It's alive! A practice-based autoethnographical examination of the creation of horror-inspired picturebooks

This research explores horror in children’s picturebooks, addressing the apparent contradiction of a genre traditionally associated with frightening characters, negative emotions, gruesome events and graphic violence in narratives designed for young audiences which are often expected to provide ‘age-appropriate’ content.Rooted in my experiences as a picturebook-maker, this autoethnographic research examines through practice, both the subjective emotions (e.g., fear, terror, horror or revulsion), and objective components (monsters, aesthetics, motifs and tropes) of the horror genre, along the creative strategies employed to adapt these elements in order to make them ‘suitable’ for young children.It introduces ‘happy horror’ as a distinct sub-genre in which, rather than being antagonistic threats, monsters are relatable main protagonists whose struggles, vulnerabilities, and fears—often tied to their monstrous nature—reflect human experiences.By analysing a series of speculative and commercially published horror-inspired projects, including The World of Gustavo series and the Monsters Play… board books, alongside insights from other picturebook-makers and industry experts gathered through interviews, the research reveals how horror’s key elements are reimagined and repurposed as storytelling tools for driving narratives, building worlds, shaping atmospheres, and fostering a sense of thrill and engagement.Additionally, the research explores the balance between creative ambition and industry constraints and expectations, particularly within the UK and US publishing landscapes. It also considers the role of Halloween as both a commercial driver and a thematic anchor, highlighting how the seasonal nature of horror-inspired picturebooks influences their promotion and marketability.Overall, this study addresses a gap in our understanding by exploring how horror can function and adapt within children’s picturebooks from the practitioner’s perspective. It offers valuable insights into the creative and commercial processes shaping this adaptation and contributes to broader discussions on horror narratives, particularly in the context of the children’s picturebook.