Creating a Climate Change Picture Book

Ken Wilson-Max

The changing climate is a reality that impacts all of us, and as future leaders, children of today will face the unenviable task of preserving life on the planet in a better way than we have. It’s fair to say that we aren’t doing a great job.

I often think of the United Nations 17 Sustainable Development Goals (SDGs) as 17 promises this generation is making to the next to leave the planet in the best possible shape. Creators of books for this age group try to prioritise the health of the planet in children’s minds. Making picture books about the climate is tricky, even though the subject is fascinating, it has everything from drama and joy to facts, beauty and poetry. However, to reach the widest possible audience, these books must strike a balance between activism, science and perspective. Despite these challenges, there’s little to fault the power of a good book, and there are some great books out there.

My upcoming book, ‘The Big Green’ is inspired by the Great Green Wall of Africa project which aims to slow down the spread of the Sahara Desert along its 8,000-kilometre edge from the east to the west coast of the continent. The project, which  includes many of the global agencies and organisations, aims to restore the damaged land, create jobs and livelihoods, improve food security, and capture carbon. A big part of the project is the participation of ordinary people, digging, planting and caring for the young plants. 

Image from ‘The Big Green’ ©Ken WIlson-Max 2026

The project’s ambition and scale are impressive, but I was struck by the roles of ordinary people from the countries involved. I was thinking a lot about the fact that there are not enough African picture books. Sure, African voices appear every so often. There is a weird battle on bookshelves between African, Caribbean and African American voices where there is still a feeling that you can’t have all three distinguished from one another. I believe the term ‘minority’ has a lot to answer for, as it has come to mean ‘less’ in more harmful ways than just demographics. These different voices each should be heard and enjoyed in their own right.

Many African stories feature geographic landmarks or animals and you almost  believe there aren’t people there, but children’s books by Atinuke and more recently Oge Mora, Oninye Iwu and Magali Attiogbe all feature people and are worth a look. 

‘The Big Green’ is the most powerful way I can think of putting African people front and centre of a climate story. People are the continent’s best assets! What’s more, everyday life, including climate awareness, happens in African countries too. After some research, it became clear that the huge project to slow down the spread of the Sahara Desert was succeeding because of the effort by ordinary citizens. 

The challenge was to present something that is relatable and educational. My southern African viewpoint, combined with my western European training and American work experience, created a unique perspective. I focused on creating a story driven by these diverse experiences and over four decades in publishing. I aimed for authenticity, cultural specificity without alienation, and a compelling narrative. Understanding the story’s purpose and maintaining positive critical thinking throughout the process was another challenge.

Image from ‘The Big Green’ ©Ken WIlson-Max 2026

Thousands of languages and stories exist between my home in Zimbabwe in the south, and Mali in western Africa. It was exciting to find traits Africans share and use them. I started drawing scenes of everyday life in a dusty town, including a hairdresser, barbershop, fabric shop, people on bicycles, and dusty roads. It took about a year of practice to find the right visual language for this book.

‘The Big Green’ is a picture book, so there’s not much room for written detail. I thought it was better to use the images to establish deeper dialogue with the reader. Creating the story was one thing but pitching it to a wide audience is another. I couldn’t assume everyone had heard of Mali, so I focussed on the characters. I also wanted to keep a good  level of authenticity and integrity for the audience who will see themselves positively portrayed.

To make this story work I had to find a visual language that wasn’t too specific but had authenticity. I read the factual reports, articles, and case studies, then turned to music, photographs, and video. I also spoke to friends to uncover the nuances of African existence that could drive the story. 

Interestingly, I considered the stereotypes of the people and the setting too. As a shorthand to understanding, stereotypes can be very informative, despite their inaccuracy. They can help decipher someone else’s point of view or level of experience. Additionally, they can serve as guides to how much information can be used to increase awareness and understanding. My goal was to create a feeling and introduce something new in a familiar way, and understanding the stereotypes helped to achieve that.

Photos from my West African trip vividly coloured my memories and introduced a key character in the book: the dry sand and clear blue sky. The child’s perspective followed, then the vibrant, rich colours of fabrics. I imagined the people wearing these clothes, living their lives in the extreme heat.

I hope the book captivates readers as much as it tells them about the cause. It’s written to young children and should resonate with them. As an African author, I’ve always wanted children to see the vibrancy of African life in everyday stories, and ‘The Big Green’ celebrates small climate actions while bringing Mali’s warmth and colour to families everywhere.

Climate change can feel overwhelming — but stories can spark hope and action. That’s why ‘The Big Green’ is for children and their grown-ups, both of whom are needed to make any kind of meaningful change.

I wonder how and where this book will reach its readers. Can we find partners to publish this in Mali and the other countries along the edge of the Sahara? Will it resonate with them? What will it cost in each of these places? Which languages will it be printed in? It is a reminder that the finished book is the beginning of another journey, much like the ongoing problem of the changing climate.

Ken Wilson-Max is an award-winning Zimbabwean born children’s author, illustrator and publisher. Over the last 30 years, he has made over 85 books in his distinctive style. He works to make publishing more inclusive. He owns Alanna Max, an independent publishing house, and is publisher at Kumusha Books, a Harper Collins UK imprint focused on meaningful representation in children’s books.