44
A RT I C L E S
A Content and Thematic
Analysis of Body-Positive
Children’s Picturebooks
PA I G E C OY N E , K R I S TA J . M U N R O E - C H A N D L E R , & S A R A H J . W O O D R U F F
Children as young as 3 years of age engage in body
evaluation. Body-positive picturebooks provide
promise for use in early body-dissatisfaction prevention
and body-positivity enhancement, but caution
in book selection should be exerted.
BODY IMAGE is a broad, multidimensional construct
that encompasses an individual’s perceptions, thoughts,
and feelings about their own body, most often in relation
to its physical appearance (Cash & Pruzinsky, 1990;
Schilder, 2013; Thompson et al., 1999). Body image is
most commonly evaluated along a continuum of body
satisfaction to dissatisfaction (Cash, 1994; Paxton &
McLean, 2010), where judgments about the body’s overall
physical appearance or its specific aspects (e.g., its size,
shape, weight, tone, muscularity) or parts (e.g., stomach,
arms, facial features, skin’s appearance) are made
(Paxton & Damiano, 2017), often in reference to Western
standards. Until relatively recently, the majority of body
image and body-dissatisfaction research has focused on
adults, with limited research investigating its incidence
among adolescents or children. However, as interest in
identifying the age at which individuals can begin to
experience body (dis)satisfaction has mounted, so has
the number of body image studies targeting adolescent
and child populations (Birbeck & Drummond, 2006;
Clark & Tiggemann, 2006; Dohnt & Tiggemann, 2006;
Harriger et al., 2010; Neumark-Sztainer et al., 2002;
Ricciardelli & McCabe, 2001). By identifying an approx-
imate age of onset, researchers can identify factors (e.g.,
friends, family, media) contributing to body dissatis-
faction and engage in its prevention (Grogan, 2016),
Journal of Children’s Literature, 48(2), pp. 44–58, 2022.
while simultaneously investigating strategies to foster
body positivity and acceptance (Tylka & Wood-Barclow,
2015).
Development of Body Dissatisfaction
Studies among adolescents and preadolescents suggest
that girls and boys can, and often do, experience body
dissatisfaction (Neumark-Sztainer et al., 2002) or express
desires to change their body size (Clark & Tiggemann,
2006; Ricciardelli & McCabe, 2001; Schur et al., 2000).
However, reviews by Tatangelo et al. (2016) and Léon et
al. (2018) suggest that children as young as 3 or 4 years
old are capable of body evaluation and body dissatisfac-
tion (Smolak, 2011). For example, in a study of girls aged
3 to 5 years old, Harriger et al. (2010) reported that some
girls were emotionally invested in the thin ideal (e.g.,
desired to be thin) and in body stereotyping their potential
playmates (e.g., attributed negative adjectives to fat-bodied
and positive adjectives to thin-bodied playmates).
Similarly, Birbeck and Drummond (2006) reported that
some boys aged 5 and 6 compared their bodies to those of
their peers. Moreover, Davison et al. (2003) discovered
that girls who reported higher weight concerns and body
dissatisfaction at ages 5 and 7 were more likely to have
maladaptive eating attitudes and engage in dieting later
(e.g., at 9 years old).
©Children’s Literature Assembly ISSN 1521-7779
 Paige Coyne, Krista J. Munroe-Chandler, & Sarah J. Woodruff A Content and Thematic Analysis of Body-Positive Children’s Picturebooks
Tripartite Influence Model
Given the potential for body dissatisfaction to track from
early childhood into adolescence (and even adulthood) and
result in negative physical and mental health outcomes
(Levine & Smolak, 2006; Neumark-Sztainer, 2005; Paxton
et al., 2006), it is important to identify and understand the
factors that play a role in its onset and subsequent develop-
ment (Grogan, 2016). According to Thompson et al.’s (1999)
Tripartite Influence Model, sociocultural ideals (e.g., what
society deems attractive) are transmitted to individuals,
who subsequently internalize them, resulting in body
(dis)satisfaction. Additionally, it is posited that parents,
peers, and media (e.g., television and magazines) are the
most influential transmitters of sociocultural messaging
(Cash, 2005; Thompson et al., 1999; Tiggemann, 2012).
When the model has been tested with young children,
it appears to hold up quite well, with parental and peer
influences emerging as predictors of body dissatisfaction
(Dohnt & Tiggemann, 2006; Tatangelo et al., 2016).
Positive Body Image and the Body-Positive Movement
Historically, the predominant focus of body image research
has been pathological, where the majority of efforts have
focused on developing a better understanding of negative
body image (e.g., body dissatisfaction), with minimal
consideration given to its positive body image counterpart
(Smolak & Cash, 2011; Tylka, 2011). Such a singular focus
has resulted in a limited and incomplete understand-
ing of body image (Smolak & Cash, 2011). Seeing the
issue juxtaposition of trying to alleviate symptoms of
negative body image, while failing to engage in research
to promote and enhance aspects of positive body image,
did not go unnoticed (Tylka & Wood-Barcalow, 2015).
Specifically, researchers across an array of disciplines
(e.g., positive psychology, feminist studies) have advocated
for and engaged in positive body image research (Tylka &
Wood-Barcalow, 2015).
Wood-Barcalow et al. (2010) suggested that positive
body image occurs when an individual has an overall sense
of love and respect for their body, including its unique beauty
and functionality. Positive body image is seen as a distinct
and multidimensional construct that includes body apprecia-
tion (for all parts of the body), acceptance/love, broad concep-
tualization of beauty, adaptive appearance investment,
body-protective filtering of information, and inner positivity
(Tylka & Wood-Barcalow, 2015). Additionally, it is thought
to be holistic (it includes internal experiences and external
behaviors), stable but malleable, protective of physical and
psychological health, linked to perceived body acceptance
by others, and shaped by social identities (e.g., culture, race,
gender, age) (Tylka & Wood-Barcalow, 2015).
In addition, as the advocations of researchers for
VOL 48 NO 2 FALL 2022
45
increased positive body image research had begun to draw
attention, a separate (but related) movement was garner-
ing attention among everyday individuals, especially
on social media (Cwynar-Horta, 2016). This aptly titled
body-positive movement aimed and continues to aim to
encourage individuals to reject the long-standing unattain-
able and narrowly defined beauty standards created by
Western society and to challenge these societal stereotypes
of beauty and be more loving and accepting of diverse
bodies and appearances (Cwynar-Horta, 2016).
Children’s Literature as a Sociocultural Transmitter
Although the potential influence of media on body image
among young children has yet to be studied as extensively
(Dittmar et al., 2006; Hayes & Tantleff-Dunn, 2010; Rice et
al., 2016), previous research does suggest that the messag-
ing and persuasive elements commonly found in children’s
literature have the ability to influence the ways in which
children perceive themselves, others, and the social world
(Garner & Parker, 2018; Gilbert, 1998; Kozak & Recchia,
2019; Strouse et al., 2018). Thus, it is not unreasonable to
postulate that such perceptions could extend to judgments
on physical appearance, with studies by Herbozo et al.
(2004) and Roper and Clifton (2013) supporting such claims.
In their study of popular children’s books (e.g., Where the
Wild Things Are) and videos (e.g., Alice in Wonderland),
Herbozo et al. (2004) noted an average of 2.8 and 8.7 body
image messages (e.g., beauty associated with “goodness”
and ugliness with “evil”), respectively. Thus, although body
image messaging was more prevalent in video-based media
than children’s print literature, the results do suggest
that, much like other sociocultural transmitters, popular
children’s books have the potential to transmit sociocultural
messaging relating to body image. Additionally, in Roper
and Clifton’s (2013) study investigating the representation of
physically active girls in children’s picturebooks, all primary
female characters were illustrated as thin, further perpetu-
ating existing sociocultural body-related messaging and
echoing Herbozo et al.’s (2004) findings.
Positive Body Image, Body Positivity,
and Children’s Literature
Despite previous reports that children’s literature may
contain body-negative messaging (Herbozo et al., 2004;
Roper & Clifton, 2013), there is increasing recognition,
among researchers and authors alike, that children’s books
present a unique opportunity for the early prevention of body
dissatisfaction and the promotion of positive body image and
body positivity (Dohnt & Tiggemann, 2008; Foley, 2020;
Itzoe & Frasso, 2020). Specifically, given that children as
young as 3 years of age may engage in body evaluation
(Dohnt & Tiggemann, 2008; Foley, 2020; Itzoe & Frasso,
JOURNAL OF CHILDREN’S LITERATURE
46 A RT ICL E S
2020), body-positive picturebooks—picturebooks encour-
aging the rejection of (Western) society beauty standards
and/or the promotion of self-love and self-acceptance of any
and all body parts (Cwynar-Horta, 2016)—targeting early
childhood years have the potential to be used as a means
of transmitting messaging that encourages the develop-
ment of positive body image and body positivity, while
minimizing sociocultural messaging that could result in
body dissatisfaction. Moreover, diversity in the authorship
and illustration of such picturebooks has the potential to
increase children’s understanding and acceptance of all
bodies through authentic storytelling, while simultaneously
demonstrating to young readers that authors and illustra-
tors of all bodies are valued members of the picturebook
publishing world (Hollowell, 2015; Koss, 2015).
Although only a small number of body-positive
picturebooks have been historically in circulation (e.g.,
Shapesville by Mills & Osborn, 2003), more body-positive
picturebooks have been published as of late. However,
before any such books merit inclusion or use in the early
prevention of body dissatisfaction, their creators, contents,
and messaging warrant examination.
Current Study
The overarching purpose of this study was to evaluate the
creators, contents, and messaging of body-positive picture-
books geared toward young readers.
The following research questions guided the study:
1. Who are the authors and illustrators of body-positive
picturebooks?
2. Who are the characters and populations represented
in body-positive picturebooks?
3. What body characteristics are discussed in
body-positive picturebooks?
4. What messages are body-positive picturebooks
transmitting?
Methodological Framework
This study was guided by a critical realist methodological
framework, where it is acknowledged that three realities
exist (e.g., empirical, actual, and real) (Bhaskar, 1975), but
that ontology (e.g., the real) is not necessarily reduceable to
epistemology (e.g., the empirical) (Fletcher, 2017). As such,
despite the existence of a single reality, individual interpre-
tations of that reality will always be influenced by percep-
tion, creating unique perspectives of that reality.
Thus, informed by previous knowledge, research,
and body image and body-positive theories, the authors
sought to obtain a better understanding of the contents of
body-positive picturebooks and their potential to influence
the young children reading them.
Methods
JOURNAL OF CHILDREN’S LITERATURE
DATA
A picturebook was defined as text, in book format,
containing a combination of verbal (i.e., words) and visual
(e.g., illustrations) narratives that tell a story, primarily
designed for children aged 3 to 8 years (Roper & Clifton,
2013). The inclusion criteria for the current study were
(a) English language, (b) fictional picturebooks, (c)
featuring human characters, (d) for children aged 3 to
8 years, (e) published within the last decade (given the
more recent emergence of positive body image literature
and research), (f) in the genre of body image and/or body
positivity, and (g) obtainable by the authors. Picturebooks
featuring animal or inanimate objects were excluded to
ensure the sample could focus on texts depicting realis-
tic, lifelike characters (Azano et al., 2017; McIver, 2018).
Additionally, content-analysis categories were developed
based on human body characteristics (e.g., proportions
and shapes) and would not translate well to animals or
inanimate objects. Consistent with previous research, the
genre of body image and/or body positivity was defined
as relating to weight, shape/size, height, hair, skin
complexion, skin color/tone, facial features, muscularity,
specific body parts (e.g., arms, stomach), and/or overall
appearance (Cash, 2000; Cwynar-Horta, 2016; Paxton &
Damiano, 2017).
An initial list of 73 titles was compiled. Thirty-
six were identified using key word searches containing
combinations of the following words on Amazon Canada:
“picture book,” “body image,” “body positive,” “body positiv-
ity,” “children’s books,” and “children’s literature.” The
other 37 titles were identified via online publisher catalogs
and websites (e.g., Little, Brown and Company’s Books
for Young Readers), as well as Google searches using the
above-mentioned key words. The final sample of picture-
books contained 26 titles (see Table 1). Forty-seven picture-
books did not meet the inclusion criteria and were removed.
Reasons for exclusion included published prior to 2012
(n = 18), not body image/positivity genre (n = 12), featured
nonhuman main characters (n = 6), had not yet been
released (n = 3), not a picturebook (e.g., board books; n = 4),
unobtainable (e.g., only available for preorder; n = 3), and
outside of age range (n = 1).
DATA ANALYSIS
Quantitative and qualitative analyses were used to answer
the study’s research questions. Specifically, a quantitative
content analysis was used to answer Research Questions 1,
2, and 3 and a qualitative thematic analysis was conducted
to answer Research Question 4. To minimize the impacts
of the lead author’s inherent biases on research findings
while conducting both content and thematic analyses, she
engaged in reflexive journaling (Sparkes & Smith, 2014).
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 Paige Coyne, Krista J. Munroe-Chandler, & Sarah J. Woodruff A Content and Thematic Analysis of Body-Positive Children’s Picturebooks 47

TABLE 1
Body-Positive Picturebook (N = 26) Characteristics
Publication
Title Author(s) Illustrator(s) Pages Brief Description
Year
Frank Murphy & A story that encourages girls to embrace their uniqueness,
A Girl Like You Kayla Harren 2020 32
Carla Murphy be kind, and advocate for themselves
A girl who struggles with her body image and embracing who
Abigail the Whale Davide Cali Sonja Bougaeva 2016 32
she is, especially while at the pool
A young girl is told her dream of having a solo in the figure
Amanda’s Big Dream Judith Matz Elizabeth Patch 2015 32
skating show is out of reach because of her weight
Vanessa Brantley-
Beautiful Beautiful Me Ashley Sirah Hinton 2014 27 A story about loving one’s skin tone
Newton
Beautiful Girl: Celebrat- Christiane
A celebration of girls’ bodies and the importance of learning
ing the Wonders of Your Northrup & Aurelie Blanz 2013 28
bodies are perfect the way they are
Body Kristina Tracy
On her eighth birthday, Alena and her friends learn that each
Becoming Beautiful Tarang Rawat Elena Napoli 2019 38
of them is special, and no two people look the same
Big Hair, Don’t Care Crystal Swain-Bates Megan Bair 2013 30 A little girl who embraces her big hair
Dear Girl: A Celebration Amy Krouse
Love letter written for girls to remind them of their value,
of Wonderful, Smart, Rosenthal & Holly Hatam 2017 40
inside and out
Beautiful You! Paris Rosenthal
Eyes That Kiss in the
Joanna Ho Dung Ho 2021 40 A young Asian girl learns to love the shape of her eyes
Corners
A little girl who doesn’t like her naturally curly hair and her
Hair Like Mine Latashia M. Perry Bea Jackson 2015 32
quest to embrace its uniqueness
A story about a child’s skin, its color, and all its clever
Happy in Our Skin Fran Manushkin Lauren Tobia 2015 32
functions
Christine A. Adams
Happy to Be Me & R. W. Alley 2014 32 A journey of self-discovery and building a positive self-image
Robert Butch
Katie Crenshaw & Series of body-positive declarations that encourage young
Her Body Can Li Liu 2020 35
Ady Meschke girls to love themselves and their bodies
A young girl embraces everything she and her body can do
I Am Enough Grace Byers Keturah A. Bobo 2018 32
and that she will always be enough
Garvelle Beauvais & Nia and her brother, Jay, discover that being mixed allows
I Am Mixed James C. Webster 2013 52
Sebastian A. Jones them to live the best of both worlds
Laura Ellen Laura Ellen A curly-haired girl tries everything she can to straighten her
I Don’t Want Curly Hair 2017 32
Anderson Anderson curly hair before learning to love it
I Love My Nose: A Body Maggie is a young girl who can’t help but say everything she
Sherry Selley Mary Navarro 2019 40
Positive Book for Kids loves about her body
A story highlighting that all children are different and
It’s Okay to Be Different Sharon Purtill Sujata Saha 2019 28
celebrating this individuality
Vanessa Brantley- Vanessa Brantley-
Just Like Me 2020 32 A series of mini stories about all different kinds of girls
Newton Newton
Lovely Jess Hong Jess Hong 2017 32 Everyone is different and that’s what makes them lovely
Tameika auditions for the lead role in her school’s
Not Quite Snow White Ashley Franklin Ebony Glenn 2019 32
Snow White musical
Rock What Ya Got Samantha Berger Kerascoët 2018 40 An artist draws a sketch of a little girl who comes to life
Small or Tall, We Aditi Watdhan Shreya wishes to be taller for her birthday before realizing
Noor Alshalabi 2020 35
Sparkle After All Singh that words and actions mean more than appearance
Sulwe learns to embrace her skin, even if it is darker than
Sulwe Lupita Nyong’o Vashti Harrison 2019 48
that of everyone else she knows
What Would Fashion
A story giving a glimpse into what the world might look like if
Look Like if It Included Amanda Richards Alison Hawkins 2020 32
fashion were inclusive
All of Us?

Your Body Is Awesome:

Body Respect for Sigrun Danielsdottir Bjork Bjarkadottir 2014 36 A story about all the amazing things the body can do
Children

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48 A RT ICL E S
CONTENT ANALYSIS. This study’s content analysis followed
Cohen et al.’s (2018) steps for conducting content analysis
and is similar to the content analyses conducted by
Tiggemann and Zaccardo (2018) and Koss (2015). Upon
identification of the final sample of 26 body-positive
picturebooks, units of analysis were determined. Specifi-
cally, all words and illustrations within the body of each
picturebook, as well as the front cover, were subject to
analysis. The back cover, introductory material (e.g.,
foreword, dedication), front flap, and back flaps (where
applicable) were not included. Variables to be included in
the analysis were then deductively identified (i.e., based on
previous theory and research) and definitions for each were
established. Finally, a codebook was created.
Next, each picturebook was read several times before
any coding took place. The lead author made specific efforts
to make note of any coding variables that may have been
important to add to the analysis. Similar to Koss (2015),
the lead author then coded the data for all variables based
on the existence (e.g., for Research Question 2, the author
looked to see if any secondary characters had red hair), not
incidence (i.e., the frequency), of each variable characteris-
tic. Once all data were coded, frequencies and percentages
were calculated.
RELIABILITY. To ensure trustworthiness, a second individual
independently coded three of the body-positive picture-
books, selected at random (representing more than 10%
percent of the sample) (O’Connor & Joffe, 2020). Agreement
percentages were calculated for each variable. All
agreement percentages surpassed MacQueen et al.’s (2008)
suggested acceptable level of 85%. All disagreements were
then discussed and resolved.
RESEARCH QUESTION 1. Diversity in authorship and illustra-
tion of body-positive children’s books may contribute to
young readers’ understanding of what bodies are valued
and celebrated in society (Hollowell, 2015; Koss, 2015). As
such, for each picturebook, author and illustrator gender,
ethnicity/race, body shape, and potential disability were
identified from the author/illustrator section of each
picturebook, as well as their personal website and social
media profiles (where available).
Categorical options for gender, ethnicity/race, and
disability followed Koss (2015). Specifically, options for
gender included man and woman. Options for ethnicity/
race included white, Black, Asian, Latino, Indigenous,
Middle Eastern, and multiracial. Options for disability
included physical and cognitive. Body shape was catego-
rized based on adiposity and followed Tiggemann and
Zaccardo (2018). Categorical options included thin (slender
frame with minimal/no visible fat stores), average (medium
JOURNAL OF CHILDREN’S LITERATURE
frame with some visible fat stores), and overweight (high
levels of visible excess fat). Finally, in cases where the
identity of an author or illustrator’s gender, ethnicity, and/
or body shape was not identifiable based on the available
information, an additional option, labeled unknown, was
created (Koss, 2015).
RESEARCH QUESTION 2. Diversity in picturebook charac-
ters contributes to readers’ conceptualization of self, their
bodies, and their sense of belonging (Koss, 2015). To
investigate the diversity among characters in the current
sample’s body-positive picturebooks, characters were identi-
fied as either main characters (i.e., the primary character
of the story) or secondary characters (i.e., all other charac-
ters). If the story was primarily about one character, they
were identified as the main character and all remaining
characters in the story were labeled secondary. If there was
no distinct main character, all characters were classified as
secondary characters.
Similar to Research Question 1, gender, ethnicity/
race, body shape, and disability were identified for main
and secondary characters. However, based on the lead
author’s initial familiarization period with the data,
five additional variables were created: hair color, hair
length, height, complexion, and facial features. Hair color
options included brown, red, black, blond, and other. Hair
length options were short, medium, long, no hair (bald),
and covered. Options for height included short, average,
and tall. Options for complexion included clear, pimples,
freckles, birthmarks, and other. Lastly, options for face
included glasses, braces, and gap tooth.
RESEARCH QUESTION 3. Judgments about the body’s physical
appearance are not always generalized. Often, they are
directed to a specific aspect (e.g., shape), characteristic
(e.g., skin color), or part of the body (e.g., stomach) (Paxton
& Damiano, 2017). Guided by Cash (2000) and Paxton and
Damiano (2017), nine of the most commonly discussed body
characteristics were identified. The list of body charac-
teristics included weight, shape/size, height, hair, skin,
complexion (e.g., pimples, freckles), facial features (e.g.,
nose, eyes), other body parts (e.g., stomach, legs), and/or
general/nonspecific (e.g., talk of body image but not of a
particular feature).
THEMATIC ANALYSIS. RESEARCH QUESTION 4 . The messag-
ing within picturebooks can contribute to children’s
understanding of the world and their bodies (Koss,
2015). As such, it is important to ensure body-positive
picturebooks are delivering messaging that promotes and
reinforces the constructs of positive body image. To investi-
gate this, thematic analysis of text and visual messaging
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 Paige Coyne, Krista J. Munroe-Chandler, & Sarah J. Woodruff A Content and Thematic Analysis of Body-Positive Children’s Picturebooks 49

for all body-positive picturebooks was conducted accord- complexions (88%). Although almost a third of main charac-
ing to Braun and Clarke (2006). Having first conducted ters were Black (29%), only three main characters (one Asian,
the content analysis, the lead author was already familiar one Middle Eastern, one multiracial) were of other nonwhite
with the data. Thus, one picturebook at a time, the author ethnicities/races. Similarly, less than one quarter (18%) of
began generating initial codes. Coding was completed both main characters had an overweight body shape, with more
deductively (e.g., using the Tripartite Influence Model than three quarters categorized as thin (23%) or average
and previous body image and body-positive research) (e.g., (59%). No main characters appeared to have a physical or
Cwynar-Horta, 2016; Tylka & Wood-Barcalow, 2015) and cognitive disability, only one main character wore glasses,
inductively (i.e., letting the data speak for itself), which and only one had an imperfect smile (e.g., a gap tooth).
aligns with the authors’ critical realist methodologi- Compared to main characters, increased diversity
cal framework. The lead author then grouped codes into was noted across all categories for secondary characters.
potential themes. Next, the lead author reviewed and For example, all picturebooks had at least one second-
refined themes as needed. Lastly, themes were named and ary character who was a girl or woman (100%), and three
defined (Braun & Clarke, 2006). quarters had at least one boy or man (77%) secondary
character. Additionally, all books had at least one secondary
RELIABILITY. Toensure trustworthiness, three picture- character that was white (100%), and at least one second-
books (representing more than 10% percent of the ary character was Black or Asian in 88% and 58% of the
sample) (O’Connor & Joffe, 2020), selected at random, picturebooks, respectively. However, many ethnicities/races
were independently analyzed by a second individual. were still underrepresented. Specifically, less than half
The researcher and second individual got together and of the picturebooks had at least one secondary character
presented their themes. Upon any disagreement, a discus- that was multiracial (42%) or Middle Eastern (38%), with
sion was held until a resolution was achieved. an even smaller number of books showcasing Latino (15%)
characters, and only one book (4%) featuring a secondary
Results character that appeared to be Indigenous.
CONTENT ANALYSIS
General information, including the title, author names, TABLE 2
illustrator names, year of publication, and number of Author and Illustrator Physical Characteristics
pages, and a brief description of each body-positive picture- First Author Second Author Illustratora
book are presented in Table 1. (n = 26) (n = 6) (n = 27)
Gender
RESEARCH QUESTION 1. A breakdown of author and illustrator Man 2 (8%) 2 (33%) 3 (11%)
demographics, including frequency and percentage calcula- Woman 24 (92%) 4 (67%) 24 (89%)
tions, is in Table 2. First authors, second authors, and Unknown 0 (0%) 0 (0%) 0 (0%)
illustrators were most often white (50%, 100%, and 37%, Ethnicity/Race
respectively) women (92%, 67%, and 89%, respectively) with White 13 (50%) 6 (100%) 10 (37%)
average body shapes (46%, 67%, and 44%, respectively) and Black 5 (19%) 0 (0%) 7 (26%)
no physical or cognitive disabilities. Nonwhite authors and Asian 2 (8%) 0 (0%) 3 (11%)

illustrators were considerably fewer in number. Only a small Latino 0 (0%) 0 (0%) 0 (0%)

percentage of body-positive picturebooks had men authors Indigenous 0 (0%) 0 (0%) 0 (0%)

(15%) or illustrators (12%), with only one picturebook, Middle Eastern 1 (4%) 0 (0%) 2 (7%)

Abigail the Whale (Cali, 2016), authored solely by a man. Multiracial 4 (15%) 0 (0%) 0 (0%)

Moreover, only about a third of first authors, second authors, Unknown 1 (4%) 0 (0%) 5 (19%)

and illustrators appeared to be overweight (31%, 33%, and Body shape (adiposity)

26%, respectively), and even fewer were categorized as thin Thin 5 (19%) 0 (0%) 3 (11%)

(19%, 0%, and 11%, respectively). Average 12 (46%) 4 (67%) 12 (44%)

Overweight 8 (31%) 2 (33%) 7 (26%)

RESEARCH QUESTION 2. Table 3 presents the frequencies and Unknown 1 (4%) 0 (0%) 5 (19%)

percentages of main and secondary character demographics Disability

tabulated by existence across the body-positive picturebooks. Physical 0 (0%) 0 (0%) 0 (0%)

Main characters were all girls or women (100%), white (59%), Cognitive 0 (0%) 0 (0%) 0 (0%)

of average shape/size (59%) and height (76%), with long (65%) a

The sample consisted of 27 illustrators for 26 picturebooks as one picturebook
black or brown (47% and 41%, respectively) hair and clear (Rock What Ya Got) was illustrated by two individuals.

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50 A RT ICL E S

TABLE 3 More picturebooks had secondary characters with

Main and Secondary Character Characteristics average (92%) or thin (62%) body shapes, compared to
Tabulated by Existence Among Body-Positive overweight (42%) shapes, which were still represented in
Picturebooks (N = 26)
slightly less than half of picturebooks. However, less than
Main Character Secondary Characters a third of the books had at least one secondary charac-
Characteristics (n =17)a (n = 26)b
ter with a physical disability (27%). More than three
Number (percentages) Number (percentages)
quarters of the picturebooks had at least one second-
Gender
Girl/woman 17 (100%) 26 (100%)
ary character of each hair color (range of 77% to 96%;
Boy/man 0 (0%) 20 (77%) besides other, 4%) and length (range of 50% to 92%). Yet,
Ethnicity/race only just over a third of the picturebooks had at least one
White 9 (53%) 26 (100%) secondary character whose hair was covered (e.g., with
Black 5 (29%) 23 (88%) a hijab). Lastly, although the picturebooks appeared to
Asian 1 (6%) 15 (58%) have secondary characters with more diverse complex-
Latino 0 (0%) 4 (15%) ions and faces than main characters, there was still a
Indigenous 0 (0%) 1 (4%)
marked lack of picturebooks with secondary characters
Middle Eastern 1 (6%) 10 (38%)
with nonclear complexions and/or sporting braces or an
Multiracial 1 (6%) 11 (42%)
imperfect smile (e.g., gap-toothed).
Unknown 0 (0%) 7 (27%)
Body shape (adiposity)
RESEARCH QUESTION 3. A summary of the body characteris-
Thin 4 (23%) 16 (62%)
Average 10 (59%) 24 (92%) tics discussed among the current sample of body-positive
Overweight 3 (18%) 11 (42%) picturebooks, including frequencies and percentages,
Disability is in Table 4. Body-positive picturebooks appeared to
Physical 0 (0%) 7 (27%) vary drastically in the body characteristic(s) discussed.
Cognitive 0 (0%) 0 (0%) Just under one third (27%) of the picturebooks focused
Hair color solely on one body characteristic, whereas the majority
Brown 7 (41%) 25 (96%)
(73%) discussed multiple body characteristics. The most
Red 2 (12%) 20 (77%)
frequently discussed body characteristics were hair (54%)
Black 8 (47%) 24 (92%)
and skin (54%). Other frequently discussed body charac-
Blond 0 (0%) 22 (85%)
teristics included facial features (46%), general or nonspe-
Other 0 (0%) 4 (15%)
Hair length
cific (46%), and body shape/size (42%). The least discussed
Short 1 (6%) 23 (88%) characteristics were height (9%) and other body parts (e.g.,
Medium 5 (29%) 24 (92%) arms; 31%).
Long 11 (65%) 26 (100%)
No hair (bald) 0 (0%) 6 (23%)
Covered 0 (0%) 7 (27%) TABLE 4
Height Body Characteristics Discussed Among the
Short 3 (18%) 13 (50%) Sample of Body-Positive Picturebooks
Medium/average 13 (76%) 24 (92%)
Number of Picturebooks
Tall 1 (6%) 15 (58%) (N = 26)
Complexion
General or nonspecific 12 (46%)
Clear 15 (88%) 23 (88%)
Pimples 0 (0%) 1 (4%) Body weight 5 (19%)

Freckles 2 (12%) 10 (38%) Body shape/size 11 (42%)

Birthmarks 0 (0%) 1 (4%)
Height 9 (35%)
Other 0 (0%) 1 (4%)
Face Hair 14 (54%)
Glasses 1 (6%) 15 (58%) Skin 14 (54%)
Braces 0 (0%) 2 (8%)
Complexion (e.g., pimples, freckles) 6 (23%)
Gap-tooth 1 (6%) 1 (4%)
Facial features (e.g., nose, eyes) 12 (46%)
a
The existence of each body characteristic was calculated out of 17 for main
characters as only 17 of the 26 picturebooks featured a main character. Other body part(s) (e.g., stomach, legs) 8 (31%)
b
The existence (not incidence) of each body characteristics among secondary
characters (e.g., at least one secondary character had that characteristic option) Note. Each picturebook was coded for and could have discussed more than
was out of 26 as all picturebooks in the sample featured secondary characters. one body characteristic.

JOURNAL OF CHILDREN’S LITERATURE VOL 48 NO 2 FALL 2022

 Paige Coyne, Krista J. Munroe-Chandler, & Sarah J. Woodruff A Content and Thematic Analysis of Body-Positive Children’s Picturebooks
THEMATIC ANALYSIS
RESEARCH QUESTION 4. Analysis of illustrations and text
from the sample’s picturebooks resulted in the discovery
of five body-positive messaging themes that are congru-
ent with current body image research. However, three
body-negative messaging themes were also identified. Each
theme is listed and described below, including quotes from
the sample’s picturebooks. Specific page numbers for quotes
are not given as most picturebooks in the sample did not
have numbered pages.
BODY-POSITIVE MESSAGING. Different Is Beautiful. This
sample of picturebooks encourages young readers to
embrace their physical differences. Many picturebooks
emphasized the importance of seeing different and unique
bodies as beautiful. For example, A Girl Like You (Murphy
& Murphy, 2020) states, “Your unique traits are what
make you especially beautiful and ESPECIALLY you!”
Additionally, picturebooks reinforced the notion that every
child is special. This is evidenced in Happy in Our Skin
(Manushkin, 2015), where one of the takeaway messages
is “Yes, we all have skin, but nobody is you. You are one of
a kind and your fingerprints, too.” The sample’s picture-
books also prompt readers to love their body “with all
of its flaws” (Just Like Me; Brantley-Newton, 2020) and
embrace the benefits of their perceived flaws. For example,
Shreya, the main character in Small or Tall, We Sparkle
After All (Watdhan Singh, 2020), learns that her short
height (which she perceives negatively) allows her to fit
in small spaces and be good at hide-and-seek. Moreover,
many picturebooks, such as Eyes That Kiss in the Corners
(Ho, 2021) and I Am Mixed (Beauvais & Jones, 2013), shed
light on the cultural underpinnings of different bodies and
highlighted the joys that can come from learning about
one’s cultural heritage and how this heritage displays itself
proudly in the body’s appearance.
Function Over Appearance. Across this sample’s
picturebooks, readers, especially girls, were urged to love
themselves and focus on what their bodies can do, regard-
less of what they look like. For example, in Her Body Can
(Crenshaw and Meschke, 2020), the main character’s body
can “jump, spin, and dance.” Similarly, Maggie, in I Love
My Nose (Selley, 2019), tells the reader how much she
loves her eyes and her nose because they help her see her
bug collection and smell freshly baked cinnamon buns.
Moreover, Happy in Our Skin (Manushkin, 2015) and
Your Body Is Awesome (Danielsdottir, 2014) both acknowl-
edge all the incredible happenings that go on inside the
body, from the scab that forms when a knee gets scuffed
to the heart’s ability to pump blood throughout the body.
By exploring these subjects, readers are prompted to see
VOL 48 NO 2 FALL 2022
51
beyond the surface of their bodies and appreciate their
bodies for what they do. Additionally, picturebooks such as
Abigail the Whale (Cali, 2016) and Amanda’s Big Dream
(Matz, 2015) remind readers that the body’s appearance
does not determine its talents or abilities (e.g., being a good
swimmer). Lastly, readers are constantly reminded that
who they are on the inside (e.g., strong, funny, fearless,
nice, brave, unstoppable, focused, kind) is far more
important and valuable than the “shapes of [their] thighs”
(Her Body Can; Crenshaw & Meschke, 2020) or what they
look like on the outside.
A Body Is a Home That Needs to Be Cared For. As
Your Body Is Awesome (Danielsdottir, 2014) points out,
“we all live in our bodies,” and just like the homes we live
in, they need to be adequately cared for. Young readers
of the sample’s picturebooks are encouraged to listen to
their bodies because they “let us know what they need
to stay well and feel good” (Danielsdottir, 2014), includ-
ing by sending hunger and satiety signals. Additionally, a
handful of the picturebooks highlighted the importance of
not equating body size or weight with health. For example,
in an excerpt from Amanda’s Big Dream (Matz, 2015),
the doctor makes sure to tell Amanda, a young girl who
is concerned about her weight, that she is “a very healthy
girl.” The doctor explains, “A lot of people think you can
just decide how much you want to weigh, but that’s not
true. Bodies come in all shapes and sizes.” Moreover,
through the doctor’s words and actions, Amanda (and those
reading) are reassured that engaging in health habits,
such as being active, getting lots of sleep, and eating a
variety of foods, is the best way to care for the body.
Choose Body Compassion, Not Criticism. According to
Happy in Our Skin (Manushkin, 2015), everyone starts out
“small and happy in [their] skin.” Yet, in a world where the
idea of an ideal body and body critiquing are ever present,
the picturebooks in the sample demonstrate the benefits
of practicing positive body talk, developing self-confidence,
and refraining from body critique. Overtly, the narrator
of Dear Girl: A Celebration of Wonderful, Smart, Beauti-
ful You! (Krouse Rosenthal & Rosenthal, 2017) asks the
main character to look at herself in the mirror (a practice
or activity that readers could do) and “say thank you to
something that makes you YOU,” to which she responds,
“Thank you, freckles.” Similarly, Happy to Be Me! (Adams
& Butch, 2014) ends by asking the reader to practice
positive affirmations such as “I am loved. I am good. I
am happy to be me.” Young readers may also relate to
several characters, like Abigail from Abigail the Whale
(Cali, 2016) or Vanessa from Becoming Beautiful (Rawat,
2019), who are not always self-confident in their bodies.
JOURNAL OF CHILDREN’S LITERATURE
52 A RT ICL E S
However, readers also get to be a part of Abigail’s and
Vanessa’s journeys of becoming more confident in their
bodies and practicing positive self-talk, while doing their
best to ignore the judgments of others. Thus, readers of
these picturebooks can learn to “rock what [they] got”
(Rock What Ya Got; Berger, 2018) and adopt positive body
talk, while simultaneously learning to push away negative
body-related thoughts and feelings.
Wear and Be What and Who You Want. The sample’s
picturebooks share the common message that girls
should feel confident to be and dress how they choose. For
example, What Would Fashion Look Like if It Included
All of Us? (Richards, 2020) says goodbye to the days when
clothing was gendered and suggests “rip[ping] off the labels
on all those! Just wear what you love and feel most proud
of.” Similarly, A Girl Like You (Murphy & Murphy, 2020)
encourages girls to look at their clothing and hair as forms
of expression and to wear and do with their hair what
they so please. Furthermore, Her Body Can (Crenshaw
& Meschke, 2020) highlights that body size should not
determine whether a girl should choose to wear a one-piece
or a two-piece swimsuit or what stores she chooses to shop
at, whereas Lovely (Hong, 2017) explains to young readers
that they do not have to choose between fancy and sporty or
graceful and stompy, but can instead be all of these things
at different times.
BODY-NEGATIVE MESSAGING. Barbies and Bratz. Although
many of the picturebooks featured illustrations of young
girls with realistic body proportions, shapes, and sizes,
others did not. Specifically, picturebooks such as Dear
Girl (Krouse Rosenthal & Rosenthal, 2017), I Don’t Want
Curly Hair (Anderson, 2017), and I Love My Nose (Selley,
2019) showcased characters with unrealistically thin arms
and legs, as well as incredibly small bodies with larger
than normal heads, reminiscent of both Barbie and Bratz
dolls. Other books, such as Beautiful Girl: Celebrating
the Wonders of Your Body (Northrup & Tracy, 2013), also
reinforced appearance ideals by illustrating girl charac-
ters to have extremely long hair that flowed across entire
pages and waists that cannot be identified as anything but
unrealistically thin.
Body Acceptance Depends on the Approval of Others.
Most picturebooks in the sample did a good job of affirming
self-worth. However, in Becoming Beautiful (Rawat, 2019),
when a character is given the chance to get a glimpse into
the future (thanks to a magical fairy), her narrative does
not relate to any of her future personal or professional
accomplishments, but rather to a future opportunity should
she have to attend a dance with a handsome boy. As a
JOURNAL OF CHILDREN’S LITERATURE
result, this may perpetuate among readers, and particu-
larly young girls, the need to seek approval of themselves
and their bodies from others (e.g., boys and men).
Foods Are Good or Bad. Although the sample’s picture-
books were chosen for their focus on body image, not food,
the labeling of foods within these books as “good” and “bad”
can have negative consequences for a reader’s development
of a positive body image and healthy eating behaviors.
Specifically, it is potentially harmful that the main charac-
ter’s memawh (i.e., grandma) in Just Like Me (Brantley-
Newton, 2020) instructs her granddaughter to make the
“right choices” and always choose “carrots over candy” and
“water instead of soda.” Likewise, Happy to Be Me! (Adams
& Butch, 2014) urges the reader to “eat good food and
stay away from things that are bad for your body,” further
implying that foods need to be categorized. Instead, such
picturebooks could benefit from taking approaches similar
to Amanda’s Big Dream (Matz, 2015), where Amanda
is encouraged to listen to her body’s hunger and satiety
signals and eat a variety of satisfying foods, all of which
help create positive and healthy relationships with food
and the body.
Discussion
The purpose of this study was to evaluate the creators,
contents, and messaging of body-positive picturebooks
geared toward young readers. Specifically, this study
sought to examine (a) who were the authors and illustra-
tors of such picturebooks, (b) who were the characters
created by these authors and illustrators, (c) what body
characteristics were discussed among the sample of
picturebooks, and (d) what types of messages could be
transmitted to young readers of such picturebooks.
First authors, second authors, and illustrators of
the body-positive picturebooks evaluated as part of this
study were primarily white women with no disabilities. As
such, the authors and illustrators of body-positive picture-
books appear to be akin to the authors and illustrators,
as well as publishers, of most children’s books, who are
often white, women, and without disability (Anderson,
2011; Koss, 2015; Lee & Low Books, 2020). Furthermore,
approximately two thirds of authors had thin or average
body shapes. The lack of ethnic/racial, gender, disability,
and body shape/size diversity among authors and illustra-
tors is potentially problematic, given the considerable, and
sensitive, debate that exists regarding appropriation of
voice (i.e., authors depicting characters and themes outside
of their own identity) (Coombe, 1993; Hollowell, 2015;
Naidoo, 2008; Puc, 2020). Specifically, some individu-
als believe it is inappropriate for authors and illustra-
tors to create stories with main characters or storylines
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 Paige Coyne, Krista J. Munroe-Chandler, & Sarah J. Woodruff A Content and Thematic Analysis of Body-Positive Children’s Picturebooks
outside of their lived identity and experiences (Coombe,
1993; Hollowell, 2015; Naidoo, 2008; Puc, 2020), while
others reject this notion and advocate for authors’ freedom
of imagination (Coombe, 1993). Regardless, without
more diversity among authors and illustrators, one of
two problematic outcomes is likely. First, should current
authors and illustrators of body-positive picturebooks only
create stories for which they have lived experiences, future
body-positive picturebooks will not adequately encapsu-
late the diversity among potential readers. Conversely, if
current authors and illustrators choose to create stories
outside of their lived experiences, there is the potential
that they will fail to appropriately capture the stories,
experiences, and feelings of underrepresented groups.
As such, it is imperative that the authors and illustrators
of body-positive picturebooks become more diverse
in ethnicity/race, gender, disability, and body shape/size
(Hollowell, 2015; Naidoo, 2008; Puc, 2020) and that
authors and illustrators from underrepresented groups are
given a platform. Although much easier said than done,
it would be ideal if all young readers had a right to read
picturebooks written and illustrated by individuals that
look like them and to whom they can relate.
A similar lack of diversity was identified among main
and secondary characters of the sample’s body-positive
picturebooks, reinforcing “whiteness as the norm” and
contributing to the ongoing marginalization of all other
races/ethnicities (Guess, 2006, p. 649). Main characters
were, like the authors and illustrators, mostly white girls,
of average body size, and without disability. This lack of
ethnic/racial and disability diversity among main charac-
ters of picturebooks in the current study is congruent with
previous reports that main characters of picturebooks are
overwhelmingly white and without disability (Crisp et al.,
2016; Koss, 2015). However, in contrast to the majority of
children’s literature, whose main characters are most often
boys and men (Crisp et al., 2016; Koss, 2015; McCabe et
al., 2011), all body-positive picturebooks analyzed for the
current study featured girls as main characters. Although
the increase in girls as main characters in the current
sample of picturebooks is a welcome departure from other
children’s literature, the utter lack of boy main characters
in body-positive picturebooks is concerning, given that body
image is not a gendered issue. Even at young ages, boys are
becoming increasingly aware of their bodies and creating
expectations as to what they should look like (Birbeck &
Drummond, 2006). Thus, as picturebooks are identified as
a potentially highly influential transmitter of sociocultural
messaging (Garner & Parker, 2018; Gilbert, 1998; Kozak
& Recchia, 2019; Strouse et al., 2018), there is a dire need
for body-positive picturebooks featuring boy main charac-
ters to be published. Without such publications, half of all
VOL 48 NO 2 FALL 2022
53
young readers may not be able to see themselves in and
relate to the characters of these books, reducing the books’
overall potentiality to aid young children in the develop-
ment of a positive body image.
Furthermore, as young children grow and develop,
their bodies change in all kinds of ways, including in
weight, shape, size, and proportions (Medialdea et al.,
2019). However, almost two thirds of main characters
in the sample’s body-positive picturebooks showcased
average-shaped bodies, while less than a third of
the sample showcased other body types (e.g., thin or
overweight). As a result, it may be difficult for young
children who are not of average body shape to identify
with the main characters of body-positive picturebooks,
which may ultimately inhibit the potential ability of
such books to aid in the development of positive relation-
ships between children and their bodies. Moreover,
main characters most commonly had long hair and clear
complexions, further perpetuating unrealistic (Western)
beauty standards already present among children’s fairy
tale and princess stories (e.g., Anna and Elsa in Frozen;
Lee & Del Vecho, 2013), which suggest that long hair
and clear complexions are superior (Banks, 2000; Fink
& Neave, 2005; Synnott, 1987). Again, this may result in
unrelatable main characters and decreased investment
for some young readers. However, it should be noted that
despite the overrepresentation of long hair among main
characters, there was a variety of hair types and styles
presented. Specifically, several books such as Big Hair,
Don’t Care (Swain-Bates, 2013) and Hair Like Mine (Perry,
2015) may help girls and boys of nonwhite ethnicities/races
fight traditional stereotypes surrounding hair (Banks,
2000; Synnott, 1987) and embrace their natural hair for
all of its beauty and worth.
Compared to main characters, secondary charac-
ters displayed more diversity. Yet, many groups were
still sharply underrepresented. For example, there was a
severe lack of Latino and Indigenous representation among
characters in the current sample of picturebooks, echoing
reports by Crisp et al. (2016), Naidoo (2008), and Roberts
et al. (2005) that such groups are underrepresented, and
often inaccurately represented, in children’s picturebooks.
On a more positive note, more than three quarters of the
books had at least one secondary character that was a boy,
and there was also a greater existence of secondary charac-
ters with thin or overweight bodies, compared to main
characters. Additionally, a greater variety of hair colors,
hair lengths, and complexions was also shown. However,
the diversity discrepancy between main and secondary
characters may be problematic. Specifically, it may further
echo to children who (based on their physical appearance)
do not identify with main characters that they or their
JOURNAL OF CHILDREN’S LITERATURE
54 A RT ICL E S
bodies are inferior or secondary to those whose appearance
more closely mirrors that of the main characters.
In regard to the body characteristics discussed,
the picturebooks presented a wide range of body charac-
teristics, with most choosing to highlight multiple body
characteristics in a single story. The most frequently
discussed topics were hair and skin. Despite current
means to change the color and texture of hair, there is
a long history of superiority for long, soft, straight hair
(Synnott, 1987). As a result, individuals of nonwhite
ethnicities/races, whose hair is not naturally of these
qualities, have been deemed to have inferior appear-
ances for decades (Synnott, 1987). A similar histori-
cal trend is also present for skin color, where lighter
shades are the accepted standard of beauty compared to
darker shades (Bryant, 2013). However, increased calls
to reject traditional stereotypes regarding hair and skin
have been made. Thus, the increase in publications of
children’s picturebooks on such topics may be a positive
reflection of this trend and may help future generations,
with the above-mentioned traits, be more accepting of
their own bodies, while also receiving greater acceptance
from others. Another popular characteristic of discussion
among many of the current sample’s picturebooks was
body shape/size. Such popularity was anticipated as body
size/shape and/or weight are often the body characteris-
tics that come to mind when thinking about or discuss-
ing body image. However, body shape/size and weight
are not the only aspects of body image individuals should
consider, and the current sample’s range of body charac-
teristics discussed will hopefully help young readers
develop a positive relationship with not only their body’s
shape/size and weight, but its other features as well.
Overall, thematic analysis revealed positive messag-
ing from the body-positive picturebooks under examina-
tion. More importantly, most messaging is supported by
current literature. For example, the idea that “value goes
beyond physical appearance” is supported by Cash et
al. (2005), who reported that the use of positive rational
coping techniques (e.g., “I tell myself that there are more
important things than what I look like” and “I remind
myself of my good qualities”) often result in less body
dissatisfaction and more favorable quality of life experi-
ences with body image. Similarly, Cash (2008) reiter-
ated the importance of self-care and body appreciation,
not critique, in the development of a healthy body image,
providing support for body-positive picturebooks sharing
messages such as “a body is a home that needs to be cared
for” and “choose body compassion, not criticism.” Addition-
ally, messages like “different is beautiful” and “wear and
be what and who you want” are congruent with research
by Tylka and Wood-Barcalow (2015) that suggests feeling
JOURNAL OF CHILDREN’S LITERATURE
confident and comfortable in one’s body and embracing its
uniqueness can lead to greater body satisfaction.
However, three potentially harmful themes among
the messaging in the study’s picturebooks were discov-
ered. Specifically, several authors of picturebooks in the
current study chose to illustrate characters with stereo-
typically beautiful, unrealistic traits. Upholding such
stereotypical standards of beauty could potentially limit
young readers from developing a broad conceptualization
of beauty and accepting a wide range of appearances as
desirable (Tylka &Wood-Barcalow, 2015). Additionally,
body acceptance and appreciation, important components
of body image (Cash, 2008), are innately personal.
Messaging suggesting that young readers should look to
others for body acceptance contradicts current research
that suggests that body appreciation and acceptance
should come from within, not from external sources
(Cash et al., 2005; Tylka &Wood-Barcalow, 2015). Lastly,
although the sample’s picturebooks were chosen for their
focus on body image and not food, the labeling of foods
as “good” or “bad” could have negative impacts on an
individual’s body image, given its intertwined relationship
with eating behaviors (Levine & Smolak, 2006; Neumark-
Sztainer, 2005)
LIMITATIONS
Although the current study may be one of the first of its
kind to analyze and evaluate body-positive picturebooks
for young children (who are perhaps in the initial stages of
discovering and developing their own body image), it is not
without a few limitations. First, the study only included
a modest sample of 26 body-positive picturebooks. It is
acknowledged that the current study’s robust inclusion and
exclusion criteria are a strength (e.g., using only picture-
books published within the last decade to ensure relevancy
to current-day body image standards and concerns) but
likely contributed to a reduced sample size. Thus, as more
body-positive picturebooks become available, further
analysis will be needed. Additionally, certain variables
(e.g., gender, ethnicity/race, and disability) were defined in
a limited fashion, and as understandings of such variables
evolve, it would be best practice to include additional
options and terms, as appropriate and feasible. It would
be prudent for future studies to expand upon such defini-
tions and employ other techniques (e.g., self-identification)
to categorize authors and illustrators, as well as main and
secondary characters, on such variables.
CONCLUSION
This study provides valuable insight into the contents and
messaging of a moderately sized sample of body-positive
picturebooks geared toward young children. Content
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 Paige Coyne, Krista J. Munroe-Chandler, & Sarah J. Woodruff A Content and Thematic Analysis of Body-Positive Children’s Picturebooks
analyses revealed a lack of diversity among the picture-
book creators (i.e., authors and illustrators) and the main
characters brought to life within the stories told. However,
compared to most picturebooks, the books in this sample
were also found through content analysis to contain a
greater percentage of girl or woman main characters, as
well as more diversity in the gender, ethnicity/race, body
shape, hair color and length, height, complexion, and
faces of both main and secondary characters. Addition-
ally, other than in a few instances, thematic analysis
revealed messaging that was predominantly supported by
current research and that could be beneficial in helping
young children in the development of positive body image.
However, future intervention studies are needed to assess
this potential and confirm whether using body-positive
picturebooks can meaningfully aid with the prevention of
body dissatisfaction and in the development of a positive
body image among young children. �
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Paige Coyne is a PhD candidate in the Department of Kinesiology at the
University of Windsor, Canada. Her research interests lie in examining physical
and social environmental factors that impact psychosocial and physical health,
with a particular focus on technology and social media.
Dr. Krista J. Munroe-Chandler is recognized for her work in the psychology of
sport and exercise. She is a professor in the Department of Kinesiology at the
University of Windsor, Canada. Her research interests include imagery use by
performers (sport, exercise, dance), as well as youth sport development. She
works with able-bodied athletes as well as athletes with a disability of all ages,
levels, and sports, helping them achieve their personal performance goals.
Dr. Sarah J. Woodruff is a professor in the Department of Kinesiology at the
University of Windsor, Canada. She is a community-based researcher who
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