My daughter is not a wide reader. But she will read the same illustrated series over and over again, and also anything tiny. She loves Sylvanian Families, bugs and tiny books. In an effort to get her reading more widely I asked for recommendations from people who know kids’ books.
Here’s what they suggested:
THE BEATRIX POTTER BOX SET
It’s easy to forget about this one. Because they’re out of copyright, these books are relatively cheap, per book, if you buy them all at once. I found the cheapest place to get them here in Australia is at Big W (for $50). I’ve also seen them at Costco.
Definitely avoid buying the big anthology of the Beatrix Potter stories. Beatrix would be horrified to know they’d ever been printed like that. Those little books were only meant to be read as little books.
Each book is about 166.9 x 231.9 x 28.2mm.
Annick Press published an imprint of tiny books featuring authors such as Robert Munsch. In fact, it was one of these which got my daughter hooked on tiny books. I bought it online thinking it was a regular sized picture book, mainly because it was the cost of a regular sized picture book. I was disappointed to see how tiny it was when it turned up, but perked up when my daughter loved the tiny size of it. The Paper Bag Princess is the most famous book in this series. (We already have the regular size.)
If you’re in America you’ll be able to buy these second hand for a buck each, but in Australia we’d be paying an extra ten dollars per book to get it sent over.
204 x 204mm, with stiff but paperback covers
THE NUTSHELL LIBRARY: MAURICE SENDAK
Four Maurice Sendak books in tiny version, in their own little box. Aww. (And ‘aww’ isn’t normally a word I’d use with Sendak’s dark work.)
It includes Alligators All Around, Chicken Soup With Rice, One Was Johnny and Pierre.
71.12 x 101.6 x 43.18mm | 249.47g
FANCY NANCY PETITE LIBRARY
HarperChildren’s have realised that there are girls (especially?) who love small books, so they’ve published a few of their girly series as tiny versions, including Fancy Nancy and also Pinkalicious.
Fancy Nancy is 76.2 x 109.22 x 38.1mm in its box.
POCKET GENIUS BOOKS FROM DK
Dogs, bugs, horses, Ancient Rome… If you’re after tiny non-fiction, this is your series.
Each book in the series is 97 x 127 x 10mm.
ELSIE PIDDICK SKIPS IN HER SLEEP BY ELEANOR FARJON
Though not published specifically as part of a tiny edition of anything, the 1997 edition of this book is in itself unusually small, though not quite as small as ‘nutshell editions’ of things.
123 x 180 x 10mm
GUESS HOW MUCH I LOVE YOU: LITTLE LIBRARY
“The adorable hares from the classic Guess How Much I Love You are back in a gorgeous miniature slipcase gift collection containing four short stories.Big and Little Nutbrown Hare, from the multi-million-selling picture book Guess How Much I Love You, return in these four seasonal picture books: Spring, Summer, Autumn and Winter. Each captivating story is seasonally themed and beautifully illustrated, and the four books are collected in a covetable miniature slipcase”
92 x 94 x 52mm
LITTLE CHICK: THREE STORIES
These are board books, so obviously designed for the book-chewing toddler market, but the stories work for an older audience.
91.44 x 96.52 x 38.1mm
LITTLE FUR FAMILY
These small board books have fur on the front, great for sensory seekers. They’re by Margaret Wise Brown.
There was a little fur family warm as toast smaller than most in little fur coats and they lived in a warm wooden tree.
Published 1946, the layout is similar to Beatrix Potter.
BRAMBLY HEDGE BOX SET
The set of A Year In Brambly Hedge are reasonably small, which makes sense because the main characters are mice.
154 x 178 x 52mm
Small editions of books tend to come out before Christmas, because they’re considered ‘stocking stuffers’.
Though they are hard to find if you’re looking for them, I’ve also noticed a disproportionate number of tiny books in secondhand stores. I have a theory about why this is: They’re a pain to keep on a shelf. Mainly because you can’t shelve them. You need a little box for them. I think parents get sick of them lying around and send them to the thrift store. Also, if little books are considered stocking stuffers, it’s easy come, easy go.
Anyhow, keep your eye out in thrift stores if you have a little lover of tiny books! One day you may stumble upon a collector’s item. Four Frogs In A Box by Mercer Meyer is out of print and goes for about $50 second hand.
Which makes me think small, limited editions of books may be especially valuable. It’s far cheaper for publishers to produce regular sized books, and they don’t put them out that often.
I haven’t added the Mr Men books here because I think they are terrible. But I am sure their nice, small size contributed to their wide appeal.
Throughout the history of children’s literature, children’s books have existed in large part to teach lessons. Not only do they teach children to be compliant, grateful, pious, and to work hard, children’s books socialise children. Today we might say they teach ’emotional literacy’.
“Everybody else on the block rides two-wheelers. Only babies ride tricycles.” She made this remark because she knew Howie still rode his tricycle, and she was so angry about the ribbon she wanted to hurt his feelings.
Ramona the Pest, Beverly Cleary
Adult readers are left to work out motivations, ironies and desires for ourselves — we read between the lines. And this is true for young adult novels, too. But when children are learning to read they are also learning to recognise and name their feelings. Chapter books such as the Ramona series are good at doing that because they add that little extra bit of explanation.
This little bit of extra explanation can be found in children’s books for older readers, too:
“So you should have told me before, that’s what. You shouldn’t hide things like that from people, because they feel stupid when they find out, and that’s cruel.“
Northern Lights, Philip Pullman (Lyra to her father)
When an adult is unable to identify their own feelings it’s called alexithymia.
Alexithymia is defined by:
difficulty identifying feelings and distinguishing between feelings and the bodily sensations of emotional arousal
difficulty describing feelings to other people
constricted imaginal processes, as evidenced by a scarcity of fantasies
a stimulus-bound, externally oriented cognitive style.
Alexithymia is found more commonly in the autistic population, but not all autistic people have trouble understanding and identifying emotions. In fact, only about one in two autistic people have trouble with this.
I’ve noticed a tendency in children’s books to describe the feeling of an emotion without using the word commonly associated with that emotion. A classic example is repeated like a chorus through the picture book Hannah and the Seven Dresses.
Hannah, with her closet full of dresses handmade by her mother, breaks out in a sweat when she has to decide which to wear: “”Her face got hot. She shivered all over. Her knees went jiggly and her toes curled under.”
These physiological reactions are described but not named.
The reason I advocate for naming as well as describing emotions in children’s stories is because attaching feelings to descriptive words is a learned skill, a difficult skill, alexithymia or no, and children’s writers needn’t shy away from it.
The teaching of emotion differs across cultures, and this difference can be seen in children’s books. In the West, we tend to conceptualise emotions as happening in the heart. The picture book In My Heart: A Book of Feelings by by Jo Witek and Christine Roussey is a classic Western example.
Here’s an interesting article from author E.M. Kokie about how much harder it is in some ways to write a female protagonist than a male one: “I’ve discovered, to my frustration and anger, that it’s actually much more difficult to talk about [my female protagonist’s] body, and her body’s desires, in ways that feel natural to her character (and her love interest’s character) and that feel readily accessible to the landscape of YA readers….I was shocked to find a complete lack of language for the female anatomy in all but one of the books I checked, and none at all during an intimate scene.”
Texts often describe how places, people, or objects look or sound or smell. Readers can enrich their experience and increase their understanding by forming mental pictures: by imagining what is being described as exactly as the words of the text allow them to. This process is what theorists of reader-response call “concretization”. […] Concretization is a skill often possessed by children. In fact, imagining as literally and completely as possible the world and the people a text describes is the only way that many children know of building consistency from the texts they read. This seems to be the reason that so many children and other inexperienced readers worry about the logic and coherence of the worlds that texts enable them to concretize—why they so often get angry when there are inconsistent details in descriptions of places and people or confusions in the sequence of events.
On the other hand, concretization is a skill that many adults have forgetten. Many readers have been taught to focus so much on using texts’ potential for engendering sights and smells and sounds. That’s a pity. Not only does it deprive such readers of a source of pleasure, but it also prevents them from understanding the subtle richness of the texts they read.
– The Pleasure of Children’s Literature by Perry Nodelman and Mavis Reimer
I grew up in the 1980s and 90s, but this was before parallel importing of books in New Zealand, when books were still super-duper expensive. Few kids owned many and school libraries were quite small. I was lucky to grow up in a household full of books, though these comprised almost entirely of:
Little Golden Books
Read-It-Yourself books from Ladybird
My mother’s childhood books, and for some reason, a number which had belonged to her cousin. These were mostly Famous Five novels, along with a few from Blyton’s Malory Towers series and a few similarly bound ‘girls’ novels’ by Elsie J. Oxenham.
Here is a picture of Elsie J. Oxenham. It was taken in 1910.
I never was impressed by Oxenham’s books, which have dated in the most conspicuously terrible way you can imagine. I’ve since passed them on, and perhaps a collector found them at the second hand store. Enid Blyton’s books, however, are harder to get rid of, not because they haven’t dated. Enid Blyton’s books are terrible in ways that are well-known and well-documented by many other modern readers:
When it comes to Blyton’s notorious characterisations of travellers and gypsies [Cullingford says they are] ‘so absurdly innocent that they are beside the point’, a worrying observations both in light of the fact that, around the same time as Blyton was writing, over 200,000 gypsies were either being killed or had recently been killed in the Nazi death camps, and in light of the fact that Blyton is still promoted in school and very widely read by children.
Understanding Children’s Literature, edited by Peter Hunt
The reason I’m having trouble giving my Enid Blyton collection away is because the stories are still compelling, and because I have such fond memories of Enid Blyton stories as a child. Again, I’m not alone in this:
The Enduring Appeal Of Enid Blyton from The Guardian
If there’s any dilemma at all in the first world problem of owning too many books, it is this:
Do I want my daughter to read Enid Blyton, over and over again, like I did?
Did I love the stories of Enid Blyton mainly because I wasn’t exposed to much else?
Is there enough time during childhood for the average reader to get through all of the old classics as well as all the best new ones?
What does it mean to be a well-read child these days, when there is so much out there?
Wouldn’t I prefer my daughter read modern classics over and over, for example the Harry Potter series, which is neither racist nor sexist (at least, if it is, we can’t see it yet)?
Do I donate these Enid Blytons to the second-hand store, or do I keep them here, taking up space on a shelf?
If I give them away, will I feel the hole they have left? After all, those are my childhood memories right there!
If I keep them on the shelf and my daughter finds them, will I be slightly irritated that she’s not reading better stuff, which I have bought for her with good money?
If my daughter reads them, is this an unexpectedly wonderful lesson in 20th Century inequalities, as it was for me?
Is there a danger in sheltering young people from the sexism of earlier eras that they forget things can swing just as quickly back the other way?
What have you done with your childhood books? Do you encourage your children to read those over newer ones? Do you think children should read older books alongside modern publications for a rounded view of recent history?
How does the binding of a book affect reader expectations? What about the size?
The actual individual appearance of of individual books is just as obvious an example of how prior expectations control our responses to stories; it influences our attitude to the stories the books contain before we even begin to read them. We expect more distinctive literature from hardcover books with textured, one-color cover and more conventionally popular material from books with luridly colored plastic coatings. We tend to think differently about paper-covered books and ones with hard covers, and as a result we respond differently to the same story in different formats; what might seem forbidding and respectable in hardcover often seems disposable and unthreatening in soft.
The size of a book also influences our response to it. We tend to expect rambunctious, energetic stories like the ones by Dr. Seuss from large books and more fragile, delicate stories like those by Beatrix Potter from smaller ones. In fact, larger books do allow larger effects, while smaller ones demand restraint from an illustrator, lest they appear overly fussy; but these differences are as much a matter of convention as of technical limitations. We tend to read smaller books expecting charm and delicacy — and to find it even if it is not there — and to read large books expecting energetic rambunctiousness— and to find it even if it is not there.
Words About Pictures by Perry Nodelman
We shouldn’t underestimate the effect of binding and size. One disadvantage of book apps and ebooks is that the reader is not provided with any textural information, and the size is fixed according to the dimensions of the device.
That said, a universal book app created for iOS (for instance) may well be interpreted very differently depending on whether it is read on an iPhone, an iPad mini, an iPad, a Mac screen or projected onto a smart board.
Speaking of The War Between Print And Digital, which you’ll definitely have noticed if you’re in book app world, Griswold points out that the competition between the two types of media is a false dichotomy.
The book, too, is a handheld story gadget. It’s not a choice between but of.
– Children’s Books In The Era Of The iPad
And he is right. There are many instances of ‘interactive print books’. Please, do read the entire article, if only to learn the very useful concept of ‘hypnagogic objects’.
Anyone who sends their kid to piano lessons or any other kind of lesson has probably wondered this: At what point will I allow my kid to give up this pursuit if they’re not enjoying it, or actively resisting?
As researcher Suzanne Hidi notes, “Teachers often think that students either have, or do not have, interest, and might not recognize that they could make a significant contribution to the development of students’ academic interest.”
In fact, research suggests that well-developed personal interests always begin with an external “trigger”—seeing a play, reading a book, hearing someone talk—and that well-designed environments can make such a triggering more likely.
The main things I picked up from this article:
Be friendly, chatty, engaging
Model interest by being interested yourself
We tend to preference intrinsic motivation over extrinsic motivators, but in reality, successful people are driven by both
The entire article is well worth a read if you’ve ever wondered about why there is an increasing gender gap between boys and girls when assessed for reading comprehension. Spoiler alert: There are no clear-cut answers — only speculation.
The interesting thing about this particular article: pointing out that we don’t naturally assume students from countries with good maths scores enjoy maths, but we do apply that same logic to reading, in which it is assumed that enjoyment of reading equals being good at it.
While students who enjoy reading probably are good at it, that doesn’t account for another cohort: students who are good at it but don’t read that often, or students who read often for school but don’t particularly enjoy it.
Header painting: George Goodwin Kilburne – A Peaceful Read 1869
…the vast majority of picturebooks are created for children. If we wish to be clearer about the nature of the picturebook should we attend to what children make of them or will our own close reading of individual texts be sufficient? And how relevant is it to our attempts to understand picturebooks that they are often used for teaching children to read?
from the introduction to Reading Contemporary Picturebooks: Picturing Text by David Lewis
As children we relate to our picture books in a holistic fashion, merging sensations of the eye and the ear (for first we are read to), which marries the image and the sound of the words, and later, as we learn to read, the look of the words.
How Picturebooks Work, by Maria Nikolajeva and Carole Scott
It’s not surprising that research on a new medium happens only after the new medium comes into existence and gains a foothold in culture. Since interactive storybook apps are so new, there is still relatively little research that has been done, and when making development decisions, developers are instead reliant upon our own commonsense, and inevitably, our own experience of literature and reading.
One of the assumptions to have arisen about the nature of ‘good’ storybook apps is that they include word or phrase highlighting synchronous with narration. The assumption: that word highlighting is beneficial for emergent readers.
At this point, the beneficial nature of text highlighting is an assumption. It may be of benefit. It may not be. And it is also possible that word highlighting actually does more harm than good to an emergent reader.
Why this assumption in the first place? I think word highlighting is often considered the digital equivalent to pointing at words with a finger, and many are under the impression (rightly or wrongly) that when a caring adult co-reader points to words as they read, that the child will pick up reading — as part of a much wider program to teach reading skills, of course.
So before focusing on the topic of word highlighting, I would first like to look a little harder at the finger-pointing assumption.
Researchers claim this is the first time a study has shown a link between referencing during reading and literary achievement in later life.
So, if there have been many good studies on the effect of pointing to words on emergent readers, they haven’t been widely published.
Let’s go with that and trust our parental instincts: that occasionally pointing to words in books, and drawing children’s attention to various technical aspects of reading does improve literacy. I’m not going to argue with that because I intuit this is the case.
I don’t think I’m alone in this, because there seem to be many app developers who intuit that pointing to words by a trained or careful adult can be emulated electronically in a storybook app.
This, I’m not so confident about. Pointing to words may be really quite different from animating individual words in digital stories:
When pointing, the finger does not obscure the actual word. Instead, effective pointers would surely place their fingers BELOW the word in question, not over it.
Also when pointing, the fingers are not making those jerky movements reminiscent of colours flashing on a screen. The hand glides across the page unobtrusively. Emergent readers may well be less distracted by a hand than by digital animation of words.
Fluent readers do not read by looking at one word at a time. We take in three words at once. While it’s clear that early readers need to learn words one by one, when it comes to training the eyes to move across the page, is it really that helpful to highlight words individually, especially when the narrator is reading fluently themselves? I wonder about what we are modelling when app developers choose to individually highlight words.
It’s possible that some ways of highlighting words are better than others. We need more research into this. It’s not enough to simply assume that ‘apps with word highlighting are good’ while ‘apps without word highlighting are lacking’.
Here are some various ways of word highlighting that you’ll see in some popular storybook apps right now.
1. JUMPING WORDS
Sir Charly Stinkysocks and the really BIG Adventure
This is a storybook app produced by a large publishing house. The words ‘jump’ off the page as they are read. But when a word is jumping, it’s moving, and therefore not able to be read. All the emergent reader can see is where in the paragraph the narrator is up to; they can’t see the word itself. Not unless their own reading is actually out of sync with the highlighting.
Here is another app which makes use of the same technique:
Logan and the upside-down sea
2. FLOWING TEXT HIGHLIGHTING
Perhaps to avoid the choppiness which results from highlighting words individually, this app developer decided to make the word highlighting last slightly longer than the narration itself. The colour that appears around the words fades out slowly, so you end up with an ‘approximate’ highlighting of words. It certainly works to avoid that choppy feeling that happens when words jump.
But if the highlighting isn’t 100% accurate, leaving the reader perhaps one word behind the ballgame, might this be worse than no highlighting at all? We don’t know this yet.
3. HIGHLIGHTING OF PHRASES
Cozmo’s Day Off
I prefer this method of word highlighting, where phrases are highlighted rather than individual words. This emulates the way we read as fluent readers – not just by taking in a single word at a time, but by encouraging us to take in several. This may aid reading fluency, and fluency aids comprehension.
I suspect this book has it right. If words are to be highlighted, this is how I’d like to see it done. I like that the words themselves don’t move. Instead, a blue outline appears around the words. This doesn’t prevent the reader from actually reading them.
I suspect that the highlighting of individual words is useful in word games in which emergent literacy skills are the target.
I suspect story app developers should stay away from individual word highlighting, and consumers should be wary of expecting it by default.
Just because something is possible with the digital format doesn’t mean it’s an improvement on non-digital versions of a story.
For now, app developers who use word highlighting as a selling point are making money based on something which doesn’t have good research behind it.
The option to turn off word highlighting should be an option, just as it’s an option to turn off narration.
I’m prepared to change my mind on this. The issue of word highlighting in storybook apps desperately needs research. But we can’t assume that highlighting equals finger pointing. It may not.
Chapter books are better able to be defined than other types of books because they are for quite a narrow developmental process so you can say certain things about what most children will be capable of when introduced to chapter books.
The reading progression: Picture books, more complex picture books, chapter books, novels.
Chapter books are ideal for building confidence in reading without help.
Walker Books have been fantastic in how they publish and pitch chapter books at the right age.
Chapter books have certain features:
They’re not readers that you’re learning to read on — they’re a different thing again, because they have a carefully calibrated vocabulary. This is not what’s happening in chapter books. Chapter books have a wider vocabulary. Different authors explore the width of that vocabulary in different ways.
They can be read to the child, or the child may read chapter books themselves. Both.
There is a certain simplicity about them, and a certain ambit (scope) in the storytelling. The readers are now entering the wider world, so characters in chapter books include people you meet at school and out-and-about. But it’s also a period in a child’s life where friendships are developing and readers are learning to co-operate. Children in chapter books tend to have more agency than they might have in a picturebook (bearing in mind there is a huge range of picturebooks out there now), but in a chapter book the main character does not have complete agency because they are 6, 7, 8, 9 years old. So the progress of a story can be aided by the child’s agency but also with assistance of someone else, even though this assisting character is often another child.
They’re often school stories/family life/holidays, and there will be a problem to be explored, maybe something to do with dealing with things in the world, or something stopping the child from having they really desire etc. There is often an animal that is important in the child’s life.
They often feature black and white or colour illustrations.
Text is written in short paragraphs. Plots are clear, simple and fast-paced. Strong narrative drive. Lots of dialogue.
The aim is to make the young reader feel accomplished so they go on to read more books.
Most readers are 6-9 but the entire range of chapter books can serve readers from 5 to 10.
Early chapter books: also called transition books are for younger readers 5-8. Or perhaps the parent is reading them to a 4 year old. 2500 to 7000 words long. Chapters are 500 words or less. Colour illustrations fill up a lot of these books. There’s a lot of space for the reader’s imagination. Unlike in a picture book, the illustrations aren’t really going to add information to the story that isn’t apparent in the text. (Low ironic distance between the text and picture.) The reason being, the reader is going to look to the illustration to help them decode the words. e.g. The Princess In Black. Illustrations and text support each other. The Kingdom of Wrenly is another excellent example of an early chapter book. Early chapter books are written at about the second grade reading level but some children in first grade can also read them.
At the end of the early chapter book category the illustrations are a bit fewer and tend to be black and white. With Eerie Elementary there are 96 book pages, 6000 words. (When you write it yourself it won’t be 96 pp long — this is including the illustrations.) This series from Scholastic has a bit of a spooky feeling. It includes friendship dynamics.
Older/later chapter books are for 7-10 year old readers, sometimes all the way up to Year 4. Texts are 7000 to 12000 words. Generally black and white illustrations, not necessarily on every page. “Spot illustrations” — mostly text with a little picture. Clementine by Sara Pennypacker is an older chapter book. Lots of depth in terms of character but not complication in terms of plot. Ivy + Bean is about 120 book pages, 8000 words. These girls have a wonderful dynamic on the page. They go on very minor but delightful adventures. They tend to have slightly larger than spot illustrations. The pictures might add a bit of extra information, telling a secret, but it’s not carrying the plot. Lots of dialogue, conveying lots of story in a really fast way. 12000 is the upper limit but quite long for a chapter book. The Time Warp Trio: Your Mother Was a Neanderthal by Jon Scieskzka is 80 book pages, 10,500 words. There’s a trio, a time warp. 8 year olds are interested in time warps and Pokemon and similar. Lots of text, one small illustration which adds story movement/humour. A child isn’t getting frustrated trying to picture something before moving along with the story. This book has excellent dialogue. There are three boys and everybody’s dialogue sounds different.
Every publisher classifies chapter book slightly differently. There’s some crossover in ages. Countries also do it differently. The story itself will determine what kind of chapter book it is. If mainly action and dialogue it’s probably an earlier chapter book. If it shows some of the protagonist’s internal thoughts and feelings or has a strong secondary character central to the plot it’s probably a later chapter book.
They can have interesting, creative, super fun formats. Graphic novels, a mixture of graphic novel and text on a page (Captain Underpants).
Certain subject matter crops up time and again in chapter books. For example, a character sees a ghost becomes the main plot of Owl Diaries: Eva Sees A Ghostand Ivy + Bean And The Ghost That Had To Go.
Young readers fall in love with characters which explains why chapter books are published in series. They tend to tell their friends about their favourite books.
Characters can be kids, animals, adults or anything else you can think of.
Humour is key.
There’s not much interiority in chapter books compared to YA and adult books.
Chapters in chapter books tend to be titled. (Maybe this is partly why — or because — they’re called chapter books?) That appears in the table of contents.
Either present tense or past tense is used in chapter books.
How does a really good writer stitch together something with a very prescribed word length?
1600 word stories – heavily illustrated, though not as much as a picturebook. (e.g. Walker Shorts, Scholastic Branches.) Many chapter books are part of the Accelerated Reader assessment program used by schools to track students’ reading progress, which helps teachers, who are increasingly required to provide data to prove they can teach these days. Various different companies provide Accelerated Reader programs to countries around the world. (There are various opinions on the AR program.)
It’s probably slightly easier to get a chapter book published than other kinds of books because there are fewer being submitted, especially if it’s one of the earlier chapter books. Those earlier chapter books are perhaps not quite as fun to write, or maybe it’s just that an active knowledge of vocabulary usage is required, and this skill is not common. There are programs you can run your text through to give you the reading level of your book, like the function in MS Word, but these aren’t especially accurate. If you’re using lots of commas in a sentence you’ve probably got too much going on in that sentence.
Is there a risk of being too formulaic? Yes, but in the hands of a really good writer, a fixed structure can be enormously liberating.
Children’s author and maker of things (Melbourne based)
Published by Walker. Mostly English writers in the Walker series but also some Australian and NZ writers in this short series. 1500 words is almost too short. But Violet Mackerel is lovely, especially with the black and white drawings running all the way through. The pictures are an important part of the story, setting tone and mood. This book has a proper hard back and nice pages and feels like a proper, grown-up book. The story is perfectly paced, the relationship between Violet and her friend Rose is really nice.
De Goldi recommends Violet Mackerel for 6, 7, 8 year olds, girls probably. Of course there will be some boys that this appeals to but the stories are aimed at girls in every possible way. There’s a lot of gender division at this age.
Similar to Violet Mackerel, with black and white line drawings throughout but much more text.
As you may have noticed, Annie Barrows also makes stuff for adults (The Guernsey Literary and Potato Peel Pie Society, with Mary Ann Schaffer)
Amy Marie Stadelmann
Olive and Beatrix are twins, but they are very different from one another. Olive loves science, and Beatrix is a witch!
Best friends who are very different from each other make for popular chapter book dynamics, even though in real life it’s almost a rule that best friends in primary school have to pretend they’re they have the same interests. (Birds of a feather.)
Jan Mark was very good at writing stories of about 2500 words. This is a masterly book to unpack from a writerly point of view. Five chapters, a very simple story about Jane and her cat Furlong. It deals with bullying. This story is very suburban, with a strong sense of place. What’s remarkable about it is the psychology of the characters, the plot, the resolution, the setting, all that is caught in 2500 words. Mark knows what to leave out and what to embellish. There is a pleasant old-fashioned feel to this, even though this book was written in the 90s.
So why does a book published in the 90s feel slightly old-fashioned? It might partly be to do with the regional accent and therefore the word choice, but this book is also written in the past tense from third person point of view. These books are almost always written in the third person — and there is a good reason for this. Take a slightly different kind of book like Diary of a Wimpy Kid, which is written in first person. Why aren’t books of this length written in first person? It must have something to do with the fact that the child hasn’t developed a strong sense of ego. Instead, they’re planted in a world where they’re part of a general sort of organism/community.
Perhaps this is happening less now, with first person fiction creeping down into this length chapter book now, and it seems we’ve entered a phase where the child must be the agent all the time. Individuals assert themselves even in quite early children’s fiction.
Noah Z. Jones
Jones writes for television and seems to have gotten started with illustration, later moving into both writing and illustrating his own stories.
Princess Pink And The Land Of Fake-Believe: Moldylocks and the Three Beards was both written and illustrated by Noah Z. Jones. The series is funny fractured fairy tales. The Princess Pink stories are part of Scholastic’s early chapter book line called Branches.
Plot of Moldylocks and the Three Beards In the Land of Fake Believe, Princess meets a strange girl named Moldylocks. When Princess’s stomach grumbles, Moldylocks takes her to the home of the Three Beards. The girls sit in the Beards’ chairs, eat their chilli, and jump on their beds. The Three Beards are not happy when they get home—and they are very, very hungry! Will Moldylocks and Princess go into the chilli pot?
This book is about 80 book pages, 2,200 words. There’s a focus on repetition. Lots of illustration and fun and humour.
The main character’s main point is that she is despises pink, which I guess is meant to be ironic since her last name is Pink. However, Princess Pink’s hatred of anything associated with girls comes across to me as femme phobic, especially when you take a look at the thumbnail character sketch of Princess Pink which occurs at the beginning of every new book — in each story it is revealed that Princess Pink hates yet another girly thing.
Rebecca Elliott is the author and illustrator of Just Because, Mr Super Poopy Pants, Sometimes, and Zoo Girl, for which she was nominated for the 2012 Kate Greenaway Medal. She both writes and illustrates the Owl Diaries.
Owl Diaries is a chapter book series by Scholastic. This is another series in the Branches imprint.
It is written in diary format from the point of view a young owl girl, Eva Wingdale. She has a best friend called Lucy. Sue Clawson is the enemy. In her diary, Eva records all of her likes and dislikes, relationships with family and friends, and her daily routine, as well as her experience trying to plan a spring festival for her “owlementary school.” (Treetop Owlementary.) She has strong opinions and is thoroughly likeable. Puns and illustrations abound. Designed to appeal to girls ages 5 to 8.
In book #4, a new owl named Hailey starts in Eva’s class at school. Eva is always happy to meet new people, and she’s excited to make a new friend! But the new owl befriends Lucy instead of her. So Eva gets jealous. Lucy is Eva’s best friend! Will Eva lose her best friend? Or can Eva and Lucy BOTH make a new friend?
(I think in cover copy, the answer to a rhetorical question is always ‘yes’.)
There are two plot threads in this one.
Plot One: Eva’s class has started a newspaper. Eva is a reporter. Other classmates have other jobs for the paper.
Plot Two: Eva’s class will be welcoming a new owl, Hailey. Eva really, really, really, really wants Hailey to be her friend. In her mind, the two are already close friends. Eva makes her a welcome necklace and a special drawing—a map. But when her plan to change seats so that Hailey can sit by her backfires—Hailey chooses to sit in Eva’s old seat, the one by Lucy, Eva’s best-best friend, Eva is left confused and frustrated. No matter how hard she tries, Hailey is not becoming her best friend. And Lucy and Hailey are becoming closer and closer and closer. Eva finds herself alone but all is resolved in the end.
The life lesson is “never overlook your old friends when trying to make new friends. Adult gatekeepers love it when chapter books contain life lessons, which is a problem Ivy + Bean sometimes has because those two are sneaky little shits at times and go completely unpunished.
Don’t use animal characters to get out of more interesting things young readers might be interested in. This series is about owls, but actually they are girls. Bad Kitty is another series using animals as protagonists. The only thing to remember is that no matter the ‘skin’ of your protagonist, you have to do the work of character development.
The I Survived Series is also from Scholastic. This non-fiction series tells stories of young people and their resilience and strength in the midst of unimaginable disasters such as the September 11 attacks, the destruction of Pompeii, Hurricane Katrina, and the bombing of Pearl Harbour. She has to stay true and real but also has to tell a story.
These are good examples of how to keep a reader engaged, by bringing them into the scene.
Mary Pope Osborne
Magic Tree House series has been around for a long time.
The earlier ones are early chapter books but they get more complex and the later books are for older chapter book readers. The Merlin Missions are much later chapter books.