 Patterns, patterns, patterns. We see them. We make them. We break them. But why? Patterns are everywhere in nature, in our natural rhythm and pace, in the practices we choose to do, and in the way we choose to see the world. Perhaps, we come across a pattern per chance. Or, other times, we may be seeking a certain one out because it fits something we need. What are the patterns you've created in your life? What are the ones you're purposefully making?  I baked a lot of pies this summer (and cobblers, and cookies, and fresh fruit crumbles)! In pie-making, as in my art, I prefer the slightly lopsided, haphazard, sure markings of hand-made playfulness over pristine perfectionism (as is probably easy to tell from first glance at this goopey, strips of different sizes, delicious beauty!). For most of my pies made this summer, my favorite pattern for layering on the top crust was to cut it into strips, and to create a lattice pattern: over, under, over, under, repeat. Patterns (and pies) create comfort - a sense of predictability, of knowing what is to come in the great unknown. That, in itself, is no small thing. In fact, creating this sense of familiarity through routines, and patterned practices, is essential for early childhood development. (I put on my veteran elementary educator plus mommy hat on to remind you of that knowledgable tidbit). Familiarity fosters a sense of security and creates an environment where one can thrive. It is why I spent so much time in the beginning of the school year (as many educators do) to establish routines, build positive patterns together, and to create a classroom that was cozy, safe, and predictable. Because they are comfortable knowing what is there, they can take risks, and purposefully divert from their patterns, But why? What is the purpose? To see what might happen? To satisfy their curiosity? To test a hypothesis? To elicit a certain reaction from a certain adult? Why do we make patterns, only to break them? Let's peek into some recent picture book mentor texts, one by yours truly, and then some of my favorites, to notice a pattern established, and the purposeful choice from the author to break the pattern. Perhaps you can hypothesis what their intent in doing so is. Goal: Through studying picture books in this way, my hope is that you are able to more expertly read picture books from the lens of a writer. Let's begin. As we piece it all together, think: What is being done here? Why?  copyright HOPE IS A HOP written by Katrina Moore illustrated by Melissa Iwai (Dial, 2023) In HOPE IS A HOP, written by me, illustrated by Melissa Iwai, the opening spread reads: "Hope is a light you turn on in the dark, an up before sunrise - start of a spark." Each following stanza begins the same way: "Hope is . . ." and thus, early on, the reader can identify: What is being done here? A pattern is created with the beginning two words in each stanza. Each one will go on to describe and identify "Hope" in tactile and surprising ways, while the visual narrative of the story comes through the illustrations. We are being led through a journey of "hope" from planting the seed, to letting it take root, and bloom, through the perspective of our young main character. In this case, there is a lot going on, visually, that the reader needs to pay attention to on each page to grasp the story. So, the pattern established through the text allows a sense of comfort (we can relax as the text is read aloud, because there's a pattern to the rhythm, the rhyme, and even to the specific word choices). Therefore, we can exert more energy paying attention to what is happening in the art. What's the story there? This pattern continues until this page turn . . .  copyright HOPE IS A HOP written by Katrina Moore illustrated by Melissa Iwai (Dial, 2023) Why? Here, the author (yes, I am) is alerting us that something has shifted in a major way. It is a purposeful *break* in the pattern, so that our senses are heightened to something different happening in the story. In doing so, we're paying more attention. What is happening in this story now? What has changed? In HOPE IS A HOP, this page turn marks the cinematic climax: a literal turning point, where the rewards of her hard work, and continued hope - despite the despairs, are physically present, and blooming around her. A moment that's made all the bigger, and more important, because I played with the pattern here, forcing the cadence and the rhythm to flow (naturally from the reader) as I, the author, intended. Aha!  copyright FIREWORKS written by Matthew Burgess, illustrated by Catia Chen (HarperCollins, 2025) In FIREWORKS written by Matthew Burgess and illustrated by Catia Chen, a pattern is quickly established through the text to include onomatopoeic words that are a feast for our ears as our main characters venture through the city on a hot summer day, elevated by the bright, bold, textured, and vibrant art that is a treat for our eyes. On this page, the only words are "KABOOM, KABOOM "the finale!"' What is being done here? As established through the pattern set early on through this book's design choices (purposeful, yes, as they always should be!) the "KABOOMS" are placed throughout the page, in different sizes, exploding all over, like the fireworks they are describing. All these choices - text, font, placement, size, are intended (I believe) to set the mood, so that we feel this book, and experience it along with the characters. It's very cleverly done! This pattern continues until the page before the last page turn . . .  copyright FIREWORKS written by Matthew Burgess, illustrated by Catia Chen (HarperCollins, 2025) Why? Notice the shaded, darker hues in this spread compared to the one above (both nighttime scenes). This one is not vibrant, but hushed. Notice the "kaboom"s here. They are not exploding, or of varying sizes. They are small. They are calm. They are gentle. Each word on this spread: say it aloud. Note that even your tone, and volume, and the sounds of your mouth are more soothed. This is as intended by the word choices of the author, the placement text of the designer, by the colors, and close-up face-to-face perspective, and still spread chosen by the illustrator, that make this scene all the more intimate. It's the perfect wind down from a bustling read aloud of the external experiences of our characters that sets us up so well for the final spread. I'm not spoiling it - you'll have to check it out for yourself! But it wows, surprises, and feels at once - like the absolute only way this could end. It's perfectly satisfying. Next, let's peek into THE SCARECROW written by Beth Ferry, illustrated by the Fan Brothers.  copyright THE SCARECROW written by Beth Ferry illustrated by The Fan Brothers (Harper, 2019) What is being done here? A pattern is established in the text, a refrain of sorts with the repeated word, "broken" and the mood set. It reaches its ultimate low mood - emotionally, and in muted colors (purposeful!), and with "broken" again repeated twice, but not as questions, but statements. Short periods. For emphasis. On purpose. We are meant to felt alone, sad, and yes, "broken" here. Until . . . We turn the page, and something changes! (Not shown here - but definitely go find out!) Yes, in the cadence of the text. Yes, in the colors of the art. Yes, we are once again, greeted with the word "broken", but it's different. Why? The beat of the words, the colors of the text, and the pace have all shifted, gradually; beautifully, culminating in the sweetest of sweet, happily tearful conclusion. What about in INSIDE CAT by Brendan Wenzel? Notice the pattern he creates with the refrain: "Wanders. Wonders." and then there are two words that follow, each with the same beginning sound. On this spread, it's "Wanders. Wonders. Gazes. Gapes." What do you think is being done here? Why is this pattern repeated, but played with, and made to vary, throughout the story?  copyright INSIDE CAT by Brendan Wenzel (Chronicle, 2021) Until . . . perhaps at this point, you've guessed it. The pattern breaks. And this time, after the cinematic build up, we are treated to a final spread that, indeed, surprises and satisfies, but doesn't repeat or vary the refrain at all. Why? What other picture books can you find that make and break a pattern to excellent effect? (list them in the comments so we can all check them out, too!) Now it's really your turn. Go back to your picture book work in progress. What patterns have you established? Are they there, by chance? Where are the places that you can purposefully make them? Where is the best place to break the pattern. Think about your WHY. Let that drive your how. Create for us, the reader, a sense of comfort with your story. Make it one we want to immerse ourselves in. Then, find where you can change it up, and surprise us. It might take some piecing together, and breaking apart, and playing around with your words. But, the result, I promise, will be sweeter than pie! Happy Patterning! -Katrina ✨ P.S. If you want to learn more from me, and an opportunity to do so in-person, I'll be on faculty at these upcoming events:  November 8, 2025: 10:00am-4:00pm Story Sculpting Writing Workshop via SCBWI Southern Breeze (paid registration required)
 NEW YEAR, RENEWED WRITING! Picture Book & Early Reader Retreat January 17-19, 2026: 8:45am-3:45pm (paid registration required)
 Katrina Moore is an author and former elementary educator. She holds a M.A. in Teaching and taught for thirteen years in many states. She is the author of the humorous TEENY HOUDINI chapter book series (a 2025 Washington State Otter Award nominee), as well as several acclaimed picture books including, THE STAR IN YOU (a 2025 Kansas NEA recommended book), CHANG'E ON THE MOON, (a 2024 Bookstagang Best Illustrated book), GRUMPY NEW YEAR, HOPE IS A HOP, ONE HUG, GRANDPA GRUMPS (a 2023 Georgia Picture Book Award finalist), SOMETIMES LOVE (a Bank Street Best Children’s Book of the Year), and WHO'S DIGGING? the first book in the Big Jobs for Little Babies series. She lives in Georgia, with her family. Learn more at katrinamoorebooks.com.
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AuthorKatrina Moore is an author and former elementary educator. She writes in Georgia. where her mission is to create books that children will hug for ages. She's the author of the acclaimed picture books,THE STAR IN YOU, CHANG'E ON THE MOON, ONE HUG, GRANDPA GRUMPS, SOMETIMES LOVE, GRUMPY NEW YEAR, HOPE IS A HOP, as well as the humorous TEENY HOUDINI chapter book series, the brand new Big Jobs for Little Babies board book series, beginning with WHO'S DIGGING?, and more. Connect with her on twitter and instagram! Freelance EditorKatrina has professionally critiqued over hundreds of picture book manuscripts at writing conferences she has presented at, through her work as a council member, mentor, and presenter for the Rutgers One-on-One-Plus conference, as a Critique Ninja, and through her freelance editing services. Her editorial work and services, attention to detail, and ability to bring manuscripts to the “next level” have been highly praised by editors, agents, published authors, and those receiving critiques. For more details, and to inquire about rates, contact Katrina.
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