Emma Topping is a producer, literary agent, entertainment lawyer and educator with nearly 30 years’ experience across the international screen and wider creative industries.
Emma’s in-house background includes senior business and legal affairs leadership at Disney XD (then Jetix), where she headed business and legal affairs across two divisions, Consumer Products and Home Entertainment, during a period of major innovation as film and series rapidly shifted into digital distribution. She later held roles at Macmillan and Penguin Random House during the move into eBooks, audiobooks and evolving digital exploitation, giving her an end-to-end perspective on rights, production, distribution, transmedia storytelling, technological and audience change.
As Founder and CEO of Viv Loves Film, Emma specialises in literary representation for authors, graphic novelists, indie publishers and game developers, as well as developing and producing book-to-screen adaptation and world-building media franchises. Her executive producing credits include Sony’s Peter Rabbit animated feature franchise and Brian Jacques’ Redwall (in development) and she has also co-produced a multi-episodic video game.
Alongside industry practice, Emma is a Lead Lecturer and HEA Fellow. She co-created the BA (Hons) Film Business and Production degree with MetFilm and leads and lectures across the full suite of film business modules in Brighton. Emma is a regular speaker on adaptation and IP, including talks on book-to-screen and monetising IP at the London Book Fair and at publishing conferences in China and India. Her latest creative project is writing and showrunning a dual-format adaptation of Niall Howell’s award-winning novel There Are Wolves Here Too, a suburban noir coming-of-age social commentary, with the first five episodes as vertical micro-series scheduled to shoot in August 2026. She is also developing an animated feature with New Zealand partners based on Emma Pratt’s graphic novel Magnolia.
A champion of underrepresented voices, Emma is passionate about ambitious storytelling across formats, with a particular love of transmedia horror (and amplifying “the final dog” trope!).
