The Power of Publishing
Holly Tonks
In a 2021 study conducted by the UN Environment Programme (UNEP), David Boyd, the UN’s Special Rapporteur, stated firmly that ‘children and youth are the most impacted by today’s global environmental crisis.’ [1]
He went on to say that every child on Earth will be affected to some degree by the frightening shifts in our climate and decline in biodiversity. This is a daunting legacy we have created for the next generation,and it feels imperative that we find a way to empower them with the tools necessary to navigate these challenges moving forward.
There’s a House Inside My Mummy by Giles Andrae, illustrated by Vanessa Cabban
Angus, Thongs and Full-Frontal Snogging by Louise Rennison
As a publisher of children’s books, I pride myself on being part of an industry that produces books designed to support children at every stage of their development. From There’s a House Inside My Mummy by Giles Andreae and Vanessa Cabban, which helps children navigate the familial dynamics surrounding the arrival of a new baby, to Angus, Thongs and Full-Frontal Snogging by Louise Rennison, a classic for any angst-filled young teen, our aim is to build empathetic adults who areable to cope with anything life throws at them! However, upon reading the UNEP’s report, I began to question the extent of publishing’s influence and whether the industry is doing enough to build the eco-warriors of the future – those who will inevitably be the ones who must adapt to, and hopefully reverse, the effects of climate change.
Through consideration, it became evident that the children’s publishing industry had responsibilities in both the content it produces and the way in which it produces its books to effectuate a positive change in this narrative.
Aqua Boy by Ken Wilson-Max
Content
The books we produce have the power to form perceptions, instil values, and encourage action – this is true in all areas of publishing, but perhaps even more so in the children’s space.
By showing characters who engage with nature, advocate for conservation, or confront the realities of climate change,we present role models who, in turn, create a sense of agency in young readers. It is these narratives that empower children to see themselves as active participants in the world around them and foster a sense of responsibility towards the environment.
Ken Wilson-Max, author and illustrator of Astro Girl and Aqua Boy, states that ‘the picture book is the perfect place to capture a child, as these books arrive as a child’s focus changes from themselves to becoming aware of the world as a wider place.’ Wilson-Max’s aim with Astro Girl was to portray girls in STEM, as he believes firmly that ‘a greater number of female scientists is going to have a direct impact on the way in which we view the universe.’ Seeing a character occupying these jobs and thrivingopens upin a child’s mind the possibility that this could be something for them – if you can see it, you can be it.
Fantastically Great Women Who Saved the Planet by Kate Pankhurst
Publishers must take a range of approaches to educating young people about the challenges to the environment, not just highlighting the dangers and risks, but also taking a positive and proactive approach that focuses on the optimistic stories in this space. Books such as Fantastically Great Women Who Saved the Planet by Kate Pankhurst present inspiring stories of real-life women who have made significant changes to protect the natural world. This book shows young readers the work that has gone before them and allows them to envision a future where they can build upon this and progress further.
The Lorax by Dr. Seuss
“Books addressing the challenges to our environment are not a new trend in publishing…”
Books addressing the challenges to our environmentare not a new trend in publishing, with one of the most celebrated examples being The Lorax by Dr. Seuss, first published in 1971. The book warns that ‘Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not.’ Seuss communicates that individual action is key, and the books serves as a powerful reminder that young readers can make a difference and encourages them to take an active role in caring for their surroundings.
However, as creators of literature for children we must be careful not to exasperate the growing issue of eco-anxiety, which according to Greenpeace UK, already effects 78% of primary-aged children. [2] We must tread a careful line between informing and educating children about the realities of the situation, whilst empowering and giving them hope to take forward. Relatability is the key here; according to Wilson-Max, “by presenting relatable scenarios for children, such as a beach setting in Aqua Boy, we enable them to connect a familiar seaside experience with the act of litter picking, making it feel both realistic and attainable.” Small actions in your everyday life can make a significant difference.
As publishers’ the content in our books are an important tool we wield. It is through engaging storytelling that we can ignite a child’s imagination and provoke an emotional response to these stories. Literature has the power to promote critical thinking and foreground characters who are empowered through action to make a positive change in the world around them.
Production
While the content of children’s books is crucial, the environmental impact of a book’s production cannot be overlooked. The publishing industry is responsible for significant resource consumption, from paper production to the logistics of distribution. In 2022, the industry’s total carbon footprint was estimated to be 12.4 million metric tons of C02. [3]
The first, and perhaps most obvious, area of concern is the sourcing of paper. The production of paper is resource-intensive, often leading to deforestation, habitat destruction, and increased carbon emissions. However, over the last few years many UK publishers have made it a priority to implement initiatives that prioritise sustainable practices in paper sourcing.
One notable example is the initiative taken by Penguin Random House UK, which made a committed to use 100% recycled or FSC-certified paper across its entire publishing portfolio by 2023. The Forest Stewardship Council (FSC) certification ensures that the paper comes from responsibly managed forests that provide environmental, social, and economic benefits. This commitment has been followed by many publishers throughout the industry, with children’s publisher Nosy Crow even going further to look at paper made from agricultural waste – an initiative that would not only reduce reliance on wood pulp but also support a circular economy that promotes waste reduction and resource efficiency.
In addition to these commitments, UK publishers are increasingly collaborating with organisations that focus on sustainable practices. For instance, the Publishers Association launched a Sustainability Taskforce in 2020, which encourages publishers to share best practices and work collectively towards sustainability goals. This recognises that we are much stronger together than we are in isolation. In 2021, the taskforce announced Publishing Declares, a pledge that asks those in the industry to take action on protecting the climate. It currently has 221 signatories.
Publishers serve as powerful advocates due to their unique position at the intersection of storytelling and information dissemination.
Advocacy
As I began to delve into the ongoing efforts of the children’s publishing industry, another crucial area came to mind: advocacy! Publishers serve as powerful advocates due to their unique position at the intersection of storytelling and information dissemination. They possess the ability to connect with diverse audiences through engaging narratives that resonate on emotional and intellectual levels. Through our numerous author events, school visits and community outreach programmes we are able toreach audiences directly and create platforms to discuss environmental topics.These interactions not only allow for the dissemination of knowledge but also foster meaningful conversations that can inspire young readers to take action. Through more partnerships and collaborations with environmental organisations and authors, there is the chance to combine what publishers do best – connecting with readers and delivering a narrative – with the critical information and messages that these organisations strive to communication. By integrating advocacy into our publishing efforts, we can cultivate a generation of eco-warriors who are informed and motivated to make a difference, ultimately contributing to a more sustainable future for all.
As the future of our planet remains uncertain, the stories we share today will shape the actions of tomorrow. It is time for children’s publishers to embrace their role as educators and advocates for the environment, ensuring that the next generation is equipped and ready to enter the world that awaits.
Holly Tonks
Holly Tonks is Editorial Director at HarperCollins Children’s Books. She has worked in picture books and heritage brands for over 12 years, and has had the pleasure to work with authors and illustrators such as Michael Bond, Raymond Briggs and Nick Butterworth. She has also lectured in Publishing for City University, London and is a judge on the Hans Christian Andersen jury for 2026.