Sitting on a Chicken: FREE Extract


To celebrate the release of Sitting on a Chicken by Michael Chissick, we are releasing a free extract from the book, featuring four interactive yoga games and poses you can use with your children or pupils!

To download the extract please click here. 

Learn more about Sitting on a Chicken here. 

Michael Chissick has written several books for children, published by Singing Dragon, please find them here.

A Q&A with Emma Hughes

hughes-strikerslowdown-c2wWe caught up with Emma Hughes, the author of ‘Striker, Slow Down!‘ to discuss her new book and her motivations for writing it.


What motivated you to write Striker, Slow Down!

My 7 year old son has always been a busy boy; keen to move onto the next exciting thing! I wanted to create something that would inspire him to take time out, and to feel ok about that. We have 4 cats at home, so it was only natural that the characters were a cat family!


When did you first start being interested in yoga?

I was born in the 70s, to hippy parents. Our home was scattered with Indian statues, with my mum often proclaiming India was her spiritual home. M y interest in Indian culture was always meant to be. My mum (and even her mum), practiced yoga. I began my personal practice in my late teens. Other fitness and lifestyle trends have come and gone for me – but yoga is a constant, in varying formats and intensities.


What do you think it is about yoga and mindfulness that has the power to calm children in particular?

When we practice physical yoga – asanas – we become present. We focus on our bodies and how they are feeling in that moment, without the distractions daily life delivers. We begin to tune in, to understand and accept.

When I describe mindfulness, I often say, “Its back to basics”, thinking about what we’re doing at that moment. If you’re walking along the street, mindfully, you’re not planning what you’re doing next, thinking about what happened earlier that day; you’re just walking down the street – moving your body and enjoying a view of some sorts.

A tell-tale sign that my mind is not being present is clumsiness; this often happens when we’re trying to do too many things at once, or our minds are distracted.

Children are used to seeing people with their phones attached to them – walking and typing messages, commenting on social media pages whilst in the middle of other tasks. Often, we believe we’re being efficient, but at what cost to our mental and physical wellbeing, which are intrinsically connected.


Are there any challenges you have encountered when teaching children about yoga and mindfulness?

Children get it, more easily so than adults exploring yoga and mindfulness later in life. Children are naturally capable of many advanced yoga poses and their colourful imaginations enjoy the creative way in which yoga is taught to them.

I’ve encountered children fearing that if they’re not doing the next exciting thing, that they’re missing out. It can be tricky to explain that it can be beneficial to sit peacefully for a few minutes, focusing on the breath as it moves through the body, especially long term. But like us adults, they often need proof and instant results.

Teaching yoga and mindfulness to children is about planting a seed, with the hope that this seed will blossom into a deeper interest in yoga, mindfulness and meditation – even if children don’t label these tools in this way.


Why do you think it is important for children to find an outlet to manage their emotions?

My teaching is about feeling and acknowledging the emotion, then perhaps trying to understand why it’s there. Sometimes there’s an answer, sometimes there’s not, and that’s ok.

Uncomfortable emotions can easily gain momentum as our mind takes over and bombards it with reasons we should feel this way.

Sometimes we just need to cry/sulk/stomp our feet and the moment passes. Other times, we can use the breath to bring ourselves back to the present moment and just focus on one thing, breathing and being.


What do you hope readers take away from your book?

I hope that young (and older!) readers will identify with Striker and understand that it’s ok to take time out just to sit and be; in fact, it’s good for you!


To read more about Striker, Slow Down! or to buy the book, please click here. 

Striker, Slow Down! – FREE Colouring Page


To celebrate the release of Striker, Slow Down!, we have released a FREE downloadable colouring page to help children use mindfulness to control their emotions.

Striker, Slow Down! tells the story of Striker the cat, who is unstoppable! He thinks that there is too much fun to be had, and no matter what his mama tells him, he never slows down. One day, a bump to the head brings this busy cat to a standstill. Will Striker finally listen to his mama and learn to make time for a little calmness?

You can use our colouring page with your children or pupils – you can share your finished pages with us on Facebook or Twitter.

To download the colouring page, please click here.

Feeling the Way: What Does it Mean to Heal Someone?

long-feelingtheway-c2wIn this blog by Rob Long, author of Feeling the Way, Long examines what healing means and how it applies to our lives. 


In my new book ‘Feeling The Way’ I make the bold claim that everybody possesses what is commonly called ‘healing hands’. That means you! What appears in the book is a stripped-back, extremely practical how-to guide, based on insights from over twenty years of my own trial and error in the clinic. I have called what I do ‘Qi Sensitivity Healing’, or QHS for short, and whilst much of it is innovative, it also owes a huge debt to ancient Chinese practices, especially those of the Daoists, those progenitors of Acupuncture, herbal medicine and many other instantly recognizable modalities .


I am a Traditional Acupuncturist and Chinese-style Tui Na Masseur and also teach Qi Gong. In exploring Qi Gong and various other Oriental forms I discovered, quite by accident, that I was a hands-on healer! This changed my practice forever, and I believe, made me considerably more effective as a therapist. It also radically altered my perception of this strange, elusive phenomenon we call ‘qi’. It was the fruits of this particular breakthrough that I sought to share in writing ‘Feeling The Way’.


However, before launching ourselves gung-ho at the nuts and bolts of Qi Sensitivity Healing, it might be useful to pause a moment and ask a fundamental question: what exactly does it mean to ‘heal’ someone? Like so many things related to Daoism, the answer is not so straightforward.


I am going to argue that there is a huge difference between ‘healing’ and ‘curing’. Here in the West we often confuse these two very different concepts.


Firstly, ‘curing’. This is the fundamental aim of Western technological medicine, and when it occurs, it is wonderful. To me, curing means that a malady is diagnosed, treated and made to go away – permanently. In Traditional Chinese Medicine we also like to cure people, but what if that is simply not possible? How do we proceed, and how do we then rate our ‘medical performance’?


To me, this is where ‘healing’ comes into its own, not just as a set of procedures or techniques, but as a mindset that comprehends that much of what happens in human health is not remotely amenable to being ‘cured’ by anybody.


Some examples might be useful here. It must seem obvious to most of us that some complaints, especially the chronic ones, just can’t be made to disappear. The painful deformation caused by severe osteo-arthritis comes to mind here. So far, there are numerous interventions, but no cure, only palliative care.


Or what if it’s not an ‘illness’ at all that we confront? What if a person’s malaise stems from other, non-medical factors that nonetheless degrade the quality of life and shake their world? Take, for example, the 85 year-old woman who has just lost her husband to cancer, and now discovers that she has far less money to live on than she previously imagined. Perhaps her children live far away and can’t help, or perhaps she has nobody at all. There is nothing medically ‘wrong’ with this woman, yet she is in great distress. Can you cure her? No. There is nothing to cure. Can you heal her? Yes you can! Perhaps not permanently – you cannot take away her grief or her poverty – but you can certainly make her life worth living. ‘Palliative’ this may be, but I see no shame in that label! Such a basic human interaction seems to me a valuable (and sadly, rare) asset to our society and is obviously not the province of any particular therapy. Instead it is achieved only by the quality of our attention as we allow our innate compassion to flow.


And that is what I mean by healing.


To read more about Feeling the Way, or to buy the book, please click here. 

Preparing the Body for Work: Working for Coherence

In this blog by Amanda Brennan, author of The Energetic Performer, Brennan provides an overview of her method of acting and how increasing awareness of the body can enhance the acting experience. 

I recently ran a series of workshops for professional actors in Santiago, Chile. The course was designed to refine performance skills, explore the craft of screen acting and discover how to create a rich and complex inner life. In my book The Energetic Performer, I refer to the inner life as all that moves with in, thoughts, vibrations of the nervous system, the beat of the heart, the flow of breath, all feelings and emotional expression. Its cultivation is at the heart of screen performance, where the real action is on the inside. To achieve this aim, I began with what I believe is the fundamental necessity: preparing the body for work.

The starting point for an actor is themselves and the riches of their experience. In actor training we often use the analogy of the body as an instrument which needs to be tuned for there to be a real connection to the work. There are three main obstacles which may hinder this, all of which are inextricably linked:


  1. The body structure and shape which has developed throughout a life time. It is all too easy for muscles to become taut and inflexible. A rigid spine can limit the passage of messages, a locked pelvis can prevent the ease with which an individual moves, a lifted diaphragm can affect the cycle of breath, and so on.


  1. The patterns and habits which we all develop. A possible interpretation of habits are ‘that they are actions, or a kind of behaviour, which are often repeated and, as such, are physiologically programmed into the body to become a response to a particular circumstance’ (Brennan, 2016: 37). There are many reasons why they evolve. Some are primal such as flinching when an object moves towards you or appearing to freeze when frightened. They also serve as memory aids, this especially relates to daily routines which help us to remember how and when to do something. Other habits may be triggered by stress or unease as a means of the body coping, biting the finger nails when nervous is an example. What is clear is that some are unhelpful for performers: holding and tightening hinders expression, reduces vocal clarity and brings muscular tension.


  1. The over dominance of the thinking part of our bodies is another factor which is important. In our busy world and throughout education thinking is often prioritised over feeling. At times we all may have a tendency to over-analyse events and actions, consider why something happened, ponder on a comment made, plan into the future or dwell in the past. All of which takes us away from the felt senses, and leads to specific somatic patterns which are hard to unpick. Becoming over worried about auditions, for example, will prevent the actor from committing to the performance. There is a strong possibility their body will tighten and become rigid which means there is zero chance of engaging in the emotions of the scene. Getting out of the head and into the body becomes a necessity when there is a need to cultivate a range of emotions and commune with the imaginative situation.


Therefore as with every session I teach, prior to the technical acting technique, I embark on the initial part of the training which is preparing the body to work. Regardless of the experience of the performer, this is always the starting point. It is the stage when I lead participants through exercises which encourage a heightened awareness of their body. I prioritise feeling, the observation of the sensations through listening in to what moves within and work to direct physiological change. I have begun to use the phrase inner organisation, which is how the systems of the body work together and essentially sets the tempo of breath, thoughts, the flow energy/qi, and all messages from the nervous system.

Preparing the body is often known as a warm up, in a similar way to participating in sports it involves loosening, opening and adapting to what happens when we take ourselves out of a usual routine to change how we use our bodies. The basic concept is that it is a period of adjustment prior to commencing work, be that a rehearsal, performance or participating in a class. It is when thoughts may become less erratic or analytical, breath becomes regulated, and the senses awaken. It is when all physiological systems can harmonise and flow together, so a maximum level of efficiency can be achieved to harness a deep level of focus.

I consider that the preparation of the body is quite complex. It needs sustained and regular work rather than fifteen minutes before going on stage or a film set in order for the actor to adapt to change and therefore retain the ability to be fully receptive to themselves, other people and the environment. To return to the idea of tuning it is the pursuit of a connection, where all parts are speaking to each other, a balance between mind and body.

A performer is ideally able to inhabit the imaginative circumstances of a story, for which they are the resource. The term inhabit implies that the actor has been able to immerse themselves into the fictional situation and respond as if they are living it. There is reduction of interference, so their own personal thoughts have been reduced and feelings are connected to the story, they live in the pretence for a short period. Actors are required to slip in and out of this pretence and on occasions under quite challenging situations. Training to have to be able to completely immersed in make believe for a sustained period is not necessarily an easy feat. It requires the facility to be receptive, to go with the flow of your body and to surrender to whatever arises, to the unknown.

My specific approach to accessing increased receptivity is to incorporate many of the fundamentals of qigong and other body based practices such as: tapping, aikido, tai chi and shiatsu.  Embedded within most of these practices is an ancient wisdom of how the body functions anatomically and energetically. The practice of Qigong in particular is a valuable means of quietening the mind, bringing balance, sensitivity, self-awareness and a sense of being whole. Known as a system of healing and energy medicine, it is through gentle movement, static postures and mediation that an enhanced qi flow and control of inner activity is achieved. Once it is practiced regularly participants become more acutely attuned to bodily changes.


The workshops in Chile followed a pattern which I have developed over a number of years. They began with exercises which encourage the performer to become aware of breath patterns, any holding or tightening and unhelpful habitual patterns. I work with the fundamentals of grounding, centre, the distribution of weight, and the felt senses.


Here are a few key components:

Wu chi

The starting point is wu chi, a still posture from qigong, which structurally aligns not only the skeleton but all of the physiological systems including the meridian channels. In this position the joints are not locked, weight sits predominantly over the balls of the feet with the heels remaining the lowest connection to the ground, the coccyx and the chin are slightly tucked. This tends to automatically bring the diaphragm into a position that supports the breath. When at first adopted wu chi feels very unnatural and it is not uncommon for quite strong sensations to arise, often around the chest area. This can be explained as a reuniting of structures which have long been disconnected. If practiced wu chi can bring real harmony and ease.


I remind participants of the natural and most efficient pattern for breathing. We spend some initial time slightly exaggerating the rhythm by sinking on an in breathe and rising on an exhalation. Placing the hands in front with the palms facing down as the body sinks and the palms up as it rises. This simple exercise brings calm and enhances communication.


Having established a structural position we start to work on further uniting the body for which I use qigong sequences such as gathering qi, scanning the body, balance hands, all of which are described in The Energetic Performer. The common feature of which is a reminder to move from the pelvis area, the lower dantien. In acting the concept of moving from a centre is familiar, we often refer to a character as being a thinker (head centre), feeler (heart centre) or a doer (pelvis).

I encourage the idea that we should move from the lower dantien, firstly this enhances a strong connection to the lower part of the body and secondly according to eastern body practices this is the energetic centre. It is usual for us all to spend more time communicating with the upper front areas and locking the pelvis and legs. This is often due to stress and the over dominance of thinking. Maximising the connection to all of the body heightens total connectivity and the facility to feel. For the actor this increases the possibility to inhabit and really place themselves fully into the situations at hand.

Awakening the Energy

A regular exercise from qigong practice is shaking; I incorporate this into the session having introduced the concept of the lower dantien. This simply involves initiating a shake from this centre, while trying to retain the structure of wu chi. This seems a very simple exercise but it serves to massage the organs, wake up and unlock parts that may have been tight or congested. After shaking for up to five minutes I may repeat sequences which aim to balance qi and it is often noticeable that the second time round there is more vitality and sensations, it can seem like each cell in the body is dancing.

It is easy to skip this process of preparation, especially if time is restricted, or when there is often not the space or recognition of the benefits by the actor or director. I consider this to be a false economy. Preparing the body will mean that the actor is ready to imaginatively transcend, they are more in command of their senses and able to focus attention to where it needs to be. Working on an energetic level is truly transformative, it empowers the individual by providing the facility to change states of being and so have command over their instrument. I therefore encourage all who I work with to take the time to acquaint themselves with their own body and the train it in order to being the riches of being fully connected. “Taking a journey inside your body will introduce you to the amazingly intricate and interwoven systems that function as one unit and support the discovery of ease and efficiency’. (Brennan, 2016: 200)


To read more about The Energetic Performer, please click here.





Facial Torment – and resolution

In this second blog post by Thomas Attlee, author of Face to Face with the Face, Attlee expands on his previous blog post ‘Essentials of Cranio-Sacral Integration‘, by expanding on the key points, and again providing the following three case studies: Tooth, Jaw and TMJ Pain; Hearing Loss and  Trigeminal Neuralgia. 

Fiona was forty-seven and had suffered a lifetime of countless recurrent ear infections, glue ear, severe deafness, extreme pain, burst ear drums, and inability to travel by air. She had been through countless courses of antibiotics, grommets, operations and other treatments without benefit – until she discovered cranio-sacral integration, and her life was transformed – able to hear again, free of pain, able to fly (by aeroplane, that is, not independently – cranio-sacral integration is not quite that miraculous).

Ninety percent of babies and children suffer middle ear infections¹, often leading to glue ear, with potential repercussions on speech and language. Like Fiona, they may receive frequent prescriptions of antibiotics, sometimes grommets and possibly operations, none of which addresses the underlying cause and which may consequently lead to repeated episodes of the condition.

Trigeminal neuralgia is widely regarded as the most excruciatingly painful condition known to the medical world², with no clearly identified cause and limited means of treatment or management. Bell’s palsy is a common cause of frustrating facial disturbance. Ménière’s disease can be severely debilitating, with recurrent vertigo, tinnitus and deafness. Tinnitus itself is an interminable source of irritation, driving many people to distraction. Vertigo and labyrinthitis can be extremely disorientating. Eyes are subject to squints, astigmatism, lazy eye, infections, and dry eye. In every day cranio-sacral practice, we repeatedly see that in many cases these conditions can be alleviated and resolved.

Obscure underlying facial sources can also be the undiagnosed cause of repeated headaches, recurrent migraines, neck pain, attention deficit hyperactivity disorder (ADHD), autism, learning difficulties, reduced academic ability, loss of mental clarity, poor motor function, asthma, eczema, depression, exhaustion, chronic fatigue, and severe debilitation.

So many conditions affecting the face – rhinitis, allergy, hypersensitivity, nasal congestion, and the agony of sinusitis are so common that they are often taken for granted, accepted as normal. We live with these conditions, suffer in silence, manage them to some degree through constant medication – but they do not need to be merely managed, they can often be relieved to a large extent – and quality of life can be substantially enhanced. Through cranio-sacral integration, we often see profound transformation in so many persistent and apparently intractable conditions.

An integrative approach:

For the most part, such conditions are treated locally and symptomatically.

Cranio-sacral integration offers a different approach – by looking at the whole person, understanding that every part of the body affects and is affected by every other part, that local health is dependent on overall integration and fundamental vitality, and that underlying patterns of trauma arising from birth, childhood injury, accidents, and traumatic incidents can predispose to a wide range of disturbances and dysfunctions later in life.

The cranio-sacral approach also recognizes that the body has an inherent potential for resolving health disturbances and restoring health, and engages with this inherent potential in order to help the body to re-establish its natural free mobility and fluent function.

This book explores the eyes, ears, nose, sinuses, mouth, teeth, jaw – the whole face, in the context of the whole person – gaining a clear understanding of each part, and most significantly, providing a practical means of resolving the many conditions affecting these areas – in an exceptionally gentle, non-invasive, integrative manner, without the use of medication or surgery.


Dentists are undoubtedly a very valuable and welcome asset to society, saving us from a great deal of tooth pain, but there are also many conditions affecting the teeth and jaw which are not resolved through conventional dentistry and orthodontics. The integration of whole-person dentistry and cranio-sacral therapy is a rapidly developing field with great significance for the future of dental health care.

Margaret suffered persistent pain in her jaw and in several teeth, often accompanied by severe headaches. Years of extensive dentistry had not helped. Her orthodontist wanted to embark on a comprehensive programme to restructure her jaw. Hoping to find an easier solution, Margaret tried cranio-sacral integration. Her symptoms were relieved very quickly and never recurred. The source of the condition was not in the teeth or jaw at all.

Facial injury:

Cranio-sacral integration can also be valuable in the re-integration of the face after injury or operations, and in resolving persistent pain, imbalance and discomfort following severe facial trauma from a car accident or an attack.

Early origins:

Many conditions affecting the face can arise from birth, childhood injury, and long-forgotten accidents and incidents, such as a fall on the face at an early age – a factor which is seldom recognized, identified or addressed. Trauma, tension and stress are also held in the tissues and their accumulation can be the factor that predisposes to many conditions.

Profound whole person cranio-sacral integration:

Cranio-sacral integration is a profound process. It engages with deep levels of health – quantum levels – releasing the deeply ingrained effects of trauma and injury held throughout the system, in body and mind, integrating the whole person, and establishing an underlying level of health and vitality, so that specific conditions, whether affecting the face or anywhere else, can resolve in response to the body’s inherent treatment potential.

In order to work with the face, we need to look closely at its structure, function and dysfunction. We need to come face to face with the face.1-1

Case Study 1: Caroline, Tooth, jaw and TMJ pain

Case Study 2: Catriona, Hearing Loss

Case Study 3: Milosz, Trigeminal Neuralgia


Thomas Attlee’s new book Face to Face with the Face explains how Cranio-Sacral Integration can help a wide range of persistent and painful conditions involving the face and the cranial nerves – from trigeminal neuralgia, sinusitis, hearing loss and TMJ syndrome to autism, chronic fatigue and polyvagal disturbance – through a deeper understanding of quantum levels of health and the biodynamic forces which underlie the body’s inherent healing potential. 

Thomas Attlee is founder and principal of the College of Cranio-Sacral Therapy, London, the first and most established college of Cranio-Sacral Therapy in Europe, now in its 31st year.  He is the author of Cranio-Sacral Integration – Foundation and the newly published Face to Face with the Face.

Essentials of Cranio-Sacral Integration (and case studies)

In this blog post by Thomas Attlee, author of Face to Face with the Face, Attlee explains the ‘Essentials of Cranio-Sacral Integration’, providing an overview of the key points, and providing three case studies: Tooth, Jaw and TMJ Pain; Hearing Loss and  Trigeminal Neuralgia. 


In 2013 Professor Peter Higgs received the Nobel prize for a concept he first proposed in 1964 and for which the experimental proof was finally provided at the CERN laboratory in Switzerland in 2012. Professor Higgs postulated that there is an invisible field pervading the whole universe.

Within quantum physics it has now been established that there is a universal field, a unifying matrix within which everything exists and interacts – every galaxy, star, planet, solid object, living being, molecule, atom, subatomic particle – a field from which particles take their mass.

In the quantum model of cranio-sacral integration, we also perceive a universal field or matrix, within which life on earth has come into being, and each one of us exists as an individual matrix within this wider matrix. We are formed embryologically, developed, maintained and sustained by the biodynamic forces within that field, and every cell, atom, and subatomic particle within our body is an integral part of that wider field.

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Inside the Mouse’s House…

by Susan Quayle, author of Mouse’s Best Day Ever

Sitting at the kitchen table were my two children and my daughter’s two friends, who had come over to play. They were having lunch and chattering away as children do, when I heard, “Poppy’s got a reward chart,” after which there was a brief silence, followed by, “for going to the toilet.” I have to admit that this was not exactly what I was expecting to hear. I turned around to join in the conversation, asking “how does that work then?”

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A Day in the Life of… an Intern at Singing Dragon

by James Safford

James SaffordAs both Emma and Jane have mentioned in previous posts, our work patterns at Singing Dragon/JKP can rarely be neatly packaged into what you might call a normal routine, and over the past few months I would say that routine has featured less for myself than any other member of staff. I have worked as a general intern here since the end of December, and because this entails assisting the full range of departments, I very rarely find myself doing the same work from one day to the next.

The day usually starts with a mug of coffee whilst I check through my e-mails. My e-mail account looks a little different to that of a full-time employee; whilst staff usually spend their time communicating with people outside the company – the freelance copyeditors and proofreaders managed by the production editorial department, the publications and journals who work closely with marketing, the printers who work with the production department, to name a few – I usually receive a steady stream of messages from people within the company. Editors may need a hand with research for a certain side of the list they wish to add to, which they will come to me for; marketing may need blog posts proofread, or copies of our books sent to reviewers; sales may ask for customer account information to be updated; or editorial assistants may ask for advance information materials, which contain blurbs, market information and author biographies, to be composed. After I’ve seen what I will be doing over the course of the day I can begin to set myself timeframes for each task.

I usually work on these tasks as and when they come in, but I also have a range of projects that I keep ticking over in the background. When I am based in the production department, there are always corrections to be made to InDesign files (the software we use to make our books look like actual books); this might include working on improving the quality of images used in the book, correcting text as marked up by proofreaders, or formatting the references. This has been particularly valuable for me, as someone who is interested in learning about editing, as it gives me a front-row seat to see how copyeditors and proofreaders work on books, how our house styles work, and what shape our commissioning editors want these books to take. Otherwise, I’ve been working with our production director, Octavia, to update a programme we use to catalogue our book data, called Biblio, and make it more user friendly. As there is no deadline for this task – the process will continue until the programme is fully tailored to what we do at Singing Dragon/JKP – we try to work on these projects whenever we have the time to spare.

When coming into publishing I had a fairly simple idea in my head as to how it all might work. I had imagined an industry which pined lethargically for its golden past, and what I found was one that is always thinking of new ways to be innovative with print, and that is trying to figure out how best to utilise digital. I enjoy the variety that being able to work across departments has afforded me, and I think that it is precisely because there isn’t, so to speak, a ‘day in the life’ of an intern here, that we are able to do so much interesting stuff. I get to see how our designers are working on the aesthetic of the Singing Dragon and JKP books, I get to see how the acquisitions department are building a diverse and award-winning list of books across the two imprints, I get to see how the company is planning to adapt to digital and how the marketing team are getting our books out.

So I suppose that’s how my day ends at 5.30, having done such a variety of stuff throughout the course of the day I spend the last few minutes summarising what I have done – I try to think, more precisely, about how I might do it better and quicker next time. Before arriving, I had been interested in experiencing the full spectrum of opportunities that this industry can offer, and to try and see what form those opportunities might take in ten years. This internship has given me the freedom to spend my days learning about the industry as a whole, and ensures that two days very rarely resemble one another. There are great opportunities to learn a large amount in a short space of time in publishing – I’m lucky enough to be able to spend my days asking people with big brains lots of questions and not be made to feel silly for it.