Getting in to a Flap! Garry Parsons lifts the lid on picture books with flaps and reveals some hidden surprises

The inclusion of flaps in picture books can undoubtably add an exciting extra level of interest for the reader. After all, who can refuse the temptation of lifting a flap in a picture book? Not me!

The flap is not only about encouraging reader interaction, but it can also add another level to the storyline by revealing text as well as hidden illustrations and therefore, moving the story forward through the reveal. 

The flap acts as a mini page turn and has many options for the writer and illustrator to consider as a way of pushing the story forward. For example, when opened flat, the flap can alter the image it covers in a way that changes the action and in a very simple way, suggest the beginnings of movement, encouraging the reader to flick the flap back and forth quickly to animate the changes.

Exploring using flaps to change expressions -Work in progress. Garry Parsons

So, what at first appears to be a simple add-on can bring a whole new dimension and distinct character to the book and considerable enjoyment for the reader. 

Making the flaps work brings its own challenges for the illustrator and designer and poses some interesting questions about the purpose the flap is there to achieve? Are they necessary for enhancing or pushing the storyline forward, does the reveal change with the text or is the inclusion of flaps simply there as a sales lure from the publisher?

Technically, flaps can appear almost anywhere on the page so long as they are clear of the gutter (the centre fold) and can be relatively any size or shape within the book’s dimensions. The largest flap is the gatefold, a page that has been made double the size and folded back on itself on one side which when opened extends the spread out to the side, top or below. This can be single or double to extend the spread from either side.

The possibilities are many but what is certain is that the reveal needs to be satisfying for the reader. As a participant in the story, we want the flaps to be irresistible but more importantly, we want the reward of being delighted by revealing the secret of what’s hiding underneath. 

Having completed a few picture books with flaps myself and currently working on a another, I've had the opportunity to explore flaps in picture books again recently and come up with a few enticing titles to share, starting with books with small flaps and ending with, well…all will be revealed! 

Nuddy Ned's Christmas. Kes Grey.

Kes Gray's Nuddy Ned's Christmas uses small irregular shaped flaps to reveal and conceal at the same time. The story follows a young boy who, like many young children, enjoys running around the house naked, except here, oblivious to his lack of clothing, Ned leaves the warm confines of home to explore the town in search of Santa, but completely starkers.  However, each flap reveals something that also conceals Ned's modesty, turning the joke back on the reader.

Somehow, Ned's streak through town convinces Santa that being in the 'altogether' is something he might want to try. Our last flap to open is covering Santa's seemingly bare bottom. Lift the flap if you dare!

Meerkat Mail. Emily Gravett.

Leaving in search of some respite from a chaotic family life, Sunny leaves the desert but keeps in touch with the relatives via postcards and letters. In Meerkat Mail, Emily Gravett uses flaps as Sunny's communication home.  

Not only do we get to read Sunny's correspondence,  but the reveal also extends the action through the illustration underneath. On this spread, Sunny returns home to the closeness of the family that he's been missing.

Animalalphabet by Julia Donaldson and illustrated by Sharon King-Chai.

Animalalphabet uses a clever combination of peep-hole pages and fold-out flaps to reveal and then hide animals. 

Stuck in the Mud. Jane Clarke, illustrated by Garry Parsons.

The tension for the farm animals in Jane Clarke's Stuck in the Mud build's and builds over each page turn with the inclusion of a new animal joining the throng as the story progresses. More and more animals arrive to rescue the helpless chick who is stranded in the mud. The single gatefold at the end reveals the story's punchline, that the not-so helpless little chick has been deceiving everyone all along, including the reader.

Jim, A Cautionary Tale by Hilaire Belloc. llustrated by Mini Grey

In Jim, A Cautionary Tale by Hilaire Belloc and illustrated by Mini Grey, the story includes an array of flaps, folded reveals and clever pop-up elements but begins with a potted outline of Jim's life.

A double gatefold extends left and right to reveal a giant spread of delicious indulgence.

Incorporated into the double gatefold are extra flaps which reveal the next lines of the text

with this one revealing the gooey pink inside the chocolate!

Flora and the Peacocks by Molly Idle

Flora and the Peacocks by Molly Idle is a wordless picture book, adorned with flaps which increase  in size and frequency.

Flora dances with a pair of peacocks who echo the movements of her fan. The reader is invited to lift the flaps of both Flora's fan and the flaps of the peacock's tails, encouraging a unique choreography. 

In the story, Flora (and the reader) dance with the birds until the fan gets broken. Disheartened, poor Flora is left annoyed and upset, but the peacocks have a a magical way of cheering her up.

More akin to a pop-up element than a flap and increasing the book size twice over, the reveal is too astonishing not to include.

So, Hooray for the delights of flaps!

 

For more about flaps from an earlier post, scroll or search the Blog Den archive or find it here...

Hide and reveal - The irresistible joy of lift-the-flap books - Garry Parsons

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Garry Parsons is an illustrator of many popular books for children including the recent bestselling picture book The Dinosaur That Pooped Halloween by Tom Fletcher and Dougie Poynter. 

WARNING - This book contains SPOOKY flaps.

  

Visit www.garryparsons.co.uk and Follow Garry on instagram @icandrawdinos

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CAN YOU WRITE A PICTURE BOOK WITHOUT WORDS? by Clare Helen Welsh

 

Back in June, I wrote a blog post that asked if it was possible to READ a book without words. Now, here’s the sequel you’ve all been waiting for! Can you WRITE a picture book without words? Absolutely! You can! Can a story be told entirely through images? Can a picture book exist without words? Even if you’re the author only and not an illustrator? YES! Wordless picture books offer a unique and powerful way to tell stories. But for aspiring picture book writers, the prospect of creating a wordless story may seem daunting. In June 2024, my (almost!) wordless picture book, Moon Bear, published with Frances Lincoln. It’s about a girl called Ettie who is afraid of the dark. She meets a magical moon bear who is afraid of the light. I was not the illustrator on the project. I was the author only - my co-collaborator was the awesome Carolina T. Godina. Creating this book was an exciting and creative challenge, and because of that, I'd like to suggest to other writers that it's worth exploring. What I learned when writing a wordless picture book, is that all the usual picture book ingredients are needed – a strong hook, an interesting concept, compelling characters and a satisfying plot.  In this post, I’ll explore how to approach writing a wordless picture book as a writer only and offer some key tips to guide you in the process. Tips for Creating a Wordless Picture Book: 1. Plan the narrative arc A wordless picture book still needs a clear narrative structure. There needs to be just enough threads that the reader can interpret and co-create the story, and re-create it on subsequent reads, without there being so much going on that it’s impossible to pin down and follow one controlling idea.  To create a clear beginning, middle, try writing a mini synopsis, then write or sketch a storyboard of  key scenes like a film director would.  Here’s the short synopsis I wrote for Moon Bear. 2. Let the illustrations convey emotion In a wordless book, emotions need to be conveyed through facial expressions, body language, and colour. You'll need to dramatise the storytelling - show it, not tell it. Consider how you will emphasise the emotional highs and lows of the story in pictures alone. For example, maybe you’ll use darker tones and close-up compositions for scenes of sadness or fear, in contrast to bright and open happier and energetic moments. It might help to imagine an illustrator you'd love to work with. I imagined Briony May Smith when working on Moon Bear.  3. Create tension and resolve conflict Every good story needs conflict and resolution. Whether your story is about a lost animal, an exciting adventure or self-discovery, there should be a sense of tension that propels the story forward. The challenge in a wordless book is making sure that this tension is visible. Of course, much of this will become evident when an illustrator comes on board, but consider what you can do to strengthen tension and resolution in your written submission. When you present your wordless picture book, it will look like a collection of detailed illustration notes. Can you see how I helped my agent and editor visualise tension through the character's action? 4. Use repetition and pattern Repetition can be a powerful tool in a wordless picture book. By repeating certain visual elements, you can create rhythm and shape that helps the reader feel grounded in the story. It also encourages them to anticipate what comes next, adding depth and engagement to the reading experience. For example, in Moon Bear, Ettie’s bedtime scenes are repeated at the start and at the end. The first time she is afraid – she doesn’t want Mummy to leave. The second time, when she is no longer scared of the dark, she pushes Mummy out the door!   5. Play with page turns In a wordless picture book, the moment when the reader turns the page can be used to create suspense or surprise. Consider how you can use page turns to heighten, reveal, surprise or engage the reader at important moments. Here's a page near the end of Moon Bear that I think keeps the reader engaged and encourages them to predict what will happen next.  6. Use visual details to deepen the story Wordless picture books allow for rich layers of detail. Include scope for visual details that hint at backstory, character development, or future events. For example, have you spotted the cat in the opening spread of Moon Bear? And the clock that shows Ettie’s bedtime? It shows 7pm when Ettie is stalling, and 3:30pm when she is excited to meet Moon Bear again. These details invite readers to engage more deeply with the book and make new discoveries with each reading. 7. Share your story with critique partners One of the best ways to ensure that your wordless story works is to share it with critique partners. See if they are able to follow the plot. Do they understand the themes? Is anything unclear? Their feedback will be invaluable in refining your narrative. Wordless picture books are a challenge, a joy and a wonder. They can help children feel happy and confident to read at their own pace, making them an active participant in the storytelling.  Why not challenge yourself to write one? It’s a great lesson in showing, not telling. You’ll learn about pacing and what’s realistic in terms of page layouts and illustrations and the art of a telling a focused and satisfying tale. You can always try a version with words at a later date, and it might make for an interesting starting point.  There’s no right or wrong way to read a wordless story, and no right or wrong way to write one either. But hopefully the tips above will help.  Can you write a wordless picture book? Absolutely! You can! Clare Helen Welsh is a children's writer from Devon. She writes fiction and non-fiction picture book texts - sometimes funny, sometimes lyrical and everything in between! Her latest picture book is called 'Moon Bear,' illustrated by Carolina T. Godina and published by Frances Lincoln. You can find out more about her at her website www.clarehelenwelsh.com or on Twitter @ClareHelenWelsh . Clare is represented by Alice Williams at Alice Williams Literary and is the founder of #BooksThatHelp.