The Magic of Christmas by Garry Parsons (Guest blog)

We’re delighted to welcome this month’s guest blogger, Garry Parsons, who is an award-winning picture book illustrator. Garry discusses capturing the essence of Christmas and make-believe, from the Toenail Fairy to Father Christmas.

My five year-old son believes in Father Christmas and the Tooth Fairy unequivocally 
and without question. 

from The Tooth Fairy’s Christmas by Peter Bently and Garry Parsons

He is yet to lose a tooth himself but I know when the time comes that he will take it on board wholeheartedly. I know this because aside from mentioning Father Christmas all year round he has also taken on the existence of the Toenail Fairy, invented by his parents to ease his aversion to having his toenails cut. For my part, the presence of the Toenail Fairy amounts to creeping into his room after dark with a head torch and nail clippers and hoping he doesn’t wake after the first ‘click’. The Toenail Fairy gives a Malteser per toenail, not cash, in case you were wondering, and being concerned not to stain the bed sheets with chocolate, leaves the Maltesers in a bowl next to the bed. But for my son, there is no reason to doubt that the Toenail Fairy exists.

from The Tooth Fairy’s Christmas by Peter Bently and Garry Parsons

I can’t remember the moment Father Christmas ceased to be real for me as a child, but I do remember the magic that surrounded him when I did believe. I’m sure having an elder brother accelerates Santa’s demise for younger siblings, but it’s my wish for my son that his belief in Father Christmas continues as long as possible. 

For that reason I will do what I can to gently perpetuate his presence. But what I’ve noticed as I’ve become older is that I’ve fallen back in love with the idea of magic myself. As if the mystery and magic of the world has had a resurgence inside me.

I often find myself rushing to the window to witness a rainbow or a pink sunset or an orange moon or adding up symbols I’ve seen as I walk down the street, piecing together moments or words or images which somehow start to shape some other language inside me, giving me a warm sense of wonder that some other world is operating just outside of the everyday normality that we are all so used to. As Freddie Mercury would say, “It’s a kinda magic.”

Rainbow over Reykjavik, Iceland

Each year my family spends two weeks in Iceland. My son and I were trying to recall just how many rainbows we saw on a certain day the year before and came to the agreement that whilst walking from the Hallgrímskirkja to Perlan in Reykjavik, a distance of 1.8km, we saw seven separate rainbows. My son has inherited my enthusiasm for ‘collecting’ rainbows and we like to think Iceland is the rainbow capital of the world. Without doubt, Iceland is a magical place, especially if you can travel, even a short distance, away from the main city. Its climate, strange landscapes, rapidly changing weather and dancing aurora give it a magic that gets under your skin.

Ice chunks at Jökulsárlón, glacial river lagoon, Iceland

This morning in Reykjavik we woke up to a blanket of snow outside. “Is it Christmas?” my son asked. “No,” I answered, “it’s October.” But in some ways he was right, the magic was there, just outside the window. So when I was invited to work on a Christmas picture book, I knew it was this elusive element that I wanted to attempt to capture, the Christmas spirit, the seasonal essence, the magic of Christmas, and to do so in acrylic. I had the challenge of depicting our beloved Father Christmas as a credible, caring, warm guardian of children. 

As well as wanting him to be witty and charming, I also needed him to have a little of the quality of magic about him. Consequently, Christmas in my studio stretched from September until early March.

from The Tooth Fairy’s Christmas by Peter Bently and Gary Parsons

So this year I’m excited. Not only have I had another chance to explore Iceland (and I have another son to share Iceland and Christmas with), but also my love for the notion of magic continues, be it rainbows or Santa, and somehow that convinces me that picture books really can do magic.  

Continuing the festive theme, Garry is also the illustrator of The Dinosaur That Pooped Christmas by Tom Fletcher & Dougie Poynter and Daisy and the Trouble with Christmas by Kes Gray.

Garry Parsons is the award-winning illustrator of many books, including There's An Ouch In My Pouch by Jeanne Willis, the best selling The Dinosaur that Pooped... series by Tom Fletcher and Dougie Poynter, George’s Secret Key to the Universe by Lucy and Stephen Hawking and Billy’s Bucket by Kes Gray. Visit him at GarryParsons.co.uk. Follow him on twitter @icandrawdinos

The Tooth Fairy’s Christmas by Peter Bently and illustrated by Garry Parsons (Hodder Children’s Books).

APTLY EVER AFTER: Why picture books need proper endings • Jonathan Emmett

Back in April, Natascha Biebow wrote a post for this blog about picture book openings and why it’s important to get them right. I think endings are equally important, so I thought I’d write a post about them.

When I was reading picture books with my own children we were always disappointed by stories that ended inappropriately. Perhaps most disappointing of all were picture books that seemed to have no proper ending at all. We’d turn the page, expecting to discover how the story finished only to find that it was already over and we were at the back of the book. I think there needs to be a satisfying sense of conclusion when one reaches the end of a picture book, whether the story winds down gently or ends with a spectacular flourish or unexpected twist.

Some of the best children’s storytelling in recent years has come from Pixar, the animation studio that created the Toy Story trilogy and several other modern classics. While Pixar’s films are always visually impressive, the company attributes its phenomenal success to its motto – “Story is King”. Here’s one of Pixar’s 22 Rules of Storytelling that’s also a great piece of advice for picture book authors.

Rule 7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

I’m a great believer in writing an outline before writing a story – even a short story like a picture book’s – and that means coming up with an ending before starting the first draft. I know that some authors dismiss outlines as limiting, claiming that they like to ‘discover’ the story as they are writing it. That might be true if the outline were a fixed document but, like most authors that use them, I’m constantly tinkering with the outline as I write the story. If a better ending occurs to me, I see if I can rework the outline to accommodate it. Writing a story with an outline is like going for a walk in the country with a map. You have an idea of what’s coming up, but you can always opt to take a different route and end up somewhere else if it takes your fancy. With a map, a walker is less likely to end their walk stranded in the middle of nowhere; with an outline an author is less likely to end up with an unsatisfactory ending.

I don’t know whether the authors of the following picture books use outlines or not, but here are three stories that all have satisfying endings that feel just right. I’ve done my best to avoid spoilers, but if you haven’t read any of the stories mentioned below and want to avoid any hints as to how they end, you might want to skip over that paragraph.

The Great Dog Bottom Swap

Peter Bently

Illustrated by Mei Matsuoka

This is the tale of a Dog’s Summer Ball that starts well, but ends in disaster. It’s a farcically funny story, deftly written with lots of amusing incidents throughout. And – as if that weren’t enough – the text on the final spread reveals a twist that makes the reader see the whole plot in an amusing new light.

Thidwick the Big-Hearted Moose

Dr. Seuss

I can’t think of another picture book ending that made me and my children laugh quite so much as this one when we first read it. The story concerns Thidwick, a kindly moose whose generosity is exploited by a collection of creatures who set up home in his antlers. When a group of hunters arrive, the overburdened Thidwick’s chances of survival look slim. The image on the last page gives the story an incredibly funny, totally unexpected and somewhat shocking ending. 

The Gruffalo

Julia Donaldson

Illustrated by Axel Scheffler

I know that The Gruffalo has had plenty of praise heaped on it already, but that’s because it’s such an exemplary piece of picture book writing. After the mouse’s death-defying adventure, Donaldson ends the story calmly and quietly. Having repeatedly escaped being eaten himself, the mouse (and the story) comes to a stop as the mouse sits down to enjoy a meal.


What are your favourite picture book endings? Let us know in the comments box below.

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Jonathan Emmett's latest picture book is HERE BE MONSTERS, a swashbuckling tale of dastardly pirates and mysterious monsters, 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.

See all of Jonathan's posts for Picture Book Den.