Illustrations play an important role in helping young children learn to read. They support early comprehension, provide context, and help make stories more engaging. And kids love pictures! But somewhere between early readers (think-Step Into Reading levels by Scholastic)  and middle grade(books with no in-chapter images), something subtle but significant changes. Children’s cognitive development is growing during this stage, and the structure of the books they read should grow alongside it. This is where the early chapter book and the junior novel come in as a bridge between the two.

A Shift in How Children Think

By the time most kids reach seven or eight, they begin to picture things in their minds without needing to see them on the page. This shift is part of what child development expert, Jean Piaget called the “concrete operational stage.” In this phase, children become better at symbolic thinking. They start to understand ideas that aren't directly in front of them. They can imagine settings, guess how characters feel, and even follow along when the author uses comparisons or figurative phrases, such as "his thoughts were buzzing like bees" or "the moon followed her home."

This is where books that rely less on pictures begin to play a key role. When the words themselves guide the experience, using the five senses and figurative language, children get the chance to imagine things for themselves. That mental work matters. It strengthens memory, comprehension, and empathy, as shown in studies linking self-generated imagery during reading to improved recall and emotional insight (Gambrell & Jawitz, 1993; Mar et al., 2006).

Why a Few Pencil Drawings Still Matter: Early Chapter Books vs Junior Novels

 Of course, illustrations still have a place. In early chapter books, a few well-placed pencil drawings can help readers stay grounded. Young readers may benefit from a visual cue when a new setting appears or a character does something unexpected. These moments can offer a visual pause from the text and is especially helpful for readers still building mental focus and confidence.

What matters most is how the artwork is used. The Unicorn Shore is a junior novel series, and as such pencil illustrations appear only as chapter header images. They aren't used to help the reader understand the context of the story the way an early chapter book might. They are simply there to offer a small visual anchor for the eyes as they adjust in the transition from chapters with illustrations to text-only novels. In early chapter books the illustrations work alongside the text and support what the reader is already beginning to picture on their own, but in junior novels the reader is one step closer to reading text-only and these chapter header images are a little mini-bridge.

This slow transition helps children start trusting their imaginations more fully without taking away their helper all at once.

Letting Language Paint the Picture

The more children read without visual shortcuts, the more they learn to rely on language itself. This is especially true when the writing includes developmentally appropriate descriptive or figurative language that asks the reader to visualize and think about the meaning.

Here are some examples of those bridge sentences, The Unicorn Shore uses to take the place of illustration. For example, in The Secret of the Shell, the sentence:

“The air smelled sweet, like wildflowers, and the breeze sparkled with magic.”

 This sentence encourages visualization that uses the senses and introduces abstract thinking through the idea of a "sparkling" breeze, which is something that can’t literally sparkle, but  evokes a feeling of wonder.

In Eclipse’s Secret, a sentence from the cliff scene offers an even deeper opportunity for abstract thinking:

“Waterfalls poured over the cliffs as though someone had filled them with starlight.”

 This isn’t just a description of movement or scenery. It’s a metaphor that blends light and water into one image. The idea of “filling waterfalls with starlight” helps readers move beyond literal meaning. It invites them to consider mood, beauty, and enchantment in a way that stretches their imagination. For readers ages 6-9, this kind of figurative language provides a gentle, developmentally appropriate entry point into early symbolic thinking. The base image is concrete (cliffs, waterfalls), but the added layer of metaphor helps build their imagination muscles.

What Happens When We Step Back 

Illustration-free scenes may seem like a challenge at first, and kids might resist them, but they create space for the child to build the world on their own terms. This is especially important in fantasy, where the possibilities are wide open. When kids aren’t shown exactly what a magical cave looks like or how a crown glows, they begin making those choices in their minds. They start creating the story with the author rather than simply observing it. They become the illustrator. 

It also allows children to put limits on scenes that may be too much too fast for a sensitive child. The absence of visual detail gives them the freedom to decide the intensity based on their own emotional readiness.

This doesn’t mean the writing has to be flowery or stereotypical. In fact, the best writing at this stage is clear and intentional. But it leaves room for the reader to engage on a deeper level.

It is also a wonderful opportunity to encourage an artistic child to draw their own illustrations using the description as a guide.

Letting the Imagination Lead

Illustrations play an important role in early literacy, but around the 7-9 age range we need to intentionally encourage the reader to challenge themselves and take the next step towards 

Well written junior novels use visual language, sensory details, thoughtful pacing and strategically placed pencil drawings to give developing readers a richer experience. The reader is given space to start practicing using their own beautiful imagination. .

References:

 Gambrell, L. B., & Jawitz, P. B. (1993). Mental imagery, text illustrations, and children's story comprehension and recall. Reading Research Quarterly, 28(3), 264–276.

 Mar, R. A., Oatley, K., Hirsh, J., dela Paz, J., & Peterson, J. B. (2006). Bookworms versus nerds: Exposure to fiction versus non-fiction, reading habits, and social abilities. Journal of Research in Personality, 40(5), 694–712.