What first drew you to children's publishing, and what was your route into the industry?

Like most people in our wonderful industry, I've always been a bookworm. My route in started when the opportunity arose to work Saturdays doing editorial for the Gardening list at DK, which I grabbed with both hands. After about six months, I left my PA role to join the team full-time. From there, I moved to the Jackets team, writing copy for children's and adult titles and ensuring cover art hit key sales deadlines, before transitioning permanently into Children's publishing, where I've been ever since.

Was there a book or books you loved as a child that you can trace a line from, to the kind of books you commission today?

I was given the Ted Smart DK Animal Encyclopedia for my birthday when I was little and became completely obsessed with it. That exact book is still in print and sits on the list I look after today, which is a real full circle moment. I'm unbelievably lucky to publish across such a wide spectrum; from baby board books and illustrated non-fiction to gift titles, middle-grade, and YA fiction on our DK flip list. I was lucky enough to always be taken to the library and be gifted books, and I was constantly reading or listening to audio tapes. While I don't think any single book defined my path, that childhood exposure is why we strive at DK to offer immense variety. You never know which book will be the one for a young reader.

You started out publishing DK's core non-fiction list and have now spearheaded the launch of the company's first-ever fiction imprint, DK flip. What's the story of how that came about?

It evolved very naturally. We had already begun branching into gift titles, preschool, and picture books with a non-fiction heart, exploring new formats and identifying market gaps beyond purely photographic layouts.

While at the Bologna Children's Book Fair, I met with Jenny at Nurnberg, Cornelia Funke's agent. She mentioned a brilliant new manuscript Cornelia had submitted, and I tried my luck by asking to read it. Once I read it, the hard work began because we needed to show Jenny and Cornelia how a middle-grade fiction title could thrive on a DK list; a list that historically focused only on non-fiction. They put their trust in us, and we published The Green Kingdom in March 2025. After securing UK and Commonwealth rights, we acquired US rights as well, and it became an instant New York Times bestseller. Arabella Stein joined us in January 2024, and together we rolled up our sleeves to build the DK flip imprint from the ground up.

Your promotion to Associate Publishing Director saw you take on fiction, author-led and gift titles, as well as preschool publishing. How different is your day-to-day now compared with when you focused solely on non-fiction?

Wildly different! In a single hour, I might be evaluating the fluffiness of a bunny's tail on a board book, refining the mechanical pop-up of a novelty title, discussing jacket design for a YA trilogy, and jumping into an auction for an outstanding debut non-fiction pitch. Balancing such a broad range of formats, creators, and genres is fast-paced, but that dynamic energy is where the best ideas are born. We have an extraordinary team of editors and designers who flex seamlessly across different book styles so I am very lucky to be part of that team.

DK has been publishing non-fiction for children for over 50 years. What was it like being part of the team that finally pushed the company into fiction for the first time?

It was equal parts daunting and thrilling! Moving at full speed, you rarely get a moment to catch your breath. It wasn't until Bologna, when we celebrated DK flip's first anniversary, that I paused to reflect on what the entire team had accomplished. That was a deeply rewarding moment.

DK flip's launch list spans middle-grade mystery with The Green Kingdom by Cornelia Funke and Tammi Hartung, YA supernatural mystery with Andrew Wilson's Niflheim, and epic fantasy with Rosaria Munda's The Aurelian Cycle. How did you go about building that first list, and what ties these titles together as the foundation of DK flip's identity?

We simply look for exceptional storytelling. Beyond reviewing submissions, Arabella and I spend a lot of time discussing the exact stories we wish existed and reaching out directly to creators we admire, Elodie Harper being a fantastic example. The core identity of DK flip is publishing the best book you haven't read yet. Every author, illustrator, and title earns its spot by bringing something distinct and memorable to a child's bookshelf.

Given DK's reputation is built on highly illustrated non-fiction, how are you thinking about the role of illustration and design within the new fiction list? Is there a "DK flip look," or is it deliberately more author and illustrator-led?

The transition was wonderfully natural. Coming from a non-fiction background, our design and editorial teams are hyper-focused on visual appeal, print finishes, and paper quality. Rather than imposing a single DK flip look, our approach is entirely author and illustrator led, ensuring the visual execution feels tailored to each unique narrative.

You recently signed Ross MacKay and Alex Willmore's Tractors in Space series. What drew you to that project, and what do you look for in a picture book pairing like that?

Tractors in Space actually landed on my desk as a non-fiction proposal from Ross. But the sheer playfulness of the premise made it clear it needed to be an energetic, story-led picture book. What made the pairing work was the balance of Ross's snappy, humorous rhythm with Alex's vivid, character-driven artwork. In picture book pairings, we look for art that doesn't just mirror the text, but actively adds a second layer of storytelling and comedy.

You've published high-profile authors including Rose Ayling-Ellis, Jake Humphrey and Dr Fern Riddell, alongside experts like Dr Punam. How do you approach commissioning a "household name" title differently from a book by a subject specialist?

With subject specialists, the starting point is often deep authority; taking complex expertise and translating it into accessible, fascinating hooks for kids. With household names, the magic lies in authentic motivation: why is this specific person passionate about sharing this message with children? Whether it's Rose Ayling-Ellis championing inclusivity or Dr Fern Riddell reframing history, the narrative must stem from genuine heart.

Am I a Royal Rulebreaker? by Dr Fern Riddell reframes royal history for young readers. Tell us about how that book came together and why it felt important to publish.

Fern has a brilliant ability to blow the dust off history and present it as vivid, human drama. We wanted to challenge the traditional, polished narrative of royal history and show young readers the rebellious, chaotic, and unconventional figures who actually shaped the past. It felt essential to publish because it encourages kids to critically question history rather than just memorise facts.

You're also spearheading preschool publishing at DK now. What excites you about that end of the list, and how does commissioning for very young children differ from fiction or non-fiction for older readers?

Preschool is where a child's relationship with books begins. Commissioning for this age group is a tactile, sensory experience - you are thinking about physical formats, lift-the-flaps, textures, and read-aloud rhythms. Unlike older fiction, where the story unfolds in the reader's imagination, preschool books rely entirely on immediate visual interaction and shared bonding between parent and child.

When you're reviewing illustrator portfolios for DK's picture books or non-fiction gift titles, what makes something stand out to you?

I look for artwork that tells a story entirely on its own - where a character's posture or a background detail reveals something extra. A distinct, memorable visual voice always stands out over generic trends and often we'll save illustrators we just LOVE but don't quite have the right home or manuscript or subject for yet.

What's your process for pairing an illustrator with a project? Do you go looking for a specific style, or does inspiration sometimes come from an illustrator's existing body of work?

It works both ways! Sometimes a manuscript immediately calls for a precise visual style, like high-energy graphic lines or soft, painterly textures. Other times, like I said above, we keep portfolios on file for months waiting for the right manuscript to match an illustrator's unique style. We often create mock-up spreads to test how an illustrator's world integrates with the author's text before making a final decision.

What's one collaboration with an illustrator that's particularly stayed with you, and why?

Collaborating with Melissa Castrillon on The Green Kingdom was unforgettable. Translating Cornelia Funke's lush world into delicate, magical jacket and inside illustrations required delicate balance. Seeing Melissa's artwork bring the subtle details of that world to life was magical for the entire editorial team.

The Bookseller and Publishers Weekly have both covered DK flip's launch as a significant moment for the company. How has the industry reaction shaped your thinking about where the imprint goes next?

The overwhelming industry support validated our belief that there was room for DK to bring its distinct production value and passion to fiction. It gave us the confidence to expand our scope - reaching further into YA, exploring bold cross-genre debuts, and continuing to take ambitious creative risks.

DK is known globally for translation and international co-editions. How does that side of the business influence what you choose to commission, especially in fiction, where the model is newer for DK?

International appeal is in DK's DNA, but with fiction, story must always come first. We look for universal themes, friendship, courage, mystery, and wonder, that resonate across cultures. If a story is genuinely compelling, international partners naturally want to bring it to their territories and the way we design spreads will never change. You can always take a spread out of a non-fiction book and be able to read it as a standalone and that will also appeal to all markets and all children as it's universal. All editors are also trained in editing and working with a designer to leave space for translation - it's probably the most repeated phrase in meetings.

What's your best advice for illustrators hoping to work with DK, given how broad the list now is, from board books through to teen fiction?

Showcase variety in your portfolio, but stay true to your signature style. Include examples of sequential storytelling, varied character expressions, and diverse backgrounds. Don't try to fit a perceived style just because you think it's trendy or of the moment - we want to see your unique artistic identity and how it can elevate our titles.

Is there a project on your list right now, whether fiction, non-fiction or a picture book, that you're especially excited for readers to discover?

I am hugely excited for readers to discover The Sign of the Raven by Pippa Dunn. It's a gripping, atmospheric adventure that pulls you in from the very first page and showcases DK flip's bold storytelling direction. The worlds that Pippa has created are completely unforgettable - once you dip into it you don't want to come out of it.

Outside of work, what are you reading, watching or doing at the moment that feeds back into how you think about books?

If I am totally honest - I love listening to audio books and podcasts while I am walking the dog. I'm a big fan of visiting art galleries, going to the theatre when I can and watching film adaptations to see what's trending and what's working and actually what's not. I'm currently reading a mix of cosy crime and a historical which I am loving plus some middle-grade debuts! But also a cheeky doom scroll is always helpful to see new palettes, ideas, and new book reels...

What does a typical day look like for you at DK, from the moment you start work through to when you switch off?

My morning starts with catching up on emails - I wish I could say something fun and cosmopolitan here, but I can't. I literally check my emails. This is followed by editorial and cover-design meetings where we review artwork and layouts. Afternoons are spent pitch-planning, chatting with literary agents, negotiating acquisitions, or brainstorming new concepts with the team. When I switch off, you might catch me doing a cheeky Super Cuties Colouring Book as the new Highland Cow edition just dropped... or is that just a shameless plug...?

Is there a moment in your career so far, big or small, that you're proudest of?

I found this really hard to answer because I'm really proud of many moments, authors, illustrators and signings on this list. But today I think I'll choose holding the very first finished hardback of The Green Kingdom. Seeing years of strategy, cross-team dedication, and creative collaboration physically realised as DK's debut fiction title is a moment I'll treasure forever.