Podcast Summary: New Books Network

Episode: Children's Books with Annie Kelly from Random House Books
Host: New Books
Guest: Annie Kelly, Executive Editor, Random House Studio (Penguin Random House)
Date: October 29, 2025

Episode Overview

This episode features an in-depth conversation between the host and Annie Kelly, Executive Editor at Random House Studio, about the craft and business of editing children’s picture books. The discussion centers on the story behind acquiring Emily Saw a Door—originally published in Israel—and expands into Annie's editorial philosophy, her career journey, what she looks for in picture books, and advice to authors. The episode provides a candid, humorous, and heartfelt look at the children’s publishing industry through Annie's discerning editorial lens.

Key Discussion Points & Insights

Discovering and Acquiring Emily Saw a Door

• Annie received the manuscript as an exclusive submission from agent Liza Fleissig, who rarely represents works first published abroad.
  • Annie was immediately struck by the artwork and unique treatment of familiar themes like inclusion and acceptance.
  • She describes how the narrative’s approach—Emily knocking on doors, each with its own surprising reason for rejection—felt new and poignant.
• Memorable details:
  • The illustrations' novel use of composition and color, notably a three-quarters-of-the-page staircase and effective white space.
  • Empowerment is a core theme: Emily, after repeated rejections, creates her own door and then welcomes someone else in.
• Acquisition process:
  • Annie's response was quick and enthusiastic, with approval from publisher Lee Wade on the same day ([05:30-05:52]).
  • The host shares the exhilarating moment of learning the book was acquired, underscoring the emotional stakes for authors ([05:56-06:06]).

Editorial Philosophy & Career Path

• Annie’s background:
  • Grew up in the Middle East (Kuwait and Bahrain), later moving to Wales and then the US.
  • Was a voracious reader, especially of series like Babysitter’s Club, and managed Scholastic book orders for her school in Bahrain ([07:52-08:57]).
  • Attended Wellesley College (a women’s college), majoring in English. Realized she could combine aspirations in teaching and editing by going into children’s book publishing ([11:05-12:44]).
• Entry into publishing:
  • Attended the Radcliffe (now Columbia) Publishing Course.
  • Mentored by Brenda Bowen, who encouraged her to pursue children’s publishing exclusively.
  • First job came from seeing Olivia the Pig and contacting its editor, Anne, resulting in 20 years of collaboration ([12:44-13:06]).

What Makes a Winning Picture Book

• Annie selects projects based on a strong personal connection—a gut feeling.
  • “I know it when I see it. It’s a feeling, a connection I make” ([13:27]).
  • Drawn to literary, beautifully-written, and diverse titles over ultra-commercial or silly themes ([13:27-14:04]).
• Role as matchmaker:
  • Particularly enjoys pairing the right illustrator with the right story—a central part of her reputation.

Behind the Editorial Curtain

• Editorial process:
  • Focused mainly on picture books, and also middle grade/YA nonfiction.
  • Open to a wide variety of genres but honest about personal taste: less likely to champion commercial/silly stories like "the cow who wears pants" ([16:27-18:05]).
• Selecting illustrators:
  • Sometimes knows immediately who would be the perfect fit; other times, it takes research and open-mindedness ([21:19-21:52]).
• Book production:
  • Describes working alongside art director Rachel Cole, reviewing multiple rounds of dummy sketches, and handling the technical challenges of layout and color correction ([24:25-30:23]).
  • Emphasizes the puzzle-like nature and collaborative review process, involving authors and illustrators in feedback loops to avoid surprises ([31:01-31:41]).

Notable Works

• Showcases recent projects:
  • Noodles on a Bicycle by Keough McClear and Gracie Zhang (Caldecott honor, part of a trilogy).
  • Dog vs Strawberry—a humorous, dynamic picture book by a frequent collaborator.
  • Rediscovered the artist Hanoch Piven early in her career ([22:00-23:57]).

Relationships & Collaboration

• Annie believes in keeping authors involved throughout visual development, though generally not in direct contact with illustrators.
  • Intent is to ensure authors approve key steps, reducing the risk of disappointment after publication ([31:01-31:41]).

Advice for Authors

• Strong, distinctive voice is paramount:
  • “I look for a strong voice, that is number one” ([34:31]).
  • Generic texts are passed over; lyricism or humor can set a manuscript apart.
• Author support groups and critique partners are beneficial.
• Balance of text and illustration:
  • Writers should consider what art can convey; do not overwrite details the pictures can show ([35:20-36:03]).
• Art notes:
  • She doesn’t mind art notes but generally strips them when sending manuscripts to illustrators—unless a specific plot point needs explanation ([36:03-36:24]).
• On trends:
  • “Write your story. Write what you want to write. Don’t think about trends. That’s not your job as the writer” ([36:47-37:08]).
  • Great stories can transcend genre fatigue, e.g., dinosaur books.

Notable Quotes & Memorable Moments

• On acquiring Emily Saw a Door:
  “I loved it immediately. Like, I opened it, I said, yes. I sent it to my publisher, she said, yes, and we bought the book.”
  — Annie Kelly ([05:31])
• On choosing projects:
  “I know it when I see it. Know it's a feeling. I have a connection I make.”
  — Annie Kelly ([13:27])
• On discovering strong voice:
  “I look for a strong voice, that is number one. So have a voice for sure in your book. I read a lot that feels generic... you have a voice in Emily.”
  — Annie Kelly ([34:31])
• On advice to writers:
  “Write what you write and do it really well, and that's all you can do, you know, and someone might pick it up.”
  — Annie Kelly ([37:08])
• On lasting attachment to books:
  “It is a weird thing when a book actually hits pub date for me because it's just been mine for so long, it feels kind of over, which is weird because it's just the start.”
  — Annie Kelly ([32:28])
• Host on the emotional journey:
  “One of the advice I give to authors like me... you have to have some shtick. It's not enough to write really well. People have to know you exist.”
  — Host ([06:10])
• On being an editor:
  “I've loved my job from day one.”
  — Annie Kelly ([13:07])

Timestamps of Important Segments

• Annie’s path to editing & childhood reading: [07:52–12:44]
• How Emily Saw a Door was acquired: [03:05–05:52]
• Editorial process & finding illustrators: [13:27–14:04]; [21:19–22:32]; [24:25–25:03]
• Recent favorite books discussed: [22:00–23:45]
• Collaborative process with authors & illustrators: [24:25–32:01]
• Advice for authors: [34:31–37:20]
• Host’s current project and Annie’s heritage: [37:33–39:30]
• Reflections on book launch and author-editor relationship: [32:28–34:31]; [40:04–40:38]

Additional Highlights

• Annie’s commitment to “putting the puzzle together” when crafting picture books.
• The host’s personal anecdotes on rejection, persistence, and discovering their agent through podcasting.
• Discussion on market considerations: striking a balance between literary love and commercial viability.
• Behind-the-scenes details on the adaptation process for foreign picture books, color correction, and page layout.

Tone & Atmosphere

The conversation balances warmth, humility, and humor with practical industry wisdom. Both the host and Annie Kelly speak candidly about their work, experiences with success and rejection, and the collaborative joys and struggles of bringing children’s books to life. Their mutual respect and enthusiasm for storytelling is woven throughout the episode.

This summary was created to offer a comprehensive and engaging overview of the episode for those who haven’t listened, highlighting all major themes, insights, and memorable moments.