Dreaming of a career in children’s publishing? Let yourself be inspired by Carly Blake!

Posted on August 24, 2025 in INTO, London

A children’s editor who has worked extensively at companies such as Bonnier Books and Miles Kelly, Carly Blake has recently gone freelance with her very own Carly Blake Books. She is also part of Ginger Moon Creative, a team of experienced freelancers offering editorial and design support to publishers. Today, Carly tells us how her career started and then developed; in addition, she shares a few great tips with our readers.

Hi Carly! Have you always wanted to work in children’s publishing? Do you think it requires specific personal skills (such as sensitivity, imagination, experience being around children)?

I was always drawn to a creative career, but I didn’t actually know much about publishing until I started my first job in the industry. People with that ‘magic mix’ of creativity and organisation tend to thrive in publishing. Being able to think imaginatively is key – there’s creative problem-solving every day, whether it’s editing a sentence to feel more engaging or coming up with ideas for how an illustration might work. Teamwork is also important. Editing roles are hugely collaborative: you’re working with authors to shape their books, with designers to bring them to life, and with your team to share ideas and keep everything on schedule. Experience with children is an advantage, but I don’t think it’s essential. I didn’t have much myself when I started – what really mattered was my passion for nonfiction, my love of English and my interest in children’s books.

What are the main tasks of a children’s editor?

Not just editing! A children’s editor manages a project all the way from the initial idea to the finished book. That might mean developing a concept yourself, commissioning an author to write it or acquiring a text from an agent. Once a project begins, you’ll review content plans and edit manuscripts through several stages as the book takes shape. You’ll also feed into artwork briefs and review roughs and colour illustrations as they come in. At the very end, you’ll check the final pages before they go off to the printer. On top of that, there’s the practical side of scheduling, managing budgets and working closely with other departments like Sales, Production and Marketing.

Before going freelance, you’ve covered major editorial roles at Bonnier Books and Miles Kelly. Can you tell us how your career started and then progressed?

I began my publishing career in 2007 after graduating from Brunel University with a degree in Drama and Film & TV Studies with English Literature. I’d always loved Art, and my English Language A level opened my eyes to the joy of syntax. In hindsight, all of these areas of interest laid the groundwork for a career in children’s editorial. I started as an editorial assistant at Miles Kelly, learning to mark up hard copy and edit files, and soon began managing my own projects, from nonfiction to preschool and classic fiction anthologies. In 2013, I moved to Autumn Publishing as Senior Licensing Editor, where I worked with brands like Barbie, Power Rangers and Hello Kitty. I later joined Templar Publishing, first as a managing editor, then as a senior commissioning editor, where I focused on building their award-winning list, commissioning and editing titles such as Ghostology, The Language of the Universe and the Gigantosaurus TV tie-ins. (A career highlight was travelling to Hollywood with Ology author Dug Steer to meet Paramount Studios!)

Congratulations on your brand, Carly Blake Books, which you launched last May, if I’m correct. Has the shift to a freelance career happened the way you expected so far, or have you met any unforeseen challenges? 

Thank you! In many ways, yes – it’s been progressing as I expected. Once my website was up and running, my main focus was reconnecting with old publishing friends and colleagues, as well as making new connections, and a good amount of work has come from that. The biggest unforeseen challenge has been maintaining work-life boundaries. Before going freelance, I rarely checked work email on my phone – once I shut my laptop, my day was done. I decided to go freelance for more flexibility while I have a young child, but now that my work email is always accessible on my phone, it’s easy for work to creep into home life, particularly during this ‘build phase’. Setting clear boundaries has become essential. Another area I’ve had to master is quoting – estimating project time and setting rates, especially for projects that are a bit different from what I’ve done before.

What does a typical working day in your life look like nowadays? (If there’s such a thing as typical) 

Coming into month four of freelance life, I don’t think I have a ‘typical’ day yet – every one is a bit different, which I love. I might be proofreading a children’s nonfiction title, finishing an editorial assessment for an author preparing to self-publish a picture book, developing text for a preschool novelty book and planning my next blog post. Most days include some discussion in the Gingerbread Moon Creative WhatsApp group, swapping ideas about new projects or firing off quick questions about punctuation or spelling.

Is it getting harder to set foot in the publishing industry, in your opinion? What kind of advice would you give to someone who dreams of working in children’s publishing? 

Children’s publishing has always been highly competitive – but that shouldn’t put anyone off pursuing a publishing career. In some ways it has become tougher, with many smaller publishers outside London being absorbed into larger, often London-based houses, which means fewer ‘grass roots’ opportunities, but then I’ve also seen lots of new and exciting publishers emerging over the last 10 years, like Magic Cat, Neon Squid, Townhouse Publishing and Post Wave. There’s also been a proactivity from publishers in widening access with a drive to attract candidates from a broader range of backgrounds and, thanks to hybrid working, from locations beyond London too. 

My advice: don’t give up! If books are your passion, keep building experience and keep applying. Work experience is hugely valuable – whether that’s a placement with a publisher, a job in a bookshop or volunteering at your local library. If you’re interested in children’s publishing, look out for local volunteering opportunities with reading schemes like Bookmark, Coram Beanstalk or Schoolreaders. Spend time in bookshops to understand the market and your own tastes. If you can, pick up a copy of the Writers’ & Artists’ Yearbook (a recent second-hand edition is fine) – it gives a clear overview of the industry along with a comprehensive directory of publishers, agents and contacts, making it a great tool in helping you know where to target applications.

I saw on your LinkedIn page that you worked as a sloth carer in Costa Rica, which I found very cute. Is there any side hustle/gig/activity not directly related to publishing that you reckon could boost a publishing hopeful’s resume? 

Absolutely – showing who you are and what you love beyond your qualifications can really help you stand out. These days it’s easier than ever to express yourself, whether that’s creating content, travelling, pursuing a hobby or trying something entrepreneurial – things that can show your passion, personality and initiative. And you’re probably already doing some of these things.

Yes, for me, one of those things was solo travelling to Costa Rica to volunteer at a sloth sanctuary! I’ve always loved nature, and after working on some books about the rainforest, I wanted to experience the jungle and these enigmatic animals myself – and it was unforgettable. But it doesn’t have to be something far-flung.I’ve worked with colleagues who perform at poetry slams, amateur dramatics, choirs and bands; who cycle, weightlift and run marathons; who volunteer with charities and organisations, sometimes travelling internationally to provide the support needed. Whatever it is you love, make sure it comes through on your CV and it will help to get you noticed.

By Annapaola Paparo