The global licensing community is powered by an incredible group of professionals whose diverse backgrounds and creative energy drive innovation and excellence. Each week we profile one of these professionals in this ongoing series.

How did you get into licensing (or how did licensing find you)?
My first jobs were in media buying and publishing. I worked for Marshall Cavendish, a market leader in partwork publishing (collectible magazines), and Quarto, who were very strong in the international co-edition markets. My main job at Quarto was coming up with new book ideas and it was through this that I first became aware of licensing. From this starting point I was able to join Copyright Promotions to co-manage their publishing business, which at the time included brands like Star Wars, The X Files, Sonic the Hedgehog, and Transformers. I also had responsibility for computer games and remember attending the very first E3 show selling rights to the Hanna Barbera characters. A claim to fame here is that I provided a voiceover for a computer game and appeared on the credits! Ironically, I didn’t earn any royalties from that deal.

What’s a “typical” day in your current position?
Start Licensing is an independent licensing agency and we have a select portfolio of rights that we represent, including Aardman, Britvic Soft Drinks, The Ashmolean Museum, Pembe the Pink Cat, Country Diary by Edith Holden, and Kendra Dandy. My day is a mix of client meetings, licensee meetings, admin, and new business calls. The volume and ratio of these things changes day to day, but I do also like to make time to get away from my desk to meet people in person, visit retail, and take in tradeshows. I attended around 17 different tradeshows last year across a range of industries—I find that a day at a tradeshow is a day well spent.

What’s your biggest personal or professional accomplishment?
I think the fact that Start Licensing is 22 years old and is established on the licensing map is something to be proud of. I think we have a good reputation, are trusted, and noted for being creative in the licensing deals we bring to fruition. All of these are noteworthy accomplishments that I am proud of.

What are the most significant trends or changes that you’ve seen in the business in recent years?
If I had to say one thing, it would be the level of competition. When I first started in licensing there were fewer agencies, rights holders, and rights in the marketplace. The volume of competition has grown significantly but I don’t think the demand for licenses has increased at the same pace. In part, this is why we spend a fair amount of time nurturing ‘new-to-licensing’ companies. I would also say the quality of products and design have improved immensely as well—licensing companies now invest in design and development, recognizing that consumers want a ‘special’ brand experience that includes a creative approach to product.

What keeps you up at night? What’s your biggest challenge these days?
I guess it is admin—remembering that email or paperwork I didn’t complete or send off. I try to switch off from work outside of work hours. This can be difficult, but a good book can help you switch off and escape. Although I do occasionally think the book I’m reading has licensing potential, which somewhat defeats the objective of reading a book!

In your opinion, what is the top skill every licensing executive should have in order to succeed?
I think communication skills—being comfortable talking to people, meeting people, and building relationships. This skillset develops over time but most people in licensing are friendly, welcoming, and supportive, which helps. I would recommend making an effort to immerse yourself in the industry and build a network of contacts.

What’s the best piece of advice you’ve ever received, or what’s your favorite quote?
I worked closely with one of the founders and owners of Copyright Promotions, the late David Cardwell. David had lots of sage advice and imaginative suggestions. One piece of advice that stands out was “Be sure to know that if you have a good idea, someone else has had the same good idea. It is about who makes that idea come to life the quickest.” The point I took from this and still reflect on is that you have to put ideas into action and make that call.

What is your favorite licensing deal of all time? (It doesn’t have to be one that was signed by you.)
I have been very impressed by what the licensing industry has achieved in the ‘live licensing’ sector. Our client Aardman have crafted a very successful live events business and it has been interesting seeing the variety of imaginative ways they bring their IP ‘alive’ with partners. Partnerships have included museum exhibitions, music concerts, escape rooms, and public art trails. It is a fast-growing part of the licensing world and also a very visible one. I would also applaud licensee Rainbow Productions—they are a market leader in the development and management of costume characters. They bring much loved characters alive for children in and they are great ambassadors for licensing.

If you weren’t in licensing, what would you be doing now?
I have a ‘license’ to mudlark on the River Thames issued by the Port of London Authority and I also take people out on walking tours of historic parts of London as a fundraiser for charity. I think I would be happy becoming a Full Time London Tour Guide—I might even take a license to make it an ‘officially licensed’ tour. The Monopoly Tour might work, and I could even ask Rainbow Productions to make me a Mr. Monopoly costume!

The last licensed product I bought was…
I buy a lot of licensed greetings cards. I love sending greetings cards for special occasions but also as a way of keeping in touch with family and friends. One of my go-to artists for cards is Angela Harding. I love the way Angela captures nature and wildlife. She has a very distinctive art style and is also very fond of including whippets on her cards, which appeals to me as I have a pet whippet.