A Reminder of Why You’re Doing This with Rachel Orr

Matthew C. Winner
4 hours ago
23 min read

Rachel Orr, editorial agent with Prospect Agency, joins Matthew to talk about growing together and following that gut feeling.

Listen along:

About Prospect Agency:

(from the agency website) We are an independent literary agency based in the New York City area, offering the highest quality representation since 2005.

Prospect Agency's strong relationships with industry professionals are a priority and a joy. We strive to help each of our authors and illustrators build successful, sustainable careers tailored to their unique dreams and skills. We’re with our clients every step of the way, from their first sentence to their #BookBirthday and beyond.

Prospect Agency thinks innovatively to keep one step ahead in this volatile industry.

Our innovative team of agents bring their diverse backgrounds and strengths to their work. We sell to every major US publisher. Our books are regularly on the New York Times and USA Today bestseller lists, have been adapted into major motion pictures, and translated into over 20 languages. We take special pride in being on the forefront when it comes to digital publishing and other new technologies.

Our accessibility to our clients creates an atmosphere where real collaboration is possible. Strong relationships with industry professionals are a top priority for us. We regularly host social events and attend conferences to stay closely connected with our friends and colleagues in the industry.

Our impressive record of selling successful books to every major US publisher has lead to New York Times and USA Today bestsellers, major motion pictures, and beyond. Most importantly, we foster a community of writers, artists, editors, and agents who share ideas and grow together. At Prospect Agency, we see the forest and the trees.

More:

Visit Rachel Orr online at https://portfolio.prospectagency.com/2017/03/21/536/

You can learn more about Prospect Agency and their clients by visiting www.prospectagency.com.

Learn more about Boyds Mills and their upcoming programs by visiting www.boydsmills.org.

Transcript:

NOTE: Transcript created by Descript. I've attempted to clean up any typos, grammatical errors, and formatting errors where possible.

Rachel: That's why it's so important, I find, to... I encourage people who are looking for agents to talk with them beforehand, see what their background is. Yeah. Even having a chance to talk to some of their clients can be helpful as well.

Matthew: That is the voice of Rachel Orr, editorial agent with Prospect Agency.

Welcome back to the Children’s Book Podcast, where we celebrate the books and creators who help young readers feel seen, supported, and understood. This episode is brought to you in partnership with Boyds Mills, positively impacting kids by amplifying the voices of storytellers who inspire children to become their best selves.

I’m your host, Matthew Winner—teacher, librarian, writer, and a fan of kids.

I have known of Rachel for some time and love that we have so many mutuals. I have a feeling you may know her as well. How exciting to bring us all together!

Here are a few of the things I learned in this conversation:

NUMBER ONE: Rachel is an editorial agent and says that’s becoming more and more the trend to have agents who also focus on the editorial side of supporting clients.

NUMBER TWO: Rachel is growth-focused with her clients. I love her focus and encouragement for us all to keep writing, take risks, and listen to feedback.

And NUMBER THREE: Rachel talks about encouraging clients to seek the stories that rejuvenate you and remind you of why you’re telling stories in the first place. Excellent advice!

So, a little about Prospect Agency from their website:

“We are an independent literary agency based in the New York City area, offering the highest quality representation since 2005.

Prospect Agency thinks innovatively to keep one step ahead in this volatile industry.

Our impressive record of selling successful books to every major US publisher has lead to New York Times and USA Today bestsellers, major motion pictures, and beyond.

Most importantly, we foster a community of writers, artists, editors, and agents who share ideas and grow together. At Prospect Agency, we see the forest and the trees.”

Ready to be rejuvenated?

Please welcome Rachel Orr to the podcast.

Rachel: Hi, my name is Rachel Orr. I'm a literary agent at Prospect [00:01:00] Agency, where I have the pleasure of representing a diverse range of authors and illustrators working on projects from board books through YA. I've been there for 19 years now about, and I absolutely love it. Before that, I was an editor at Harper Collins Children's Books.

I am also a mom, a dancer, a r- runner, and a reader.

Matthew: I love that. Rachel, you do a lot of things. How about it?

Rachel: I try.

Matthew: Welcome. I'm glad you're here. Before we go any deeper, I'd love to ask you today, in this moment that I'm finding you, what's giving you hope today?

Rachel: Yes, so I was thinking about that.

I've just returned from leading the children's ministry at my church, which always gives me hope, even in the most chaotic of days, as it was today. It's also bright and sunny outside, so after after we record, I might go to a local jazz festival and then go on a run. So those all [00:02:00] give me hope. And then in terms of work, I am feeling especially hopeful someti- th- today.

There's a an offer that one of my clients has received that we're planning on accepting tomorrow. There's another project that a dear friend of mine who is an editor that I've been really wanting to work with is taking to acquisitions this week, and who knows h- how that will pan out, but it's still giving me hope all the same.

And I've also been really excited and hopeful. I am on the Rutgers Council and planning our conference for October, and we've been able to far exceed the number of mentors that we were hoping to get for the conference. And there's a lot of young editors who are, some of them have only been in the industry for a few months, but they are stepping up and wanting to mentor, and I have just really been filled with hope for that, especially for those younger editors that are going to continue keeping the torch keeping the torch going.

Matthew: That's so great [00:03:00] to hear that you are seeing people continue to step up into this space. In teaching, we talk about that a lot, too, of will we continue to- Teaching is hard. Will we continue to attract people into this profession? Will we... M- most of us that are teachers came in for one of two reasons. One, because we had a teacher that w- we just hated.

They hurt us in some way, and we wanna be different. Or two, we had a teacher that we adored, and we wanna emulate them. And so it's w- we're constantly at a shortage in teaching and it always feels hopeful to hear, "Oh, you're such a good kid," and to know that this is the path you're choosing is wonderful.

So for you to represent across so many things, but that you also have some young editors that are excited to step up and mentor even more people coming in feels really great.

Rachel: Yes. Yes, for sure

Matthew: So you've [00:04:00] been at Prospect for 19 years? Yes. Amazing. I know that there's not a clear answer to this, I'm not so naive, but I would love to ask you what a typical day or week looks like for you as a literary agent.

I think what I'm asking here is what flow have you found in 19 years to find that balance? I know you have a lot to do. So what, what does your work flow look like?

Rachel: Sure. Yes. I do start by ... I really try to keep up with my emails of course. One of my clients when we started working together had just asked that I get back to her within, say, 72 hours, and that sounds fair to me.

And so I ... That's something I really prioritize is especially returning my clients' emails. So there's a lot of doing that with my clients. But then also I do, because I am an editorial agent, I'll do a lot of hands-on editorial work. So part of my days are spent [00:05:00] preparing manuscripts to go out on submission.

So doing some big picture things. Sometimes I'm brainstorming with clients. I may be talking about them about different ways to think about the pagination. I'm a very big fan of pagination if you've ever heard me speak before. Yeah. Thinking about the pacing and then even doing some, some line edits, especially on picture books.

Getting things ready for submission. And then the submission process, I will work with the client on drafting the drafting the pitch, coming up with a list of between six and eight different editors to send to and then sending those emails and then of course following up with emails. Because I know when I was an editor at Harper, sometimes I would need that nudge from an agent to-

Matthew: Yeah, that's okay

Rachel: to get it. So I spend a lot of my days doing that and just balancing that. And then that's ... It's nice to be able to have to be able to balance those creative endeavors [00:06:00] with something like contracts, which are maybe not so creative but still important. And so negotiating the contracts.

Whether it's the early stage where I'm looking at the offer and we're thinking about the advance and the royalties and the subsidiary right splits. And then going forward when we get the contract draft to negotiating that. Whether it's comparing it to other contracts that I've also done with that publisher or like right now my colleague Charlotte Winger and I are together negotiating a boilerpoi- boilerplate for a new publisher that we haven't worked with before.

So it's nice to have that balance between yes, between the creative and the little more detail-oriented work.

Matthew: Yeah. Rachel, I wanna ask you- A question I've realized I haven't asked someone before. I've heard the the adjective editorial before agents before. Are there other adjectives that we put before an agent?

I know I'm sure I could ask you roughly what percentage of you are [00:07:00] editorial agents, and I know that the number's pretty small. It w- it's smaller than one in four I would guess. Oh. 'Cause to come from... unless agency, a- agenting is a job that looks really attractive coming from being a, a book editor.

Maybe it's a different side of the the, the field where you can still use a lot of the skills. I wonder first, are there other ways to classify or group agents? And then also how many of you w- ballpark do you think are coming from an editorial space?

Rachel: Oh, that's a great question.

I'm not sure, and I think it's changed over the years. When I started as an editorial assistant at Harper, there... You didn't need an agent to get into pub- to have- Oh, okay ... a book published yet. So there were fewer editorial agents then. I was it... Right when I started at Prospect, I had been laid off from Harper and then became an agent, so I feel like that's a very typical career path.

So as... [00:08:00] Obviously a- editors still edit at publishing houses, but there seems to be less and less time to do that now, so I feel like it's been-

Matthew: Oh ...

Rachel: more important to have an editorial agent. So I feel like there are more editorial agents now than there were, say, 20 years ago when I was at Harper.

Matthew: It's being driven by a lot of different factors that I didn't even realize.

That's great to know that. That's...

Rachel: this is just from my experience-

Matthew: Sure. No- ...

Rachel: again ...

Matthew: but still.

Rachel: But I do tell people when they're looking for an agent to look at what background the agent has, because there are a lot of people like me who do have editorial backgrounds. And I'm not even sure, I'm not sure how many that would encompass, but there are definitely some that have editorial backgrounds and have the similar path that I took.

There are also some who just started at agencies. So Emily Sullivan Kim, who is the president of Prospect, she came from Writer's House, so she started in an agency world. There are others who have legal backgrounds. Liza Fleissig is one of her-

Matthew: Oh,

Rachel: [00:09:00] okay ... was a lawyer. There's people who came from subsidiary rights backgrounds, like Nancy Gault.

Matthew: What are subsidiary rights? Help me understand.

Rachel: So those are... So she was formerly the director at, I believe at William Morrow, because that's when I was there. So she was the person who was making the deals with going to Bologna and selling the rights to Italy. Oh. So people who have that background just have a better knowledge of how foreign rights work.

And so if that's something that a writer is specifically interested in, they might wanna look at someone with that background.

Matthew: So

It's interesting- That, I'm so glad I asked. You're really reinforcing that was great. You're making my brain spark a bit. That was wonderful.

Rachel: Yeah. And then if you're an illustrator as well, that's a whole other ballgame where you might...

If you're an illustrator who's looking to write, you might wanna look for an agent who does more what I do, who can help someone write. But if you're an illustrator who wants to illustrate products beyond books, like for magazines and educational products, then you might wanna look [00:10:00] at somebody who's more of an art rep and has contacts in those fields.

Matthew: Oh, that, there you go, coming from the art director, art rep space. Lovely. That makes sense that there would be different people that come from different backgrounds, but also- that people entering into the children's book space or continuing, maybe finding a different agent or something in the children's book space may find that it benefits them to find someone who matches their skills or their goals a little more closely.

Rachel: Yes, exactly. That's why it's so important, I find, to... I encourage people who are looking for agents to talk with them beforehand, see what their background is. Yeah. Even having a chance to talk to some of their clients can be helpful as well.

Matthew: Yeah. How do you know? I'm wondering as a person, I- I've been agented.

I'm not... Again I know how it worked for me. But I wonder how somebody n- coming into this fresh, new, green knows what questions [00:11:00] to ask or how to know if it's a right fit. Maybe I can ask it of you from the other side. How do you know... How does... What does signing a client look like for you? Do you have a period of time where you're looking at a number of different pieces, requesting different works from them, but also having conversations to feel out does personality matter?

Does does drive, does priority matter? There must be, like, career goals. There must be a c- a couple different factors, I imagine.

Rachel: Yes. No, for sure. First of all, I need to really love the person's work

Matthew: and feel- Oh, yeah ... it's a good fit. I would imagine that- Yeah ... has to go first. Yeah.

Rachel: Yes. But personality does matter.

It's not a single personality type that I'm drawn to, because that would be boring. For... What I love about agenting is that all my clients are so very different and have-

Matthew: Yeah, I

Rachel: bet ... all... They all have very strong but distinct personalities- ... which I love. I love people, and I really enjoy that about the field, and just that everyone works differently.

So it's [00:12:00] not that I want everyone to work the same, but I do expect people to work hard, to keep writing keep writing new manuscripts, to be able to bring those ideas to completion to take risks and try new things, and to be able to listen to feedback I have with... I don't want somebody who's going to be robotic and just absolutely make every change that I suggest, because I, if you ask my family, I can be wrong about things occasionally from time to time.

Matthew: If you ask my family.

Rachel: They will be the first to vouch for that. But it is important to be able to have that conversation and to be able to listen to some suggestions I'm making, but also push back if there's something that they feel strongly about. And I feel like, so just having an, a relationship of trust is so important, so- and just being able to communicate.

I do not have ESP. As hard as I tried in the sixth grade to really hone those skills I- That's

Matthew: amazing ...

Rachel: don't have ESP. And [00:13:00] so just to be able to talk to me about things and ask questions. I know it's so cliché to say no question is a dumb question, but it is so true, and it always hurts my heart if I'm talking to somebody at a conference, somebody who is represented by another agent and they say, "Oh, is it okay t- for me to ask my agent such and such?"

Yes, it is- Oh ... okay. And if you- Yeah ... feel that it's not okay or that you can't ask your agent that, then that's something you might wanna think about, is this really the right relationship with, for me? So then so usually I'm going back and forth with somebody. If somebody sends me a picture book manuscript, I might ask for three more, and I want to see them...

if it's all in the same style, that's fine, but then this is an opportunity for them to say if the first book they sent me was in prose, now send me something in verse, send me something nonfiction, send me a board book or the beginning of a novel. This is the time when I wanna see their whole career and the potential they have.

And I'm also looking for, I'm looking at the literary merit. I'm also looking a [00:14:00] bit at the marketing value because at the end of the day, for better or worse, it is a business, and that's something that I look for in a client as well. Somebody... You don't have to have business savvy per se. That's something that I can take care of as an agent, but I do...

It's im- it's important and helpful if you understand as a writer that this is a business and I do need to be able to sell your book. And so not maybe feeling too precious about your work. Still creating something that you love and are proud of, but just understanding that at the end of the day, I need to sell it.

And so developing that thick skin, too, right? Looking at- looking at the rejections, which is hard. I always tell my clients-

Matthew: Yeah ... "

Rachel: You got one rejection," but I've gotten five different rej- rejections today on behalf- ... of other clients. And it can be so frustrating. And there was a day in... A few months ago, I think it was in February, when I got [00:15:00] two passes on two different projects that had gone to ed- to acquisitions, and both of them fell through.

Oh, ouch. And I was devastated. I'm thinking- Yeah ... "I'm never gonna sell another book ever again," which of course is not true. And one of those projects is the one I just recently sold last week. So it happens. But somebody who can develop thick skin, I feel like has the potential to at least develop thick skin over the years, is willing to try new things.

I've had a lot of clients who thought, "Oh, I want to write and illustrate picture books," and then it turns out what they're actually great at is board books or novelty books or easy readers or young graphic novel chapter book hybrids, which are becoming more and more popular. And so it's exciting t- for me to be able to see that potential in a client and help them to see that potential, too.

Matthew: I like hearing from you, Rachel that it hurts you too when you receive those rejections. I think- Oh,

Rachel: it's terrible ...

Matthew: it is important that we get [00:16:00] agents to help us sell the book. We can't... In, in publishing now, it's very hard to sell a book just because of a number of different factors. It's hard to sell a book without having an agent.

But that doesn't just mean that the agent is the person- I don't know just delivering the manuscript to the publisher, but also that you have stake in the game, and that if your clients are giving you their best and you are believing in their best and bringing it to the publisher, that we all can feel that hurt.

You also are reminding us, of course, to keep going. But it, I don't know. It's very humanizing to hear that like, "Oh, it hurts for me, too." Yeah.

Rachel: Yes. Yeah. And this is maybe just a little bit of an aside, but it's something I think of when I watch movies where... Like for example, the recent there's a Bob Dylan biopic and the Bruce Springsteen one.

Yeah. And you see their producers or managers go in and they're like, "I believe in Bruce Springsteen." I'm like, yes, [00:17:00] that's what I feel- ... for each of my clients. Not that Bruce Springsteen is my client. But that kind of... I love seeing that passion that other people have for their clients, maybe even in industries, other industries, and I find it inspiring to remind myself that I should have that same passion for my clients as well.

Matthew: Do you operate on feeling? You're describing these great qualities of- of a client being able to keep writing and take risks and listen and take feedback is it because you've been doing it for 19 years that you just have a sense of... I m- I keep putting teaching onto this, but I think I have a pretty good sense of this is what's gonna work as a lesson.

It might not work exactly the way I want, but all of the lessons that have come before me in the past 20 years of teaching really inform that there's a level of I know that this is gonna feel right or this something feels off. That right fit the, it... Are you able to feel it a little bit?

Rachel: I think so. [00:18:00] Yeah, I can f- I can feel at least... I might read their project and love it and think this is amazing and not be able to sell it at the end of the day, but it's a little bit more than that. I can feel like this person is talented, this person is somebody that I feel like we will work well together and that eventually we'll get something out there, whether it's this project or something else.

Matthew: Yeah.

Rachel: So I definitely think just from, from being in the industry for a while that I have a sense of that.

Matthew: Is your goal as an agent, is any agent's goal... This... It can't all be the same, I understand. It's not a monolith. But is your goal as an agent ideally to represent someone for their career? For it to- Yeah

sort of keep working out and grow together and... Yeah?

Rachel: Yes, for sure. That's some... One of our philosophies at Prospect- ... is that we want to represent not just one-hit wonders, but somebody for their entire career. So I personally don't get rid of clients once I take [00:19:00] somebody on because... They can feel free to get rid of me.

That's their prerogative. But-

Matthew: Oh ...

Rachel: I feel like I wanna stick with it for the long haul, and especially I have seen... I've had clients where we just weren't selling stuff, weren't selling stuff, weren't selling stuff, and then something clicked-

Matthew: Yeah ...

Rachel: and I would love to say it was something that I gave them.

It totally was not something I gave them. It's just a- through the process, something clicked where I've seen their writing turn around, where they went from having good writing and good ideas to great writing and great ideas that are also marketable that I can sell. And I feel like it's just that you need to stick with them in order to be able to see that.

And because it's happened with several different clients now at this point then, I know that it will happen and I can have the belief that it will work.

Matthew: That's a great learning. Are there other learnings or ahas in your time in this, this profession that, that sort of have become a, I don't know, something...

A, a guiding light for you as you [00:20:00] continue to navigate this profession?

Rachel: I'm trying to think. I've had... w- one valuable piece of advice that Emily, the owner of Prospect, had given me is that if I'm feeling overwhelmed, that I should take on a new client, which seems completely counterintuitive, right?

Matthew: Really?

Rachel: Yeah. But, and at first I'm like, "That, I

Matthew: don't know about that." If you're feeling overwhelmed, you should take on a... And has it worked? Yeah.

Rachel: It has worked. Because what it does is it rejuvenates you. It reminds you why you're doing this, right? And why you love this field. And so s- and sometimes you just need to mix it up a little bit and then that helps.

That passion that you have maybe for this new project will carry over to the other projects that you're working on as well.

Matthew: That's cool. Okay. I get that. That's cool. So again,

Rachel: it seems

Matthew: totally like- It seems counterintuitive, though Yeah "Oh, you're busy? Yeah, you should just be busier."

Yeah. But rather it's almost a, a reignition of, not that you're losing passion, but there's something [00:21:00] exciting to go, "Oh, here's a new person that brings something new to the table," and I get to, Yes ... delight in that light. Exactly. That's cool. Let me ask you before before I- I wanted to ask you about- how the profession, how the, the kid lit industry is going.

You've had a chance to see books succeed and resonate with readers, and you've had clients come and clients go. But also I would imagine, much like me, only a very different perspective, that you've seen some changes in the children's literature space. How do you think things are going from your vantage point?

Rachel: I definitely think it's a little rocky right now. What, right? With people talking about AI, and there were a bunch of-

Matthew: Yeah ...

Rachel: changes in publishing houses recently. But I was at an SCBWI conference in the Southern Breeze chapter in Alabama, which was beautiful and a really nice conference.

They

Matthew: call it Southern Breeze. That's not bad.

Rachel: What's not to love about a- No ... southern breeze? [00:22:00] Yeah. Randy Pink, who is a YA author, is one of the keynote speakers, and she... It was amazing. She said, oh, that publishing is like an axolotl. It's pink, it's grinning, and it just keeps on regenerating itself.

And she had given examples- ... through, like, when e-books were created, everyone thought, "Oh, that's the end of publishing." Yeah. When Amazon came out, "That's it. It's over." And so I think it's so important to just be able to go with things. And, you can't close a blind eye or whatever the phrase is with this, but you just have to keep thinking like, "Okay, if this isn't working now, let's try this."

And yes, there are, like, there were layoffs at two major houses in the past few months, but this has happened before, and before that. And so you just have to- You just have to keep going. That's the only thing to do. So I do feel like there's still great stuff being done. Obviously, like a few years ago, or several [00:23:00] years ago I guess, I feel like nonfiction w- people in publishing had really reworked that to make it more interesting and accessible to kids, as opposed to the dry, maybe drier nonfiction I read as a kid.

And now there's all these new kind of hybrid formats. A few of my clients are working on star chapter books that Simon & Schuster's doing that's this bridge between beginning reader and chapter book. And so they're graphic... There's a lot of graphic panels. And it's just exciting. I remember when I was at Harper toward the end of the time when I was there, like Baby Mouse had come out and everyone was excited about graphic novels, but we...

It was still a little bit vague how to do them and how to do them well. And I feel like now, that's another area that's exploded. But I'm excited about this new format because there's a bridge between them be- I don't know. When I was growing up they, sure, there was Frog and Toad, and there was like Beverly Cleary, but there's not much in between.

Yeah. So I love that we're, due to the [00:24:00] necessity of trying to find new ways to help kids to bridge that gap between starting to read independently and before you throw a whole chapter book at them, there's stages in between. So I think it's, I think there's a lot of things that are really exciting that are going on now in publishing, and that we should keep our eyes focused on that and not...

Be aware of what else is going on, but maybe not be so downtrodden by it.

Matthew: I like the, the reminder that you shared or the colleague shared in so many words that we adapt. The- ... things come and change and challenge the industry, but it's not that we just rebound. AI's m- making a mark, and some people are like jumping on and love it, and other people are like, "Not in my library.

Not in my books. Keep it all the way away." But w- by having strong feelings about it maybe it's

not on like you're busy, take on a new client. You're [00:25:00] forcing yourself into a position of I need to survive. I need this children's book space to survive, so we're gonna adapt and we're gonna keep- reaching readers in the best way we know how. I love that you brought up in the library, we- I don't know that this is the right term for them, but what is the right term?

The right term is the term you use. But we tend to call those books transitional readers, the books that take us from picture books into novels. How do you get a kid to go from loving picture books and loving Frog and Toad into easy readers, early readers the, the illustrated chapter books?

How do we keep making that transition smoother and smoother to get you into prose novels that don't have illustration? If that's where you want to end up, you don't have to, but there's a lot of really good stuff waiting for you. But in this attention economy, and these kids are growing up in that space, I think it's really daunting to look at a lot of [00:26:00] text on the page, and maybe to be a slow reader or to be used to things going faster, it's hard.

So the fact that you are seeing the industry Adapting and finding ways to keep those readers maybe identifying as readers I think is really important. Yeah. I see on my side that sometimes there's a drop-off where kids will say, "I'm not really a reader," or, "I don't read anymore," or, "I don't..." whatever. N- absolutely not.

You are a reader your whole life. But maybe it's my job, and also publishing's job, to make sure you see yourself as a reader, and we can do that by matching texts even better and even better. So thank you, Rachel, for being on that end and helping observe these things in the industry, because I have to imagine folks like you are able, through those observations, to even suggest it to your clients.

Would you ever consider approaching storytelling [00:27:00] this way? And by doing that, you're helping to open the space up a little more and a little more.

Rachel: Yes. Yeah, I love... And I love being able to just try new things and that's why I love clients who are up for these challenges. And that's why it's so important to have a trusting relationship, that-

Matthew: Yes

Rachel: I can say to them too I don't have to feel hesitant about saying "Why don't you try this?" You can always say no, but just being able to explore is just fun. And thinking about it is fun too, not just daunting and hard.

Matthew: Rachel, I've had a wonderful time talking to you. Thank you so much for your generosity of thought and of experience and of industry knowledge, but just also the way you show up really.

I could tell you really both root for readers and root for your clients. That, that's a great thing. You were great company. Thank you for spending time with me today.

Rachel: Oh, thank you for having me. This was really great. I really enjoyed it.

Matthew: Absolutely. I wanna ask you the same closing question I ask every guest.

And I'm so grateful to land back with [00:28:00] readers with you. Rachel, I'll see a library full of children tomorrow morning. Is there a message that I can bring to them from you?

Rachel: I would just encourage them to keep reading and keep writing their own stories and keep drawing their own stories, because they will be the authors and illustrators of tomorrow

Matthew: Thank you to Rachel Orr for joining me on the Children’s Book Podcast.

You can learn more about Prospect Agency and their clients by visiting www.prospectagency.com.

Our podcast logo was created by Duke Stebbins (https://stebs.design/).

Our music is by Podington Bear.

Podcast hosting by Libsyn.

You can support the show and buy me a coffee at matthewcwinner.com or by clicking the link in the show notes.

And on that note…

Be well. And read on.

MATTHEWCWINNER

A Reminder of Why You’re Doing This with Rachel Orr

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