Monday, 16 October 2017

‘The more that you read, the more things you will know’- How picture books help children to learn language- by Lucy Rowland

 (Illustration by Oliver Jeffers)
Back in April I wrote a blog post for Picture Book Den called ‘The Power of Again’ which looked at the importance of repetition in picture books and, more specifically, at repetition as a way of supporting children to learn language.

As I’ve previously mentioned, as well as being a picture book author, I am also a Children’s Speech and Language Therapist.  Fortunately, I feel these two professions go together quite well. We know there is a huge amount of research showing the positive link between early reading, language development and later academic success.  Book Trust has undertaken many research projects and case studies into the wide-ranging benefits of reading, not only academic but also those related to encouraging families' enjoyment of book sharing.  Book Trust has written about their research here

But in summary... reading is important….Roald Dahl knew it….

And so, too, did Dr Suess….

But what is it exactly that makes picture books the perfect tool to support language learning?  I’m currently working with my Speech and Language Therapy colleagues to produce some training on this very subject and we found a great article by Lauren Lowry (a Speech and Language Therapist) on the Hanen Centre Website.  The article explains that children learn new words best...

·         When they hear words often (The power of Again!)  Picture books frequently use repetition and repeated refrains and are generally read over and over again!
·         When they are interested.
When adults respond to them-  ‘It is easy to join focus during a picture book and to notice what the child is looking at and talking about.  Sometimes it’s best to abandon the story for a little while and follow the child’s lead to talk about the things that interest him or her.'

·         When the meaning is clear (e.g. an adult reading ‘She whispered…..’ in a whispered voice).  Parents can use the beautiful illustrations in picture books to help children learn new words.  We know that using pictures and talking about things in the ‘here and now’ is extremely helpful when children are learning language.  Children learn words best when they can see, hear or experience them.
·         When vocabulary and grammar are learned together in sentences.
·         And crucially, Lowry also stresses how children learn language best when they are having fun!

Picture books allow for all these elements!

A proud moment for me, after the release of my first picture book ‘Gecko’s Echo’ (with illustrator, Natasha Rimmington), was when a Speech and Language Therapy friend told me that her 2 –year-old son had learnt the word ‘Gecko’.  (‘Gecko’ is not a word that many 3-5 year olds in this country are familiar with. When I read this book at events, children’s guesses about what the animal on the cover might be, range from ‘frog’ to ‘crocodile’ to ‘dinosaur’! ) My friend told me that, together, she and her son will shout out ‘GECKO’ as they walk through the tunnel near their house, just to hear the gecko’s echo come back.

As authors and illustrators, we often use the funny things that children say to spark ideas for stories. Lauren Child is particularly good at using a very child-like voice in her wonderful Charlie and Lola series.
‘I will not ever, never eat a Tomato!’ 

But what about using picture books to teach specific language concepts or themes? While ALL picture books are useful in supporting children’s language development, I came across a great website site called  It is run by Cecile Ferreira (an Australian Speech and Language Therapist).  This site helps people to choose picture books that target specific language concepts, themes, plots and even grammatical structures and speech sounds.  Whilst, these last areas may be a bit ‘Speech and Language Therapy- specific’, I was wondering whether anyone has used picture books to teach language in a deliberate way?  A specific concept perhaps? By reading early concept board books? Have you used a picture book to link with new topics that your children are learning about at school? Or, alternatively, have you ever used something funny that a child has said to spark a whole new story of your own?  

 My latest picture book with illustrator, Mark Chambers, is 'Jake Bakes a Monster Cake.'  It teaches children extremely useful vocabulary (such as 'bogey-green slime!) and comes with additional 'scratch and sniff' stickers!  

Monday, 9 October 2017

So much effort for something so small • Paeony Lewis

Picture book authors accept (begrudgingly!) that only a percentage of their stories will see publication. It varies, but even A-list authors might only get one in eight manuscripts published. What happens to all those unpublished stories? This is the tale of one of those stories.

Back at the turn of the century (literally) I sent a story to a publisher. It was called Blue Thingy and in 470 words it told the story of two kangaroos in the Australian outback who are given an umbrella and haven’t a clue what to do with it.

The editor felt there was potential, although she said kangaroos were a problem, especially as the Australian setting wouldn’t be acceptable in the American market and I’d need to use more universally familiar animals. Also, the ending was flat and a bit pointless.

So I rewrote the story and Blue Thingy with kangaroos was transformed into Red Thingy with rabbits (450 words). Again, the editor thought it had potential, but was too episodic, lacked a real climax and was similar to another picture book they’d done which hadn’t been successful. She felt it needed a stronger storyline with the two rabbits setting out on a journey.

Once again I rewrote the story and Red Thingy became Big Carrot (530 words). There was a new underlying theme and it became an adventure story about young rabbits searching for a big carrot (obviously an orange and green umbrella looks very like a carrot!). Unfortunately, the editor had now gone a bit cold on the umbrella idea and felt the story was too contrived. Therefore I filed it away and wrote new stories. That's life. 

Then, a year later, I had a lovely surprise. A new editor at a different publisher asked me if I’d like to send her my unpublished story about rabbits and an umbrella. She’d remembered reading it in her previous job and had liked it despite the fact it had been rejected by the other editor.

Unfortunately, Big Carrot still didn’t make it into publication. Instead, all my umbrella stories languished in a file for over fifteen years until I received an email from another publisher about a new series of reading scheme books.

Unlike many stories, I’d never forgotten my original story about kangaroos and an umbrella. So when I was thinking about stories that would be fun, simple, and have a strong visual element, the mysterious umbrella seemed to have potential. However, a reading scheme book isn’t the same as a picture book.

Now I had to write a story that children would read for themselves (unlike picture books that are written to be read by adults to children and  can use richer, more complex language). Reading scheme books might appear ludicrously simple to write, but they’re not. Absolutely not! Plus the story has to engage and inspire children to persevere with their fledgling reading skills and also give opportunities for discussion. 

From Hans in Luck, an OUP reading scheme book

 I had a word count of just 125 words. Yikes! Plus the publisher had meticulous lists of phonic sounds appropriate to specific reading levels, and apart from a few key words, there could be no deviation from the lists. Thankfully this wasn’t new to me as in the past I’d enjoyed playing with words until they fit both the story and the restrictive list of permitted phonic sounds. It’s like doing a word puzzle. For example, I could use the decodable word ‘lightning’ but not ‘so’ or ‘said’. I could use ‘hot’ but not ‘cold’. ‘Lizard’ but not ‘mouse’. It makes sense when you know the progression of the phonic sounds, though it can be hard to ensure the story sounds natural.

I rewrote the story and changed the kangaroos to goats (a permitted word). Perhaps fortunately, the publisher already had a story in the series about goats so I had to think of a new animal that would live in an African desert (this time the publisher was keen to introduce an environment that wouldn’t be overly familiar to the reader). 

Phew, I was permitted to pick an animal that didn’t have to fit the phonic sound restrictions. Therefore I researched fennec foxes, sand cats and meerkats. The first two were cute but nocturnal, which would have been tricky for the illustrations. The editor liked meerkats, so I stopped worrying that we’re more familiar with meerkats in the UK because of a certain advertisement. Now the story was about meerkats discovering a mysterious thing in the Namibian desert (the reader knows it’s an umbrella, but not the meerkats).

Series editors and educational consultants then discussed my story and eventually we all agreed on the final text. Now it was time for the illustrations and testing by children.

The publisher commissioned Jonny Lambert for the illustrations and I like his style of digital collage and the delightful little extras he slips into the images. I suspect I’d be staggered if I knew everything that was done behind the scenes at the illustration stage.

FINALLY, seventeen years later, Thing is published. You won’t find it basking on the shelves of Waterstones, though you should find it in many schools around the world. Thing is only 125 words and looks small and flimsy. On the surface it might appear insignificant. However, now you know how deceptive appearances can be. Rather like mysterious umbrellas! 

Paeony Lewis

Thing by Paeony Lewis and Jonny Lambert is published by Oxford University Press.
Oxford Reading Tree Level 3, Story Sparks, for 4-6 years. ISBN 9780198 414971

Monday, 2 October 2017

Our Wildest Book Dream: by Pippa Goodhart

Is it just me who gets annoyed when writers and bakers and actors who win things say that they ‘never in their wildest dreams’ thought of winning such a thing?  How could they achieve those things if they didn’t imagine that goal and strive for it?  Was winning truly just an accident?’  My gut instinct is to not believe them.  So I am confessing here that I do dare to dream wild dreams. 
In my wildest dreams I write books which win a prize.  In my wildest dreams I write books that particular children love in that wonderful child way that absorbs the book into their very beings, pondering it and sharing it again and again, still thinking about them many years on into their lives.   The book of mine for which those wild dreams actually came true was, and is, You Choose.  But the way in which the wild dream has unfolded hasn’t gone at all according to how it did in those wild dreams. 
Did my (then) agent love the idea and the text for the book?  No.  Did publishers set up a bidding war for it?  No.  One after another, they turned it down.  But then lovely Penny Walker at Transworld DID like it, and she even asked who I’d like to illustrate it.  The dream twitched into life!  And became true when my dream choice of illustrator, Nick Sharratt, agreed to take on the book. 
But did the resulting book get reviewed and showered with prizes?  No, not a single review for years.  Not a single prize long-listing, let alone win … at least for the first nine years after its publication.  So how did You Choose manage to stay in print long enough to eventually get noticed in those sorts of ways?  Largely because Wendy Cooling chose it as a book to be given to hundreds of thousands of children through the Bookstart scheme.  My wild dream hadn’t thought of that move!  But that was vital to eventual success.  
When sales of You Choose hit a million, did the publisher send me a golden book to hang on my wall?  Flowers, perhaps?  Champagne?  No, no, and no.  The fact that You Choose had sold over a million copies was something that I only discovered when that boast got printed on a new edition of the book, and I queried it.  ‘Oh, didn’t you know?’  No, I didn’t!  So that moment had passed me by. 
But lovely things certainly were happening with You Choose.  Nick and I have seen so many used to bits tatty copies of the book, such as this one, and that’s a real compliment to a book -

And, nine years after publication, You Choose finally did win a prize, and a particularly lovely one.  It was voted to be The Best Picture Book of All Time by the readers of York’s libraries.  Thank you, North Yorkshire! 

And the publishers accepted a further book in the You Choose style.  Just Imagine came out nine years after You Choose.  And now both You Choose and Just Imagine have been chosen by Dolly Parton’s imagination Library as book gifts she buys in huge numbers to give children.  I certainly never dreamed of the very lovely letters I’ve received from Dolly herself in relation to that!     

And now, da daaaa!, a third such book, You Choose in Space, is newly published.  Nick Sharratt excels himself with his aliens and spacecraft in this beautiful book full of things to spot and talk about and enjoy.

So, for all my cynicism about that phrase about ‘wildest dreams’, and the users of it, I can genuinely say that to get to this moment of publication of a third book in the You Choose family (that, yes, IS being reviewed already), the Dolly Parton endorsement, and the ongoing many many kind comments from people about the books truly is ‘beyond my wildest dreams’!  
Thank you to Nick Sharratt, Penguin Random House, Wendy Cooling, and all the many many children, parents, teachers and librarians who have cheer-led this family of books.  Thank you, and, as Dolly would say, do, yourselves, dare to dream!

Monday, 25 September 2017

The Writer's Busman's Holiday : Natascha Biebow

In his recent blog post about how many illustrators like to sketch when they're out and about and on holiday, Garry Parsons asked: "Now I’m left wondering if authors do this too? Do they sit on the beach on holiday in Minehead conjuring poetry, psalms or haiku just for pleasure? I’m curious!"

Intrinsic to our craft is the fact that authors, like illustrators, never really take time off - our minds are constantly finding ideas and fine-tuning characters, plots and story arcs. On holiday, we sit on airplanes, trains, diners, caf├ęs and at the in-law's dinner table listening to dialogue, experiencing situations and new scenery that will very likely, one day re-emerge in our books.

A few of the bloggers in the Den have commented that they carry around a notebook and jot down ideas and snippets that will perhaps later become books. Others, said they have a go at drawing too. I do both those things, but find that the notebook musings come second to a whole bunch of other activities (see below).

Being freelance comes with all kinds of challenges to do with when you are actually on a designated holiday and when you're supposed to be working. But I do try to take time off. Because it's important to just 'be' and let new vistas come and refresh the page. I love being close to nature and walking.
I took this snap on a holiday in RSA to celebrate my mum and my birthdays
I am not yet lucky enough to count myself as a full-time writer, and so I find myself actively having to carve out time to write. Having recently embarked on picture book non-fiction– and then actually having sold something in this genre – I discovered that I can suddenly spend my holiday time researching all kinds of seemingly useless information in the name of being a writer.  This is actually really quite fun.

So, this summer, whilst on holiday in Pennsylvania, I:

The mini-golf course was filled with unexpected hurdles . . .
- played mini-golf with my family in a place called Bird-in-Hand (boy, this shows up personalities that make for good characters!)

- went to the library and checked out a dog-eared young fiction biography of Elizabeth Blackwell,  first woman doctor so I could see if it had any nuggets in it (and because she's a lady Judy Moody admires and I knew nothing about)

- read the fascinating story of William Kamkwamba, who changed his people's world by inventing and building a simple windmill with scraps, despite the famine and because of the village library (and that his story is now a bestselling sensation because of a blogger)

- studied a whole bunch of non-fiction picture books and studied how other people who get paid to do this stuff do it well

- watched a few episodes of Frasier on TV (to research humour of course)

Staring contest from 'Frasier' -Eddie wins
- spent several hours in the hammock reading Judy Moody, Hank Zipzer and several other American young fiction series (again, for research of course)

- visited the Crayola factory to see how they make crayons in real life (I know, how cool is that!)

- spent copious hours the floor of the children's section of Barnes & Noble and any other bookshop my family would let me near . . .

I also:

- hiked in beautiful Valley Forge National Park with the dogs (and worked out plot problems and suchlike)

- bought a vivid set of Crayola pastels and swirled some backgrounds for my new author website

- was lucky enough to be invited by my lovely new agent to a weekend retreat in Vermont to hang out with fellow clients. Sitting by the peaceful riverside, we each shared a work in progress with the eight other retreaters. Though I found this daunting because I'd never met any of them before, it was a very useful experience and the feedback invaluable. We ate, laughed and hiked, plus discovered that Victoria Wells Arms is a master chef.

- oh and sometimes, I wrote. Yes, when I'm on holiday, I can do that. 

What did you do on your summer holiday?


Natascha Biebow
Author, Editor and Mentor

Blue Elephant Storyshaping is an editing, coaching and mentoring service aimed at empowering writers and illustrators to fine-tune their work pre-submission. Check out my small-group coaching Cook Up a Picture Book coursesNatascha is also the author of The Crayon Man (coming in 2019), Elephants Never Forget and Is This My Nose?, editor of numerous award-winning children’s books, and Co-Regional Advisor (Co-Chair) of SCBWI British Isles. 


Monday, 18 September 2017

Picture Books and Animation • An Vrombaut

This week we have a guest blog from multi-talented author-illustrator-animator An Vrombaut exploring the differences between working in picture books and animation.

I trained as an animator and now work as a creator and writer of animated programmes for pre-school television. I have also written and illustrated fifteen picture books. One of my picture books has been adapted for animation (Dear Dragon / Florrie’s Dragons) and one of my animated stories have been adapted as picture books (64 Zoo Lane). All this means I’ve done a fair bit of hopping back and forth between the worlds of publishing and animation, and I’m often asked what the differences are between working in these different fields.

64 Zoo Lane - The Story of the Whale Trip

The thing about animation is … it’s expensive to produce and it takes time – considerably more time than the making of a picture book! It is not unusual for the development and finance of an animated project to go on for three, five or even seven years… Initially, a production company will option a book for a fee (usually a modest one) which gives the company the right to develop the project during an agreed time period - perhaps one to two years. A pilot episode may be made as a tool to develop and refine the look and content of the animation. It’s also used to show at test screenings to get audience feedback, to establish a production pipeline for the animation, and of course to help raise finance. When the project has been green-lit, the creator should receive a larger rights fee. From this moment, it can take another one to two years to complete the programme depending on the length and on the animation technique used.

64 Zoo Lane – early development drawing

The level of involvement of the picture book author or illustrator in the making of an animated adaptation can vary greatly, from simple approvals at key stages to consultancy work on design and/or content, to co-writing and co-producing. Contracts tend to be more complex than publishing contracts, so it’s advisable to work with an agent. Alternatively you could get a media lawyer to look at contracts, but this can work out costly!

Another key difference between publishing and animation is that writing and illustrating picture books tends to be a solitary profession whereas animation is team work. This can take a little time getting used to - yes, it’s likely you will be asked to make changes! However, most picture book authors/illustrators find working with other creatives stimulating.


It’s exciting for any author/illustrator to receive news of a picture book being adapted for animation, and exhilarating to see characters come to life on a screen. However, the process is not without its pitfalls. There are the legal complexities, the agonising waits during the development and financing phase, the politics and the conflicting demands of having to work with so many different parties… ‘We need you to add a vehicle to this show’ is a phrase often heard from those selling toy merchandising rights. But perhaps the hardest thing from the creator’s point of view is the emotional intensity of seeing your ‘baby’ reborn in a new medium. I have met creators of animated TV programmes who felt utterly drained after the last episode was delivered to the broadcaster. It’s important to keep perspective – and there’s always a little letting go to be done, even on projects where the creator has been closely involved during all stages of the production.

One thing that has changed for the better over the last decade is a decrease in snobbery on both sides: publishing and animation. Early on in my career I met a literary agent who was happy to represent me as an author but not as an illustrator because she considered my character’s eyes to be ‘too cartoony’. She said picture book characters ought to have simple dot eyes! I’ve also met independent book sellers reluctant to stock a picture book simply because it existed as an animated programme first. I’ve come across snobbery in the world of animation too: animators who look down on TV adaptations of books because - unlike the ‘full animation’ of feature films which requires between 12 and 24 drawings per second - TV animation is more ‘limited’. These days the offering of pre-school animation is much more varied and most of it is of high quality. As a result, working in TV animation is now held in much higher regard by animators. To get an idea of what’s being produced, take a look at Sarah & Duck, Hey Duggee or Lily’s Driftwood Bay - all original creations for TV which use 2D animation to great effect. For a very different look, check out Bing (based on the books by Ted Dewan) which uses photo-realistic 3D CGI animation. And Miffy (based on the work of Dick Bruna) - also made using 3D CGI, but in a minimalist pop-art style true to its book origins.

Miffy’s Adventures Big and Small

Thankfully those small snobberies I came across in the past have all but disappeared. There is much more cross-fertilisation between publishing and animation these days, with people such as Benji Davies, Steven Lenton and Leigh Hodgkinson (creator of the new CBeebies series Olobob Top) working in both media. With the advent of apps, the boundaries between publishing, TV animation and gaming are bound to blur even further.

For anyone interested in animation I would recommend attending the Childrens Media Conference. Held in Sheffield every year during the first week of July, it’s a great opportunity to hook up with producers, directors, script writers, broadcasters etc. Maybe see you there?

You can find out more about An’s books and films at her website and follow her on Facebook and Twitter @anvrombaut.


Monday, 11 September 2017

FROM PAGE TO STAGE: Adapting Picture Books into Children's Theatre • Jonathan Emmett

Some of the picture books currently treading the boards in the UK.
(Scroll down to the bottom of the page for links to each production)

If you're a regular children's theatregoer, you'll be be aware that a growing number of stage shows are adapted from picture books. I'm fortunate to have had several of my picture books adapted for the stage, most recently The Princess and the Pig, which finished a summer tour last week.

While some authors are content to sell the stage rights to their books and let the theatre company take it from there, others like to have some degree of involvement in the adaptation.  I'm one of the latter group; I always ask for script approval before an adaptation goes ahead. I usually have a few comments and suggestions on the early drafts and, once the script is approved, I'll continue to give feedback on the adaptation for as long as the theatre company wants me to, which can mean sitting in on rehearsals or reviewing marketing and publicity material.

Although picture books and theatre have many things in common (see Timothy Knapman's excellent PBD post here), they are very different media and what works well on the page, will not necessarily work well on the stage. Successfully translating a story from one to the other takes a great deal of skill across a wide range of disciplines: the list of creative contributors involved in a stage adaptation may include a scriptwriter, director, composer, lyricist, actors, musicians, set designer, costume designer, puppet maker, and lighting designer. However in smaller adaptations, individuals will usually take on two or three of these roles.

Here are five things that I've learnt from working with theatre companies on the stage adaptations of my picture books.

1: DO make a song and dance of it!

A common ingredient of most picture book adaptations is music and all of the shows that have been adapted from my picture books have included songs that were written for the adaptation. Songs are sometimes sung to a pre-recorded accompaniment, but it’s not unusual for the music to be played live as part of the performance.

In Belfield and Slater’s adaptation of Here Be Monsters all of Simon Slater’s score is performed live by a cast of actor-musicians. The original picture book is written in rhyme and Simon incorporated some of the couplets from the original text into his lyrics.

Poly Bernatene's illustration and Ben Tolley as Captain Cut-Throat, Eloise Secker as Sneaky McSqueaky, Lauren Storer as Quilly von Squint, Toby Vaughan as Stinky O'Bleary and Josh Sneesby as Findus Spew performing one of the songs from Belfield and Slater's adaptation of Here be Monsters. Photo: Ian Holder.

2: "Make 'em laugh!"

Children love to laugh and another common ingredient of many, if not most, picture book adaptations is comedy. In many adaptations the comedy stems from the original picture book, but it's often added in to a stage adaptation to provide moments of light relief in more serious stories.

The first of my picture books to be adapted for the stage was Bringing Down the Moon, illustrated by Vanessa Cabban. While the picture book has some gentle humour, I would not describe it as a comedy. Whereas Peaceful Lion's stage show was frequently laugh-out-loud funny – and all the more enjoyable for it!

Vanessa Cabban's illustration and Henry Wyrley-Birch as Mole and Victoria Andrews as Rabbit in Peaceful Lion's stage adaptation of Bringing Down the Moon. Photo: Pamela Raith.

3: "It's good to talk!"

Word count restrictions tend to limit the amount of dialogue that authors can include in a picture book. The same restrictions do not apply to stage adaptations and scriptwriters will usually take advantage of this, adding extra dialogue to flesh out characters and embellish the plot.

The Santa Trap's beastly anti-hero Bradley Bartleby spends most of the original picture book alone in his booby-trapped mansion. Consequently the book has little dialogue and most the story is told in narration (along with Poly Bernatene's wonderfully atmospheric illustrations). Unfortunately a children's show in which so little is said by the characters is unlikely to hold the interest of a young audience. Belfield and Slater's stage adaptation solved this problem by expanding the roles of the three secretaries who only appear on one page of the picture book. In the stage version, the three secretaries become Bradley's reluctant stooges, giving him someone to talk to (or in Bradley's case - shout at) and interact with throughout the play.

Poly Bernatene's illustration and Toby Vaughan as Bradley, with  Eloise Secker, Lauren Storer and Josh Sneesby as secretaries Scribe, Scribble and Smythe in Belfield and Slater's adaptation of The Santa Trap.

4: Sometimes story elements have to be added in …

Entirely original story elements such as new characters, settings, scenes and subplots are sometimes needed for a stage adaptation.

The original picture book cast of Ruby Flew Too! were joined by two new birdwatcher characters who acted as narrators in Topsy Turvy Theatre's stage adaptation of the book.

Rebecca Harry's illustration and Claire Alizon Hills and Rachel Priest as the birdwatchers with Jessica Kay's puppets in Topsy Turvy Theatre's adaptation of Ruby Flew Too! 

5: … and sometimes story elements have to be taken out.

The writer's maxim "kill your darlings" applies to adaptations as much as original stories and sometimes much-loved elements of the original picture book need to be removed completely for the story to work well on stage.

A popular element of the original picture book version of The Princess and The Pig is the way characters hold up books they've read to back up their (usually misguided) theories about what is happening in the story. The refrain "It's the sort of thing that happens all the while in books," is repeated throughout the text, culminating in the final punchline, "Unfortunately for the prince, it's not what happen's in this particular book". The first draft I was shown of Folksy Theatre's script for their stage adaptation of the book retained this refrain and punchline, but it didn't feel quite right for the stage show. Much of the show's audience would be unaware that the story they were watching was adapted from a book, so I felt it would make more sense if the final punchline was altered to, "it's not what happens in this particular story." And once "story" was used in the punchline it it had to be swapped in throughout the rest of the play as well. Folksy's scriptwriter and director Lee Hardwicke agreed and cut the "book" references from her script.

One of Poly Bernatene's illustrations and Emma Kemp as the Queen, Christopher Pegler-Lambert as the King and Em Watkins operating Sarah Lewis's pig puppet in Folksy Theatre's adaptation of The Princess and the Pig.

I hope this post has whetted your appetite for some picture book performances. Here's a selection of stage shows adapted from picture books that are currently showing in the UK. If you know of any more, feel free to link to them in the comments box below.

UK Stage Adaptations of Picture Books

Showing in September 2018

by Clare Helen Welsh and Sophia Touliatou
adapted by Entertainingly Different
by Anna Kemp and Sarah Oglivie
adapted by Little Blue Monster Productions 
by Julia Donaldson and Axel Scheffler
adapted by Tall Stories 
by Julia Donaldson and Axel Scheffler
adapted by Tall Stories 
by Lynley Dodd
adapted by Nonsense Room 
by Eileen Browne
adapted by Little Angel Theatre 
by Emma Dodd
adapted by Little Angel Theatre 
by Peter Harris and Deborah Allwright
adapted by Nick Brooke 
by Joyce Dunbar and Polly Dunbar
adapted by Long Nose Puppets 
by Nick Sharrat
adapted by Nonsense Room
by Julia Donaldson and Axel Scheffler
adapted by Scamp Theatre
by Judith Kerr
adapted by David Wood
by Julia Donaldson and Lydia Monks
adapted by Kenny Wax
by Tim Hopgood
adapted by Little Angel Theatre

by Dianne Hofmeyr and Jane Ray
adapted by Little Angel Theatre

Jonathan Emmett's latest picture book (which would make a wonderful stage show!) is Prince Ribbit, illustrated by Poly Bernatene and published by Macmillan Children's Books

Find out more about Jonathan and his books at his Scribble Street web site or his blog. You can also follow Jonathan on Facebook and Twitter @scribblestreet.