At what point did you know you wanted to work in publishing and how did you get your first break in the industry?

I was always a big reader growing up, and my hometown of Cheltenham, with its annual Literature Festival, sparked my fascination with the world of books. I became eager to learn more about publishing, so I volunteered at the festival and completed several internships during my late teens and while at university. Goldsmiths, University of London, was an inspiring place that further fuelled my passion for literature. The lecturers there – particularly Michael Simpson, Charlotte Scott, and Russ McDonald – were incredible. Their insight and enthusiasm for literature deepened my understanding and gave me the confidence to pursue a career in the arts.

After finishing my master’s degree in Bristol, I found there were very few publishing opportunities outside London. However, I was fortunate to secure my first editorial role with Parragon Books as an editorial assistant in their licensing department, working with major brands like Disney, Marvel, and Nickelodeon. During my time there, I worked closely with Karl Tall on design and Samantha Rigby on editorial, both of whom taught me so much. Their mentorship and expertise shaped my approach to book production and publishing, helping me understand the importance of collaboration between design, content, and production. The role was incredibly diverse – one day I could be working on an activity book for Frozen, and the next, planning a picture book for a new Pixar movie. It was a truly creative and collaborative environment that set the foundation for my career.

Since then, I’ve transitioned into working primarily on illustrated books, from non-fiction to picture books, which continues to be a hugely rewarding aspect of my career. Working with Denise Johnstone-Burt at Walker Books, a mentor I deeply admire, was an incredible experience. She encouraged me to push myself creatively and professionally, helping me to take on more responsibility and develop my editorial and design skills further. Her guidance has had a lasting impact on my approach to publishing, and I will be eternally grateful for her support in shaping my career trajectory.

Tell us about a recent project you enjoyed overseeing and what made the collaboration so memorable.

One of the most memorable projects I’ve worked on recently is Beautiful: A Celebration of Evolution, a stunning natural history book by artist William Spring. Will’s hyper-realistic watercolour illustrations are breathtaking, and his dedication to showcasing the beauty of the natural world really shines through in the project. What made the collaboration even more special was that, during the production process, Will began losing sight in one of his eyes. His personal journey added a poignant depth to the book, as he shared not only his love for the natural world but also his reflections on the fragility of life. This book is a true labour of love, and being part of it has been eye-opening for me – especially in understanding the future of illustrated books, where we’re striving to preserve traditional art forms while adapting to new market demands.

What do you most enjoy about the collaborative process with artists? Give a few anecdotal examples.

Collaboration is at the heart of everything I do in publishing. I believe the best books emerge when everyone involved – designers, illustrators, and editors – works together to create something truly special. For example, this year I’ve had the pleasure of working with award-winning artist Emma Carlisle on her picture book A Home is a Nest. This beautiful book explores the concept of "home" through nature’s lens, drawing parallels between how animals care for their young and how humans care for their families. The project was incredibly rewarding, as Emma’s illustrations perfectly captured the warmth and intimacy of the theme. It’s a book made for sharing – whether reading aloud at bedtime or gifting to new parents – and working with Emma was a deeply inspiring experience as an artist who is so passionate about expressing the emotions of the story.

Beyond picture books, I also have the privilege of overseeing visually extraordinary non-fiction projects. One such book I’m particularly proud of is Money, which presents the history of money in a completely fresh way. Written by Alex Woolf and illustrated by Nick Taylor, Money takes young readers on a journey from ancient bartering to cryptocurrency and contactless payments. What makes it unique is its presentation – combining posters, comic strips, timelines, and newspaper articles to make a complex subject both accessible and visually striking. The collaboration between Alex, Nick, and the team was inspiring, as we worked together to ensure the book was not only educational but also captivating for readers aged 9+. It’s been incredibly rewarding to help bring this ambitious, fun, and engaging project to life.

Tell us about some of Big Picture Press’s greatest success stories so far.

In 2023, Big Picture Press celebrated its 10-year anniversary since the publication of Maps by Aleksandra and Daniel Mizieliński and Animalium by Katie Scott in the imprint’s debut year. Big Picture Press has made a lasting impact on the children’s non-fiction market, continuously reinvigorating it with a captivating range of illustrated titles.

This year, we expand the best-selling Welcome to the Museum series, which has sold over 2 million copies worldwide, by publishing its tenth title, Insectarium. This exciting new book brings together specialists like bee ecology expert Dave Goulson and award-winning British illustrator Emily Carter, in partnership with the Royal Entomological Society. Not only is it a visually stunning book, but it also addresses the critical issue of insect conservation, making it a must-have for nature lovers.

In addition, Big Picture Press is proud to publish picture book author-illustrator Emma Carlisle, whose What Do You See When You Look at a Tree? was shortlisted for the prestigious Waterstone’s Book Prize. Emma's work brings a unique blend of artistry and storytelling, and this particular book has captivated readers with its gentle exploration of nature, encouraging children to see the world through a fresh, reflective lens. Emma's exceptional talent and ability to create evocative, meaningful books make her an important part of our publishing success.

Are there particular themes or styles you look for when browsing an artist's portfolio?

When browsing an artist's portfolio, I always look for authenticity. A portfolio should reflect an artist’s personality, interests, and the type of work they want to do in the future. It’s tempting to create work based on what you think people want, but I believe the best collaborations happen when both the artist and the publisher align on vision and style. For example, when reviewing portfolios, I look for unique perspectives – whether it's a bold new approach to classic subjects like dinosaurs or a fresh take on natural history. I also appreciate when artists push traditional boundaries, especially in non-fiction, which is something I strive for in my own editorial work. Ultimately, it's about finding artists who are passionate about their craft and who are excited about bringing their ideas to life in collaboration.

What are some of the biggest pressures associated with your job?

Time and money are often the biggest pressures in publishing, as in life. We always strive for high production values and artistic excellence, but we must also work within the realities of budget and timelines. Creating beautifully illustrated books is a delicate balancing act, and it’s critical that we consider not just the visual appeal of a book, but also how it will resonate with readers. A well-crafted book is not just visually captivating – it should also feel special in hand. We consider everything, from alternative formats to unique cover finishes, in order to ensure the final product stands out. Working with production teams and co-editors to meet target prices and build successful print runs adds another layer of complexity, but it’s all part of creating internationally renowned books that readers will cherish for years to come.

In what way is today's political climate affecting the kind of books you are publishing at Bonnier?

Today’s political climate has made us much more mindful of the stories we publish, particularly in terms of inclusivity and representation. We aim to ensure that our books reflect the diverse world in which we live, and that they encourage empathy, understanding, and critical thinking. It’s a time when books can play a vital role in shaping the way young readers understand the world, and we’re committed to telling stories that reflect the current challenges and conversations around social justice, climate change, and equality. At the same time, we also look to create books that offer escape, comfort, and hope, providing readers with a balanced perspective.

One example is Art of Protest, a thought-provoking exploration of protest art by activist and lecturer De Nichols. From Keith Haring to Extinction Rebellion, the civil rights movement to Black Lives Matter, the book examines how revolutions are expressed through words and images. It invites readers to analyse how design – colour, symbolism, typography, and technique – plays a vital role in communication, while also offering tips and activities to inspire readers to create their own protest art. Illustrated by a talented group of young artists from around the world, including Diana Dagadita, Olivia Twist, Molly Mendoza, Raul Oprea, and Diego Becas, Art of Protest is both an inspiring look at historical movements and a call to action for future activists and creators. It’s a perfect example of how Big Picture Press is using books to spark conversation and inspire change in today’s political climate.

What kind of stories are you looking to acquire at the moment?

I’m always drawn to timeless topics and themes – subjects that have stood the test of time and continue to capture children’s imaginations but presented in fresh and unique ways. Classic themes like dinosaurs, space exploration, animals, and mythology are perennial favourites, but the challenge is to present them in a way that feels new and exciting.

We’re also looking to expand into more highly illustrated adult books, as I believe there’s a growing market for design-conscious books among millennials. At Big Picture Press, we’ve been developing illustrated adult titles as part of our strategy to broaden our reach. For example, we published Tales Beyond the Stars: A Collection of Classic Science Fiction Stories this year, which blends sci-fi with stunning illustrations by comic book artist Evangeline Gallagher. This taps into the growing interest in science fiction and connects with readers in a way that’s visually captivating and intellectually stimulating.

I’m also keen to develop graphic novels and artist-led projects for both children and adults. Currently, I’m working on a new graphic novel with debut author-illustrator Elin Manon. This exciting project explores the creation of the Earth and the importance of conservation, bringing these big themes to life in an engaging and visually dynamic way. It’s a fantastic opportunity to work with a new talent and to explore how graphic storytelling can make complex topics both accessible and visually captivating.

Who or what has inspired you most in your career?

I know this might sound a bit cliché, but my family has been my greatest inspiration. My mum, in particular, has always been my rock. She’s the one who helped me foster my love of books from a young age, helping me with my reading and spelling, and gave me the resilience to continue pursuing my dreams even when things got tough. Her favourite phrase, “Everything happens for a reason,” is one that’s always stuck with me. It might be a bit of a platitude, but it’s also a reminder to stay positive and have faith in yourself, even when things don’t go according to plan. Publishing is a creative and emotional field and having that kind of unwavering support makes all the difference.

Which books from your own childhood had the most profound effect on you?

Growing up, my parents always made time to read with me, despite their demanding jobs in the NHS. We read Roald Dahl together, with Fantastic Mr. Fox and Danny the Champion of the World being particular favourites. But one of the most meaningful books from my childhood was Can't You Sleep, Little Bear? by Martin Waddell and Barbara Firth. My dad would read it to me at bedtime, and I remember insisting that he never skip a word. Funnily enough, years later, I worked at Walker Books, where Can't You Sleep, Little Bear? was first published! My older brother, a philosopher at heart who is a talented writer and artist, also introduced me to authors like Tolkien, Poe, and Mary Shelley, which sparked my love of fantasy and horror. He often called me “Frankenstein’s monster,” which, I guess, was a fitting nickname for someone who spent a lot of time devouring books and imagining other worlds.