Congratulations! What does it mean to you to win the Children’s Wainwright Prize for Picture Books?
I couldn’t be happier, it still feels unreal! There are always so many wonderful titles across the categories of the Wainwright Prize, and it just feels so special that the Prize celebrates such wonderful nature and conservation writing and illustration.
Having grown up in Cumbria walking Wainwrights, it is a dream to have won the Prize created in Alfred’s name. I always hoped to win the Prize one day – I just didn’t expect to with The Great Bear.
The Great Bear is a story about the wonder of nature, but also the impact humans are having on the Arctic. What inspired you to tell this story through the eyes of the Great Bear?
I have always been inspired by many of the older fables and fairy tales I read as a child, as well as the stories of Greek mythology, which often use animals and creatures to teach “lessons” within a story that leave the reader with a sense of wonder and having learnt something.
I wanted The Great Bear to carry an important message about mankind’s relationship with nature, and although it is set in the Arctic, it is an idea that could be applied to any environment. The Great Bear is a protector, teacher and a guide, but also represents an animal that most children will recognise, and one that is currently at threat from human activity.
Real-world events and problems inspire my work, and with all that is going on in the world I want my books to inspire and instil a sense of empathy for the natural world within our young readers, so that they can grow up with the hope they can make change.
The book began as a silent narrative inspired by an Inuit folktale. Could you tell us a little about that, and did that original idea evolve into the book we have today?
While I was at university, I was fascinated by the stories that connected people and wildlife, and by all the myths and legends from all over the world. So when I stumbled across an article about the Southern Beaufort Sea polar bear population that was at risk from human activity, it sent me down a rabbit hole of reading articles, studies and news reports about polar bears in the Arctic.
I then found myself reading Inuit folktales, which is where I found Nanook — or Nanuk, Nanuq — a polar bear god who is the guardian and protector of all of his kind. There are varying stories about this Nanook and what he symbolises, but I didn’t want to use a story that had already been made, so instead I took inspiration from this idea and the relationship that this bear god has with mankind.
I didn’t consider myself a writer at the time, and as I was exploring my visual language, it made sense not to use any words! However, I now consider the text so important for the story, as it has helped me build layers of meaning and leave a lasting message with readers. The book was taken apart and made anew, but the wonder and powerful impact of the bear didn’t change.
Your hand-painted illustrations are such an important part of the story. Was there a particular scene or image that you especially loved bringing to life?
The bear was my favourite – her size and expression felt like such a tool for storytelling, but also such a joy to draw.
I also loved the moments with the “man”, where he connects with the wildlife. Although I wanted to keep him quite anonymous, he still holds his own expressions that add to the story.
What comes first for you when creating a picture book – the words or the visuals? And how does one shape the other as the story develops?
I definitely begin with imagining certain visuals, but it’s important that I link them to words or phrases — which may not appear in the final text — to help me develop meanings and build a narrative.
Some of the earliest words I attached to The Great Bear were “hope” and “learning”.
Writing and illustrating is definitely a dance back and forth between the two in my process, and I do find the text more challenging!
The book balances a powerful environmental message with a sense of hope. How important was it to you to leave young readers with that feeling of hope?
When children’s literature includes a sadder element or a strong message, hope, for me, is a really key ingredient.
Hope helps open the reader’s mind to solutions and positive endings, and instils the idea that we have the power to make change. I didn’t want the reader to finish the book feeling sad. I wanted them to learn and to understand the message, but to also feel empowered that their actions can make a difference.
This is your debut author-illustrator book. What has the experience of seeing The Great Bear find its way into the world been like for you?
At first it was quite a nerve-wracking experience. I was fresh out of university and was putting my heart and soul into starting my career as an illustrator, with no actual clue about what I was doing.
I’m so grateful for my agent Neil and my whole team at Two Hoots. They made the process so much easier for me. Re-shaping and creating the book wasn’t easy, but with their help – we did it!
Seeing The Great Bear in bookshops and translated into other languages is such a joy and gives me hope that its message will reach readers.
I think the part I have enjoyed the most has been connecting with bookshops while I painted bears in windows, and going into schools and seeing first-hand the reaction and enjoyment storytelling brings.
It really is a labour of love creating a book, and I hope to make many more.
The Great Bear was awarded the 2026 Children’s Wainwright Prize for Picture Books, recognised for its powerful message about the impact humans have on nature in the Arctic and how we can help protect it.