about the descriptive elements.

Step 4: Visualizing and Describing

After completing the read-aloud, it’s time to dive into the heart of descriptive writing. Ask students to close their eyes and visualize the story in their minds. What do they see, hear, smell, taste, and feel? Encourage them to use their senses to create mental images of the story’s elements. Then, have them share their descriptions with the class. This activity helps them practice using descriptive language.

Step 5: Identifying Descriptive Language

Now, revisit the text together and identify descriptive language used by the author. Highlight vivid adjectives, colorful metaphors, and any other literary devices that contribute to the story’s imagery. Discuss how these choices by the author make the story come alive and create a clear picture in the reader’s mind.

Step 6: Guided Writing Exercise

After analyzing the author’s descriptive writing, it’s time for students to practice on their own. Provide them with a prompt related to the story, such as describing a character or setting in detail. Encourage students to use the descriptive language they’ve identified in the book and their own imaginative skills to craft vivid paragraphs.

Teaching descriptive writing through interactive read-aloud lessons with picture books is a creative and effective approach to engage young students in the world of language and imagery. By carefully selecting books, facilitating meaningful discussions, and guiding students in visualizing and describing, we empower them to become skilled writers who can bring their stories and ideas to life with descriptive language.

This method not only fosters a love for reading but also equips students with essential writing skills that will serve them well throughout their academic journey and beyond. So, go ahead and embark on this literary adventure with your students, and watch their writing flourish with newfound descriptive power!

• I Need My Monster by Amanda Noll
• Southwest Sunrise by Nikki Grimes
• Magnificent Homespun Brown by Samara Cole Doyon
• A Gift for Amma by Meera Sriram
• Saturdays & Teacakes by Lester Laminack
• Fry Bread by Kevin Noble Maillard

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Interactive read alouds done for you.

If you’re ready to add more read alouds into your day, I have the solution for you! The Colorful Apple Book Club brings read aloud lessons and activities such as vocabulary, crafts, writing response and discussion prompts, right to you!

No more wondering if the book you found will work for the reading strategy you wanted. No more flipping through pages of countless books to make sure it’s on your students’ listening level. I’ve done all the work for you! Just hit print and you’ll be totally set for your read aloud lessons.

Each month with your membership, you’ll get 5 read aloud lessons and activities to support your students.

Each lesson includes:

• a teacher guide to help you prep the lesson
• an anchor chart that connects to the book and the lesson
• discussion questions that you can print right on sticky notes!
• vocabulary words to help students understand the story
• written response
• activity sheet to practice the skill of the lesson
• craftivity or game that reinforces the skill
• task cards to guide discussion

Ready to learn more about the Colorful Apple Book Club or sign up? Click HERE ! I’d love to walk you through everything you’ll get! I can’t wait to save you time and get these effective lessons in your hands.

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Picture Books You Can Use for Writing Prompts

This post may contain affiliate links.

This list reflects recently published (2017) books that I’ve been reading. Of course, you can find many more picture books that also are wonderful writing prompts. Please leave any favorites in the comments!

You Might Also Like:

20 Picture Books About Writing a Story (for Writing Workshop)

Picture Books That Celebrate Words

Picture Books About the Library

Writing Prompts for Kids

Wreck This Journal

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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One Comment

This is a favorite of ours https://www.amazon.com/Whisper-Pamela-Zagarenski/dp/0544416864/ref=sr_1_1?ie=UTF8&qid=1491658303&sr=8-1&keywords=the+whisper Thanks for this list. I’m off to add some to me wish list 🙂

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• Knowledge Base
• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

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The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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Teaching With Picture Books: Figurative Language

• Literary Elements
• Figurative Language

Search Curriculum Lab

Teaching Resources in Curriculum Lab

• Read Alouds for Teaching Figurative Language :  https://jenniferfindley.com/read-alouds-for-teaching-figurative-language/
• Read Write Think: Suggested Books with Figurative Language:   https://tinyurl.com/ljlptjs
• Imagination Soup:   https://imaginationsoup.net/picture-books-similes-metaphors/
• The Best Children's Books:   https://www.the-best-childrens-books.org/simile-lesson-plans.html

Excellent Descriptive Language

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• Last Updated: Jan 8, 2024 8:54 AM
• URL: https://library.ulethbridge.ca/currlab/teachingwithpicturebooks

8 Picture Books to Teach Figurative Language: A Guide for Elementary Educators

Figurative language is an important building block of both poetry and literature at large. As we celebrate National Poetry Month , it's a good time for young readers to develop an understanding of this crucial skill, which can be confusing and challenging for young readers. Metaphors and similes aren't easy for many adults to understand! However, with the appropriate picture books as a teaching tool, students can begin to learn how to process and imagine the descriptive text through a book’s illustrations. 

Below are eight picture books that you can incorporate into your classroom instruction, with the different elements of figurative language the book incorporates, as well as a sample quote from the text.

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By Yuyi Morales

Dreamers tells the story of a mother and child who immigrate to America and must adjust to their new life. The figurative language Morales uses is moving, powerful, and deep—and speaks to an experience that many children in New York City are familiar with.

Figurative Language : similes, metaphors, personification, imagery

Quote :  “The sky and land welcomed us in words unlike those of our ancestors.”

By Misty Copeland and illustrated by Christopher Myers

Firebird tells the story of a young girl who aspires to be a ballerina like Misty Copeland. This Coretta Scott King Award winning picture book features both beautiful, poetic language, as well as engaging illustrations that support the text.

Figurative Language : similes, metaphors

Quote : “you are the sky and clouds and air / your feet are swift as sunlight / stretching across the skyline / like the daylong sun over the horizon”

Hear the Wind Blow

By Doe Boyle and illustrated by Emily Paik

Hear the Wind Blow  highlights the twelve stages of the Beaufort wind scale—but Boyle manages to make a scientific study of wind into a lyrical poem that features gorgeously crafted language. 

Figurative Language : similes, metaphors, personification, onomatopoeia, alliteration, rhyming

Quote : “Meddling wind tugs battened hatches, drums at windows, pulls at latches. Sing out loud while gusts come tumbling. You can match their roar and rumbling.”

The Legend of Rock Paper Scissors

By Drew Daywalt and illustrated by Adam Rex

This comical story tells the legend of Rock, Paper, Scissors—by personifying all three inanimate objects! Kids will laugh as they learn what it means to give objects human traits. 

Figurative Language : personification

Quote : “Meanwhile, in the Empire of Mom’s Home Office on lonely and windswept Desk Mountain, a second great warrior sought the glory of battle. And his name was Paper.”

Knot Cannot

By Tiffany Stone and illustrated by Mike Lowery

Kids will chuckle as Knot envies all the things Snake can do that he cannot. Homophones and wordplay make Knot Cannot a great choice for teaching how odd the English language can be! 

Figurative Language : homophones, puns

Quote: “Snake can even shed her skin. Snake looks brand-new. Can Knot look brand-new? No, he’s a frayed knot.”

Magnificent Homespun Brown: A Celebration

By Samara Cole Doyon and illustrated by Kaylani Juanita

Magnificent Homespun Brown: A Celebration is not only a celebration of diversity and identity, but also language! This title, which is featured on The New York Public Library’s Best Books for Kids 2020 list, is filled with colorful imagery that invites readers to imagine themselves within the pages of the story. 

Figurative Language : similes, imagery, personification, alliteration

Quote : “Cozy brown. Like hot cocoa, a comfortable cup of liquid dreams sliding lazily over contented lips, filling mouths with quiet happiness as our family gathers to watch the swirling rage of a winter storm, tucked snugly inside the folds of our giant sofa.”

Noisy Night

By Mac Barnett and illustrated by Brian Biggs

Noisy Night starts off with a child who wakes up to a strange noise above him—and chaos ensues with a variety of sounds that will have children guessing what could be making that noise? The book is a simple, straightforward story that highlights the power of onomatopoeia. 

Figurative Language : onomatopoeia

Quote : “What is going RAH, RAH, RAH above my head? Cheerleaders are cheering above my head.”

Your Name is a Song

By Jamilah Thompkins-Bigelow and illustrated by Luisa Uribe

One of The New York Public Library’s Best Books for Kids 2020, Your Name is a Song is a great example of how lyrical prose can be woven into a more traditional narrative story. The book tells the tale of a girl whose name is hard to pronounce; when she comes home from school, her mother teaches her that her name is a song—beautiful and powerful. 

Figurative Language : metaphor, personification

Quote : “‘Xiomara (see-oh-MARR-ah) fights a battle in your mouth. Tongues bow to say Bilqis (bil-cKee-SS).’”

6 Upper Elementary Picture Books I Use to Teach Writing

Picture books are not just for primary grade students. I use picture books with my fifth graders during each genre unit to model what good writing should look like. Hidden in these gems, are also great examples of writing skills that they can use during writing time with any genre. I’ve listed below six of my favorites with examples of the writing skills I teach for each one.

Nothing Ever Happens on 90th Street by Roni Schotter

This is my favorite book to teach writing skills. In the story, Eva cannot come up with something to write for her class, so each person on 90th street gives her a piece of advice. Each piece of advice can be used to help guide her writing. For example, the 90th street baker says, “Find the poetry in your pudding.” We discuss what this can mean for writing such as improving overused words, turning an old story into something exciting, etc. I even create a chart with each characters advice for writing so the students can refer to it.

The Sweetest Fig by Chris Van Allsburg

If you are looking to teach students how to develop a strong character, this book will do just that. Chris Van Allsburg is very good at creating a strong character using thoughts and actions. In this book, we discuss how to use a character’s actions to portray their character. Chris Van Allsburg creates this selfish, greedy, character, Monsieur Bibot, through actions and dialogue. It is a great book to demonstrate “show don’t tell.”

The Summer My Father Was Ten by Pat Brisson

I love this upper elementary picture book because these students are able to relate to the plot. In the story, a boy gets carried away with his friends during a baseball game, and ends up ruining an older man’s garden. He feels terrible afterward, and works hard each spring to help the man rebuild it. It is a great story to show rising action and character change.

My Rotten Redheaded Older Brother by Patricia Polacco

I often struggle when teaching personal narrative because I find students often write about the same topics. Since I am departmentalizing and teach four classes, after reading 99 stories about a day trip to six flags, I am ready to cry. Patricia Polacco is one of my favorite upper elementary picture book authors. In My Rotten Redheaded Older Brother , she does a wonderful job in modeling how to write a personal narrative. The story is about a typical brother sister relationship that reaches a turning point and completely changes. After reading this book, I often find students are able to understand more what I am looking for in developing a personal narrative.

The Lotus Seed by Sherry Garland

One strategy that we use for writing is to base a story around an object. In The Lotus Seed , a young woman travels from her home in Vietnam to America. The only thing she has with her to remember her home is this tiny seed from a lotus flower. After I read this story to students, it is amazing what they are able to come up with. I often start by having them do a quick write and make a list of several objects they could write about. They then choose one of these objects to turn into a story. One of the best writing pieces I have ever gotten from a student resulted from this lesson. She based an entire story around a leaf. It was beautiful, and I use it as a model every year!

I Wonder Why Penguins Can’t Fly and Other Questions About Polar Lands by Pat Jacobs

My favorite genre for teaching writing is nonfiction. I love how interested the students become in researching their topics. Often times, they even go home and research on their own. They love to come in and tell me all they have found. I always start with this question and answer book because it peaks student interest in non fiction instantly. Instead of reading fact paragraph after fact paragraph, the book asks several interesting questions based on a topic. There is an entire series to choose from. I usually start the lesson by having students open their writing notebooks. I read several questions and they write down the one they would like to hear the answer to the most. I then go around and have students read their questions and I provide the answer. By structuring the lesson this way, students have more accountability and tend to engage with the lesson more. We then discuss how to structure their own question and answer books when they start researching.

These six books are some of my favorites but I have many more that I use to teach writing. Using picture books is a great way to engage students. Upper elementary students are not too young for these visuals and often need them to be able to understand what we are looking for in their writing!

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30 Inspiring Picture Books About Writing a Story

T eachers and parents,  use these  picture books  as  mentor texts  to show kids the process of writing a story. Read about getting ideas for stories, and the storytelling/story writing process, including story elements.

Some of these books show how writers get ideas.

Others show the challenges of plotting and drafting the words in a story.

All are about a part of the storytelling process and make for helpful mentor texts. Because kids need plenty of examples to encourage them as they develop their own storytelling abilities.

Look for mentor texts that meet your children where they are. In other words, what are your children or students struggling with currently? Is it finding ideas? Start there. Maybe it’s facing the challenges that come with writing a story draft.

I’ve divided this book list into three parts:

• Finding an Idea
• Plotting and Drafting
• The Writer’s Life / Getting Published

Writing isn’t easy. Many of these books show that the struggle of writing is OK and part of the creative process. (And sometimes funny!)

PRINTABLE LIST

The Best Picture Books About Writing a Story

Mentor texts about finding an idea for a story.

Amy the Red Panda Is Writing The Best Story in The World by Colleen AF Venable, illustrated by Ruth Chan

Amy’s frustrated with her story, especially when all her friends share their opinions about what the story should be. Then, Mervin the Sloth tossed the letter “O” at her. It’s a letter fight!! Now, she’s got a story to tell. Cartoon panels and cheerful illustrations give this mentor text lots of pizazz.

Ralph Tells a Story  by Abby Hanlon

Stories are everywhere. In fact, Ralph’s teacher helps his classmates and him find story ideas in everyday things.

The Best Story  by Eileen Spinelli, illustrated by Anne Wildsorf

A little girl wants to write the best story in order to win the library’s writing contest. Her family shares their specific opinions about exactly what makes up the best story. And they all are different. Fortunately, her mom encourages her to write from the heart — and that makes for the best story.

Any Questions  by Marie-Louise Gay

Marie-Louise Gay shares with children about how to get ideas for a story and writing a story. It’s an interactive experience because you get to write part of a story, too. Beautifully illustrated with watercolor and ink.

Idea Jar by Adam Lehrhaupt, illustrated by Deb Pilutti

Use  The Idea Jar  to help young children understand that they can invent their own stories with  any  ideas. The teacher’s idea jar is filled with words that can be story ideas. These ideas need a story! Watch as the narrator shows what happens when you start with Vikings, then add in a space robot and a dragon. Perhaps this mentor text will inspire a story idea jar of your own.

The One-Stop Story Shop by Tracey Corderoy, illustrated by Tony Neal

What a delightful, funny celebration of stories and imagination!  When the knight’s dragon is on vacation for some “me” time, the knight goes to the One-Stop Story Shop for help. The shopkeeper gives him some story idea options starting with a feisty ferret character and settings like space, jungle, and the wild west. This story is pure fun!

Picture Books (Mentor Texts) About Writing a Story

Little Red Writing  by Joan Holub, illustrated by Melissa Sweet

This brave red pencil is so excited to write a story… an exciting story. Laugh-out-loud humor rich with wonderful words and exquisite illustrations show that the writing process is not as easy as it seems. But, it’s worth it in the end. Delightful parallels to  Little Red Riding Hood  abound — watch out for that Wolf 300 pencil sharpener!

The Plot Chickens  by Mary Jane Auch, illustrated by Herm Auch

Henrietta is a writing chicken who uses the book  Writing Rules  to explain story elements and her story writing process with her chicken aunts and you, the reader.

Bearnard Writes a Book  by Deborah Underwood, illustrated by Misa Saburi

I love this darling mentor text story about how to write a story with characters, a problem, and excitement.  Bearnard wants to write a story about his friend Gertie, a goose. The first draft isn’t very exciting so Bernard takes a thinking walk. Then, he rewrites and the story gets more adventure and excitement with pirates, a shapeshifter Gertie and a monster. Gertie is inspired to write her own…poems.

Dragons Eat Noodles on Tuesdays  by Jon Stahl, illustrated by Tadgh Bentley

The big blue monster begins writing a a story with “once upon a time” and adds, “the end.” Little by little, his yellow monster friend helps the blue monster improve his story, so there is a dragon, a knight, a super smart damsel, and a plot. And the story is much better. But wait! The dragon from his story arrives in real life. Yikes. Luckily for the monsters, they remember from the story that dragons only eat noodles on Tuesdays. Yay. But, it’s Wednesday! Ut-oh! This ending will totally crack you up.

This Book Has Alpacas and Bears  by Emma Perry and Rikin Parekh

A darling story about Alfonso Alpaca who wants to be in a story and tries to write a story but CAN’T because it’s tricky without opposable thumbs.  So he sets out to convince his bear friend named Colin to help him, pitching him the marvelous idea of an alpaca story every day. Eventually, he realizes he must prove himself — dancing, standing on his head, gobbling grass, skateboarding, and it works! Together, they write down, share, rewrite, draw, and print out the story! It’s such a funny plot and Alfonso is totally endearing.

Let’s Tell a Story! Fairy Tale Adventure  by Lily Murray, illustrated by Wesley Robins

Pick the story elements and write a story… Choose something on each page (using the pictures) and invent million of different stories. Do you want to be a prince, a troll, a princess, a black cat, these are just some of the main characters you could be. Then choose your outfits and accessories, where you want to go, who you’ll take with you, how you’ll get there, which path you’ll take, and so on until you get to the end of your dangerous adventure. Then start over and tell a new story! Also read   Let’s Tell a Story! Space Adventure  by Lily Murray.

Miss Brook’s Story Nook by Barbara Bottner, illustrated by Michael Emberley

In the story nook, Miss Brooks teaches the class and Missy about writing stories: plot, characters, action. Missy takes her real-life story of hat-stealing Billy, invents a satisfying ending, and solves her real-life problem in her written story. See how storytelling helps us after all?

Rocket Writes a Story  by Tad Hills

Rocket loves reading stories so it’s only natural that he wants to write his own story. He collects words and looks for inspiration which he finds with Owl. Little by little he adds to a story about his new friend owl. This book is sure to inspire  storytelling  and writing.

A Perfectly Messed-Up Story  by Patrick McDonnell

Very funny with fantastic art! Louie is happy to tell his happy story until — hey, did you just spill peanut butter on me? As the reader makes more of a mess, and Louie tries to restart the story without success, he gets upset and tells the reader to start treating books with some respect. But as he learns, even when things don’t go perfectly, it will be okay.

I Want to Be in a Scary Story  by Sean Taylor, illustrated by Jean Jullien

Little Monster wants to be in a scary story. In a conversation between he and the author of the book, Little Monster helps the author write something a little scary and a little funny both. It’s a clever premise to have the interaction between author and main character determine the plot. It shows growing writers and readers a bit about the ever-changing process of storytelling.

Violet and Victor Write The Best-Ever Bookworm Book by Alice Kuipers, illustrated by Bethanie Deeney Murguia

Violet Small wants to write the best-ever book with help from her twin brother Victor Small who would rather count his pet worms. But, through brainstorming of the bickering kind and some cooperation, the two invent a suspenseful adventure about a book-eating bookworm. The illustrations are eye-catching, too – mixed media and pencil sketches. I love how the twins each have their own color ink and own color notebook paper for the story. This is a fantastic story about the creative process.

A Squiggly Story  by Andrew Larsen, illustrated by Mike Lowery

I love this book because it shows that all of us are writers — even when we can’t write letters or words quite yet! And this determined young writer proves it.

Interrupting Chicken and the Elephant of Surprise  by David Ezra Stein

The Little Red Chicken is sure that every story has an elephant of surprise. Papa explains that it’s an element of surprise, not an elephant. Thus begins a hilarious storytelling adventure (with elephants) that will crack you up. The Ugly Duckling, Rapunzel, and The Little Mermaid all have “ Surprise! I’m an elephant! ” moments as interrupted by, guess who, Chicken. Then Papa tells a silly story of his own with no elephants? Surprise! Elephants! (Teachers, wouldn’t this be fun for introducing plot in writing workshop?)

Look! I Wrote a Book! (And You Can Too) by Sally Loyd Jones, illustrated by Neal Layton

A little girl with a big personality narrates the basics of writing a story from coming up with an idea to knowing your audience, thinking of titles, problems and solutions, endings, revising, and publishing including an author section, drawings, and cover art. Not only that, she even suggests how to sell your book. (This involves friendly persuasion or, if that doesn’t work, tying someone to a chair.)

The Tale of the Valiant Ninja Frog  by Alastair Chisholm, illustrated by Jez Tuya

One evening at a campfire, a dad invents a goodnight story with his kids’ help. As Dad starts the story, the kids interrupt with anecdotes, questions, and suggestions. Hilarious adventures ensue and the littlest one saves everyone with a happy ending!

Picture Books Showing the Writer’s Life & Getting Published

My Worst Book Ever!  by Allan Ahlberg, illustrated by Bruce Ingman

We adore this delightful story all about the picture book author experience. Allan narrates his process of sitting in his shed, thinking up, and writing a story. But he’s thwarted by one thing after another — a coffee spill, a family vacation, paper-eating snails, an uncooperative illustrator, messy kids, and the printer’s niece called Lucy. It turns out to be his worst book ever! It’s so charming, you’ll want to be a picture book author yourself.

How This Book Was Made  by Mac Barnett, illustrated by Adam Rex

I love this humorous account shared by the author and illustrator about their amazing (and slightly unusual!?) process of writing a story and publishing a book. It goes something like this: getting an idea, writing lots of drafts, arguing with an editor, playing cards with a tiger, waiting forever for the illustrations, growing a long beard, printing the book in a huge pile which could be seen from space by ice-cream eating astronauts, sending books on a ship captured by pirates who don’t read, delivering books to places everywhere, and then the most important part — the waiting . . . the long waiting for someone to open a book. Because what’s a book without a reader?  Read more in  my interview with Mac and Adam . 

Author: A True Story  by Helen Lester

The author of the beloved Tacky the Penguin series shares her writer’s journey starting with her challenges writing as a child all the way to becoming a published author. Kids will be encouraged to know that even if you struggle at first, it’s possible to succeed.

Big Machines The Story of Virginia Lee Burton (How Mike Mulligan’s Steam Shovel and Friends Came to Life)  by Sherri Duskey Rinker, illustrated by John Rocco

Jinnee creates wonderful drawings and stories for her two young sons that become beloved picture books like  Mike Mulligan and His Steam Shovel ,  Katy and the Big Snow ,  Maybelle, The Cable Car , and  The Little House . Reading this picture book gives us insight into an artist’s creative process as well as the process behind writing and illustrating a children’s story. Also on:  Big List of Picture Book Biographies .

The Whisper  by Pamela Zagarenski

The little girl can’t wait to read her teacher’s magical book of stories. Only when she gets home, there are no stories, just pictures. The wind whispers, “ You can imagine the words. You can imagine the stories. . .  ” and so the little girl does, finding her inner storyteller. Not only is this story rich with the power of imagination, but the illustrations also evoke stories within stories. Use this mentor text picture book for writing a story — it’s marvelous!

Once Upon a Zzzz  by Maddie Frost

Once upon a time, the author took a nap so the illustrator decided to write the story. It’s a story about a llama princess and her little Penguin sister who wished on a star that her older sister would be sent to the moon. As Princess Penguin tries to sleep, she realizes that she’s terrified without her big sister. Lucky for the illustrator, the author wakes up in time to help Princess Penguin rescue Princess Llama.

I Am a Story  by Dan Yaccarino

This informative picture book describes the history of stories: oral tellings around campfires, paintings on cave walls, weavings into tapestries, printings, and more. For me, the writing is a bit too dry but I like that it exemplifies how stories connect us and endure throughout time.

Written And Drawn By Henrietta  a Toon Level 3 Book by Liniers

This isn’t a picture book but it’s SUCH a wonderful early reader book for children who are developing as readers and writers! It’s about a young writer who gets new colored pencils that inspire her to write and illustrate a story. As it continues, we see her discussing the plotting with her cat — it’s such a great example of the story writing process!! LOVE! Also see:  The Big Wet Balloon  by Liniers.

KEEP READING

Books for Kids That Celebrate Words

Writing Prompts for Kids

Picture Books  About Libraries and Librarians

Little Red Riding Hood

The post 30 Inspiring Picture Books About Writing a Story appeared first on Imagination Soup .

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Writing Children’s Literature: Picture Books

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• Location: Online
• Duration: 9 weeks
• Times: Evenings

Next Start Date:

April 2, 2025

About this Course

There is special magic in picture books. These works touch both the child experiencing story and the reader who shares it with them. Picture books are an art that’s designed to be read aloud — essentially, to be performed. 

A picture book may be short, but it’s one of the most complicated formats to create, using a limited number of words and artfully blending text and illustration. In this course, we’ll explore this form through fiction and nonfiction work of all kinds. You’ll learn about myths and misconceptions, examine the structure of story, and discover how to keep your audience delighted through many repeated readings.

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Those interested in writing picture books for children. (No illustration ability required.)

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This is an introductory course and no previous experience is required. Anyone is encouraged to enroll. 

Time Commitment

Including time in class, you should expect to spend about seven to nine hours each week on coursework.

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To successfully complete this course, you must fulfill the requirements outlined by your instructor.

What You’ll Learn

• Elements of craft critical to the creation of a picture book
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• Dummy creation for picture book drafts
• Methods for revising your work
• Ways to shape and strengthen your narrative voice

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You’ll develop a draft of a picture book.

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• Date: November 23, 2023
• Author: Jan Fields
• Category: Writing for Children Blog
• Tags: Expository Nonfiction , Narrative Nonfiction , nonfiction , Picture Book , Picture Books , writing nonfiction for children

We teach our students how to write and get published! View our Course Catalog >

What you need to know about writing nonfiction picture books.

When most writers think about writing picture books, they picture stories about imaginary children and maybe animals experiencing life. But not all picture books feature imagined characters. Nonfiction picture books are not only an important part of many publishing lists, but these books are also beloved by children. Writing a nonfiction picture book takes as much care, thought, and research as any nonfiction.

This quote is about reading, but it contains concepts important for the writer of picture book nonfiction, namely that writers need to keep in mind existing knowledge the reader is likely to have and build the nonfiction on top of that. If you jump way ahead of what readers know then the reader will have no knowledge pool to draw on to understand and draw insights from the new information. In other words, you’ll simply confuse that reader. No learning will take place.

What Will You Write About?

As you consider what you’re going to write your nonfiction picture book about, you need to consider several things. First is picking a topic that excites you sufficiently that you’ll bring that energy to the writing and to the research. If you’re only choosing a topic based on what you think will be popular, but it doesn’t interest you at all, you’ll only look at very surface research, and the result will be lackluster with little to excite readers, educators, or publishers.

Consider all the things you find interesting: your hobbies, news stories that have caught your interest, and your favorite subjects from your school days. Wherever your interest lies or anything that inspires curiosity in you is a potential topic for a nonfiction picture book, but we need to go beyond what you love and consider other factors as well.

For example, young children often love books about vehicles, dinosaurs, sharks, and other scary animals. These topics are so popular that most children have a decent basic knowledge when they are still quite young. That means if you write a book about construction vehicles, you’re not going to need to explain basic things: that vehicles have wheels, drivers, and motors. Instead, you can begin by assuming basic knowledge and go further with the new things you bring to the subject.

Keep in mind that topics that are popular with children also have many books already in print. If you want to write a book about scary animals, you’ll need to include research into what scary animal picture books are already in print, so that you can find a way to make yours stand out. If you are writing something that has been done over and over, it may be harder to find a unique slant or new, unexplored areas that will make your book of interest to publishers and book buyers, but not impossible.

Another thing that can help a nonfiction book succeed is if it will interest teachers. Taking time to consider what topics are introduced in early primary grades can help you add that little bit of extra appeal. Or it can help you see how best to describe your book idea to publishers. Explaining how your book will interest teachers will make it interest publishers more too.

Learn to Love the Digging

Imagine you decided to write a book about fossils and you’re going to call it Stone Bones because you want to explain the process of how an animal becomes a fossil. You will have a limited number of words in which to accomplish this task, but you will need to read many, many times that many words to prepare for writing those few.

That means you will read about your topic. You’ll read other fossil picture books, both because you want to be sure you know everything that’s been covered, but also because it will often give you a solid jumping-off point for your own research. But that’s not enough. You’ll also research academic works, casual books for adults, and articles on the web about your chosen topic.

Using the web to deepen your knowledge of a topic is a double-edged sword. You can find cutting-edge information on the web, but you can also find oceans of bad research and wrong information. You’ll find topics spun to suit the interests of companies or individuals. Develop a skeptic’s eye and a researcher’s passion for learning what is behind every bit of information you discover. Who said it? How did they know? How can I go closer to the original source of this information to be more certain?

As you read, collect questions that pop into your head and note points of interest so you can use them as guideposts to what you need to learn more about. Follow the rabbit trails, because they can take you to knowledge you didn’t even know you needed.

What’s Your Point?

As with fiction picture books, nonfiction picture books are more than they appear to be on the surface. Fiction has themes. Nonfiction has goals as well. You need a goal for the book. One goal it must have is to be entertaining and enjoyable, but you need a specific goal for this specific book. Do you want to inspire action? Do you want to inspire the child to dream of a possible future? Do you simply want to make the natural world clearer? What do you want the book to do? Having an overall goal for the book will deepen the writing and help you with organization as well. When you know the goal, you’ll know what you want to put in and what you want to leave out.

What Must Nonfiction Picture Book Writing Do?

Nonfiction picture books have something important in common with fiction picture books. They are meant to be read aloud. That means that you will need to accomplish much with few words (since read-alouds are limited to the time constraints of the reader). You will also want your writing to have good flow and sound. As a result, you’ll read the manuscript aloud over and over and over. Fiction picture book writers do this to get a text that sounds good and rolls easily off the tongue. Nonfiction picture book writers need that as well. If the book is hard to read aloud, it will be hard for the reader to understand, and will not become a book that is read over and over. It will lack the popularity to have real staying power in the market.

Your book will also need its own energy when read aloud. That means it needs to have a sense of going somewhere with a beginning, middle, and end. In the beginning, you’ll grab the reader’s attention with something fun or surprising. In the middle, you’ll explore the information in a clear, orderly manner. And in the end, you’ll wrap it up—usually in a clever way—so the book has a satisfying endpoint. To better understand how this works, read recent nonfiction picture books at  your local bookstore or check them out at your library. Studying mentor books that handle voice and organization well, and also have great beginnings and endings will be a huge help in making your own book stronger.

So, give picture book nonfiction some thought. It can be as exciting to write as any fiction story, and you’ll help a new generation of young people fall in love with learning. What could be more fulfilling than that?

Related Articles

• Nonfiction and the Big Idea
• Writing Nonfiction: Plans are Essential
• How to Select the Strongest Nonfiction Structure

With over 100 books in publication, Jan Fields writes both chapter books for children and mystery novels for adults. She’s also known for a variety of experiences teaching writing, from one session SCBWI events to lengthier Highlights Foundation workshops to these blog posts for the Institute of Children’s Literature. As a former ICL instructor, Jan enjoys equipping writers for success in whatever way she can.

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• How-To Guides

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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Resources for Writers

Over the past few years I've learned a good amount about the Children's Literature Industry. Below I've compiled a handful of lessons along with links to other resources covering some of the most important things I've learned. I guess you could call it:

Josh Funk's Guide to Writing Picture Books

So you wrote a book. Now what?

Picture Books Are Short

Every Word Counts

The Illustrator Is Your Partner

Show Don't Tell

Write with Active Emotion

Story Arc Components

Don't Write in Rhyme

Rhyming Is All About Rhythm

Some Ideas Don't Work

Keep Learning

Now You're Ready! Dive In!

Want Fun Stuff?

Activity kits, coloring pages, book trailers, character cards.