Looking back with Rob Biddulph
Over a decade after their first chat, Fiz and Rob talk about the trajectory of Rob's career, what's changed and what hasn't.
Rob Biddulph is a bestselling, award-winning children’s book author and illustrator.
Read our 2014 interview with Rob here.
Hello, Rob! The first time you answered questions for PoP was back in September 2014, a month after your debut picture book, Blown Away, had published. That was 11 years ago, and a lot has changed for you in that time!
You’ve author-illustrated 16 picture books, including one for World Book Day, three Peanut Jones middle grade books, and the majorly popular Draw with Rob series, which now includes 12 books. As if that wasn’t enough, you’ve also reimagined classics like Parsley the Lion by Michael Bond and Flat Stanley by Jeff Brown, and illustrated covers for books by Piers Torday, Garth Jennings and Jess Butterworth amongst others.
You’re a multi-award-winning author-illustrator and your books are bestsellers. You even won Illustrator of the Year at the Nibbies earlier this year! Is it fair to assume that this time 11 years ago, before the publication of Blown Away, the hopes you had for your career as a children’s book author-illustrator didn’t start off as big as the reality that’s unfolded for you? Or were you focused from the get-go on how you wanted your career to grow?
Hi, Fiz! Firstly, I can’t believe the first time you interviewed me was 11 years ago. Wow! It feels like yesterday!
To answer your question, yes, you're absolutely right. Back in 2014, I had no idea how things would unfold. I was just thrilled that Blown Away, a book that had my name on the cover, was going out into the world. Of course I had hopes for a successful career in kids books – I think we all do when we take that first step – but I don’t think I ever imagined how much joy, opportunity and satisfaction this journey would bring me.
That said, I’ve always been quite driven and I suppose I knew that, at the very least, I’d give it a proper go. I’d spent many years working as a magazine art director, so I came into children’s publishing with a real hunger to create something of my own – to build a style of storytelling that readers might want to return to. But never in my wildest dreams could I have predicted things like the incredible response to Draw With Rob during lockdown, or that I’d have the chance to reimagine childhood favourites like Parsley the Lion and Flat Stanley, or that I’d write a bestselling middle grade series. It’s been a bit of a whirlwind, and I still feel lucky every single day that I get to do this for a living.
There were a few parts of our original chat that I’d love to touch on with you, the first of which is this quote:
“…there’s no short-cut to finding your own style. It’s only really through lots of drawing and redrawing that you can ever get close to something that you’re happy with. Even then I never quite seem to get there. And I’m not sure I ever will because my tastes are constantly shifting. If I’m lucky enough to still be making picture books in ten years’ time I bet they’ll look quite different to the ones I’m making now.”
Do you still feel this way about the evolution of your art style? And, thinking of each book as a marker that pinpoints a moment of time for you stylistically, how does it feel to look back at all the books you’ve created over the past 11 years?
Yes, I still feel exactly the same. If anything, I feel it even more strongly now. Every book really is like a time capsule for where I was creatively at that point. I can look at each one and remember not just the story I was telling, but the techniques I was experimenting with, the colours I was drawn to, even the artists or styles that were inspiring me at the time.
I think your style naturally evolves as you gain more confidence and experience, and also as your tastes shift, which mine definitely have. There are books I look back on now and think, Oof, I’d do that differently today, but there’s something lovely about that. It means I’m still learning. Still growing. I never want to feel like I’ve ‘arrived’ at a fixed style, because, for me, the joy is in the constant exploration.
Also, I think the evolution has happened hand-in-hand with the kinds of stories I’ve wanted to tell. Gentle, more elegiac stories like I Follow the Fox or When I Grow Up I’d Like to Be… will demand a different artistic approach to, say, something in which I’m playing it for laughs much more overtly – like Show and Tell or The Blue-footed Booby. So the visual tone always has to match the story’s heart. I really love the challenge of that and it certainly keeps me on my toes!
I love the way you view your books stylistically - even ones that you wish you’d approached differently. That seems like a very healthy (and kind!) way to look back at the work you’ve done.
As I said, I think every book captures a version of who I was at that time, both as an artist and a person. There are definitely a few that I would probably approach a bit differently if I was making them now – the character design, the compositions, the colour palette, maybe – but I try not to dwell on that too much. Each book was the best I could do at that moment, and I think there’s something quite special about that. Plus, each one is a marker on the path that’s led me to where I am now, and I definitely wouldn’t want to change that.
When Blown Away published, you squeezed your children’s book work around your full-time job at the Observer. How did that feel, and did you change your work routine over time?
It was a very intense time! All the book work had to happen in the evenings, at the weekends, and during any spare moment I could find. Plus, my daughters were quite young so, obviously, that made it harder, not least for my wife who had to pick up the slack! I couldn’t have done any of this without her. But yes, I’d regularly be up until the early hours drawing and then back at my desk in Kings Cross a few hours later designing a fashion feature or laying out a celeb interview. It was exhausting sometimes, but I loved it. I think when you’re really excited about creating something, you don’t mind putting in the hours. The excitement carried me through.
That said, it did get harder to juggle both as the book side of things gathered momentum. After a couple of years I made the leap to doing it full-time, and in hindsight that was a real turning point. My routine became more structured. I suppose I started treating it like a proper job, with set working hours (more or less!) and space to plan projects with a bit more strategy and focus. Though now, of course, with all of the events I do, my many deadlines and the various side projects I have on the go, it often feels just as busy as it did back then!
What are some of the biggest challenges you’ve faced since the publication of your debut picture book?
There have been plenty along the way. I think one of the biggest has been learning how to manage the pace of it all. When Blown Away came out, I was so thrilled to finally be doing what I loved that I said yes to almost everything – events, new projects, side projects, etc. And that’s exciting, but it can also be overwhelming. Finding a rhythm that allows you to stay creative without burning out is something I’ve had to figure out over time. And I’m still learning!
Another challenge has been doubt. Imposter syndrome is real, people! I think most creatives wrestle with it. There’s always that quiet voice asking, “Can I really pull this off again?” or “Is this idea good enough?” With picture books in particular, where so much hinges on simplicity and emotional clarity, it can sometimes feel like walking a tightrope. But I’ve come to realise that a bit of fear is part of the process – it means that I really care about what I’m doing.
And finally, I’d say just keeping things fresh over the long term. I never want to repeat myself, so I’m always trying to push into new territory – whether that’s in terms of style, story or format. That’s a challenge, but also one of the most rewarding parts of the job.
Can you share some of the moments that have felt the most significant to you?
There’ve been quite a few, but some definitely stand out. Holding Blown Away in my hands for the first time was a huge one. It was the moment that my dream became a reality, and I’ll never forget that feeling. And then, in 2015, it won the Waterstones Children’s Book Prize! That was incredible too, and it got my career off to the best possible start. Had that not happened things could well have been very different for me.
Another major moment was the whole Draw With Rob journey. It started as a little idea to help families during lockdown and it unexpectedly grew into something much bigger than I could ever have imagined. Hearing from children and families all over the world who were drawing along with me, seeing those videos of NHS workers joining in during COVID, breaking the world record for the largest ever online art class – all of it was incredibly moving. I still make the videos and I still get sent pictures and drawings from parents and teachers every single day of my life. I think it might be the thing in my (professional) life that I’m most proud of.
What else? Winning Illustrator of the Year at the Nibbies earlier this year was also a real “pinch me” moment. I was genuinely speechless (and, if you ask my family, that doesn’t happen often!). It felt like a recognition of the whole journey – the hard work, the disappointments, the late nights – and also of how much illustration means to me.
But all that being said, some of the most significant moments are the quiet ones: reading one of my books to my own kids; seeing a child at an event proudly show me their drawings of my characters; getting sent photos of kids dressed as my characters (or even as me!) on World Book Day. Those are the moments that remind me why I do it.
I give 1-2-1 coaching sessions to authors and illustrators, and there are times when a creative will share their career hopes/expectations, and we’ll discuss them while also talking about the reality of the industry – because that reality can be very different to what some people imagine.
When you were at the beginning of your career, were there things that you thought would be important to you that just haven’t ended up feeling that way, or vice-versa?
Yes, absolutely. At the beginning, I think I assumed that commercial success would be the big marker of achievement. I thought if I could just get a book published… and then get it in bookshops… and then maybe win an award… that I’d somehow feel like I’d “made it.” And of course, those things are lovely – they’re validating and exciting. But they’re not necessarily the things that keep you going.
What I’ve come to realise is that the most important part – the part that really matters – is the day-to-day work. The process of making something you’re proud of. Finding joy in the storytelling, the drawing, the problem-solving. Getting to the final line of a rhyming text and hitting the mark. And, actually, connecting with children. Getting a message from a parent saying their child took your book to bed every night for a week, or seeing a kid at an event light up when you talk about how much you like their drawing – that’s the stuff that sticks with you. That’s what fills the tank.
So yes, early on I definitely thought certain milestones would feel like endpoints, when in fact the work itself, and the connection it creates, are what really count. That’s been a big, and very welcome, shift in perspective.
What are your thoughts on the picture book market right now?
It’s a really interesting time for picture books. There’s so much talent out there, and it feels like the range of styles and voices is broader than ever, which is fantastic. I think the market has become a little more unpredictable in recent years – both in terms of what breaks through and how books reach their audience – but I suppose that also creates space for surprise hits and fresh approaches, which keeps things exciting.
That being said, I have to admit I don’t spend a huge amount of time looking closely at what else is out there these days. Partly that’s down to time (there’s always a deadline looming!), but it’s also a conscious creative choice. I’ve learned that I do my best work when I stay focused on my own ideas and instincts – when I blaze my own trail, as it were. Of course, I still enjoy seeing what friends and peers are working on, and I love that the picture book world is so rich and supportive. But I try not to be too influenced by trends.
In terms of representation in picture books, I do think we’ve made progress – we’re seeing more stories by and about people from under-represented backgrounds, and that’s something to celebrate. But there’s still a long way to go. Every child deserves to see themselves reflected in the books they read, and the more inclusive and diverse the landscape becomes, the stronger it is for everyone.
Ultimately, I think the most important thing for any of us in this space is to tell stories that feel true to us – whatever form they take – because children are brilliant at spotting authenticity.
If you could change one thing in the world of picture books, what would it be?
It would probably be access – making sure every child, regardless of background or circumstance, has the opportunity to discover picture books, and to see them as something that belongs to them. We all know how powerful stories can be – how they build empathy, spark imagination, and shape the way we see the world – but not every child grows up with shelves full of books or regular visits to a library. That’s something we as a society really need to keep working on. I work closely with brilliant organisations like the National Literacy Trust, BookTrust and World Book Day, and while we're doing our best to drive change, it’s a huge task and one that really needs proper government support if we’re going to make a lasting difference.
As someone who grew up without many books at home but with unfiltered access to my local library, this definitely strikes a chord with me, Rob.
And if I can sneak in a second thing, I’d also love to see more risk-taking in publishing – more space for unusual ideas, or quieter stories that don’t shout the loudest but have real heart. Picture books are such a special form, and part of their magic is how varied and surprising they can be. I think readers – and children especially – are always more ready for that kind of variety than we sometimes give them credit for.
As an industry, when it comes to risk-taking, we are definitely feeling the effects of this specific moment of time we’re wading through. There is so much that’s pushing us backwards, and that all massively contributes to what art is being made and what people are willing to spend their money on. Having worked in-house and been that person who struggles to acquire projects they love because the P&L looks dire, I understand to some degree the frustration that comes from the fact that this industry knows how to sell some things but really doesn’t know (and, it seems, is unwilling to learn?) how to sell anything it deems somewhat out of the ordinary. What we in publishing see as risks… if those projects are developed, packaged, marketed and sold in a way that’s true to the project itself, maybe they wouldn’t end up being risks at all. Maybe what makes them risky is the lack of support/development after acquisition.
But, back to the questions! There are a lot of authors, illustrators and author-illustrators out there who would love to achieve a similar level of success as you. What advice would you give someone who hopes to make a name for themselves in children’s books?
At the risk of repeating myself, I think the most important thing is to be genuine. Tell the stories that only you can tell in the way that feels most natural to you. Don’t try to chase trends or second-guess what the market wants, because by the time you’ve written or drawn it, the landscape will probably have shifted anyway. If your work comes from an honest place, it’s far more likely to connect with readers.
Also, try to stay patient. This industry can feel quite slow-moving at times, especially in the early stages, so persistence is key. It took me five years to get a book deal and there were many times that I considering giving up. But instead I kept writing, kept drawing, kept improving my craft, kept showing up, and I made sure to surround myself with people who lifted me up creatively. There will always be ups and downs, so having a good support network really helps.
And finally, remember that “success” looks different for everyone. Awards and bestsellers are lovely (of course!), but the real magic lies in knowing that your work is out there making a difference to children – making them laugh, helping them feel seen, or just giving them a moment of joy. Therein lies the gold.
Lastly, in our 2014 chat, you said:
“The first time I held a finished copy of the book in my hands was almost like an out-of-body experience, as was the first time I saw it in a shop window.”
Has this feeling diluted over time, or do you still feel similarly?
Honestly, I still get that same feeling. There is always something incredibly surreal about seeing your finished book for the first time, especially after living with it in your head (and on your screen!) for so long. That moment when it becomes a real thing, with a dust jacket, a spine, and endpapers is incredible. And, best of all, it has your name on the cover. That never stops feeling special.
I suppose the feeling has evolved slightly. It's maybe less of an “out-of-body” jolt now and more one of quiet satisfaction – a kind of internal “I did it”. I still always take a moment to put it up on my shelf alongside all my other books and really look at it, to see the fruits of my labours, and to feel grateful. Because I know how lucky I am to do this job, and luckier still to be doing it over a decade later.