As a natural storyteller eager to connect with children in different media, Anne Richards, VP of FableVision’s audio division audiyo-yo, has done it all – television, publishing, games, edtech, and more. Once she found her calling in audio, she knew that she wanted to keep exploring this intimate format that lets listeners paint their own picture of the characters and story as they process what they hear.

“Even though audio is a classic form of storytelling going all the way back to radio plays, there’s so much work happening in this space right now,” says Anne. “There’s a lot of room for innovation and emerging voices to make an impact.”

And innovating is exactly what Anne is doing. This summer, audiyo-yo released its first project – the interactive, voice-activated Pinna Original Yes No Audio Escape series (check out the October/November Kidscreen print issue) – where listeners co-create the story by answering “yes” or “no” to questions presented to them. This fall, audiyo-yo delights listeners with Pinna Original Roasting Vegetables, a short-form audio series full of silly vegetable puns, original beats (or should we say beets?), and nutritious, delicious characters.

Anne is your comprehensive guide to podcast knowledge. Keep reading to learn more about the future of podcasts, audiyo-yo’s upcoming projects, and Anne’s advice for aspiring kids’ podcast creators.

What’s your “journey to FableVision” story?
I feel like I’ve been journeying to FableVision for a long time! I first met Gary Goldberger about 15 years ago through kids’ industry conferences. A few years later, I hired FableVision to create learning games for a non-profit I was working with and had a great experience with the team. Fast forward another few years and I started working for FableVision as a freelance game designer and producer. I’ve been in the orbit for a long time one way or another, so when Gary and I hatched the idea to bring an audio division to the studio, it felt like a really natural progression. I’ve always been a fan of FableVision’s work and the amazing and talented team, so officially being a FableVisionary at long last feels like a homecoming.

You’ve been a writer, producer, game designer, and more! How did you end up focusing on podcasts?
My work in audio came out of my experience in other kids’ media. I’ve worked in almost every form of children’s entertainment, starting in television on Bear in the Big Blue House way back in the day, then exploring game design, educational technology, publishing, you name it. I have always loved storytelling and wanted to work in different places where kids seek out narrative experiences.

In terms of how I found my way to audio, I was lucky enough to know Amy Kraft at Pinna through kids’ media circles. A few years ago, Amy came to me and asked me to create a podcast to teach kids the ABCs – in audio, which was an interesting challenge! That show turned into the podcast series Quentin and Alfie’s ABC Adventures, and eventually led to me becoming the Executive Producer at Pinna, where I oversaw different kinds of podcasts for a wide range of kids. So I’m really grateful to Amy and the team at Pinna for taking a chance on me and understanding that there’s a lot of creative overlap in other media formats and audio work. It’s always about the kid audience at the center and finding different ways for them to connect with stories and characters that are meaningful to them.

What do you love about podcasts and why do you think they’re a special form of media?
I think what makes audio special is how intimate it is. There’s nothing like hearing someone speaking in your headphones to feel like a story is being told just for you. Audio is a form of entertainment that asks the audience to meet it halfway – when you don’t know what characters look like or you can’t see an animated view of a setting, you become a co-creator of the narrative experience, using your imagination in a way that I think is really special.

Why are children’s podcasts important right now?
I’ve worked in so many different roles over the course of my career because I’m excited about new formats and emerging media, and I think that’s where kids’ audio is right now. There’s a lot of room for new voices.

I also think that dealing with the pandemic, caregivers of young children were drawn to audio as something families could enjoy together, or that their kids could enjoy on their own without being glued to screens after long days of remote learning. That has contributed to audio becoming a medium with an interested, engaged audience that is still hungry for more great content. It’s served a really tangible role in the life of families these past few years and folks want more of it.

What’s the future of children’s podcasting? Where is audio going next?
Right now, I’m interested in interactive audio and I think there is huge potential in voice recognition and truly responsive storytelling. This year, I created and produced three titles in the Pinna Original Yes No Audio Escape series through audiyo-yo. They’re audio escape rooms where the child actually speaks out loud to the podcast and gets different outcomes if they say “yes” or “no” to different questions. If you’re trying to escape a haunted house in five minutes, you have to choose whether to walk down that one hallway or stop and talk to a couple of ghosts who seem interested in you. It’s an innovative way to play with audio, and, given FableVision’s deep experience in interactive experiences, it feels like a perfect fit for audiyo-yo.

Alaska

What are you excited to work on at audiyo-yo? How does audiyo-yo stand out from other audio production companies?
I’m excited to work on original projects we’re developing at FableVision, like Tone Thyne’s big sweeping musical series Cummerbund. And I’m equally excited to work with clients who are interested in making audio for kids but who might need expertise in how to bring characters and worlds to life in this medium.

This role is also a huge opportunity for me to work with creators who may be new to audio, or to kids’ media in general, to broaden the range of voices we have in the space. For instance, we just made a show called Roasting Vegetables with Postell Pringle, who’s a theater and musical artist and all around huge talent, but who hasn’t made a kids’ podcast before (though his group, Q Brothers Collective, has made an awesome hip-hop album for kids, Buggin’ ). They also created the soundtrack for Long Way Home, a sweeping musical epic based on Homer's The Odyssey for the renowned United Voices Chicago – check them out! Pos and I created and wrote the show together and I’m excited about all of the things he brought to the project that I never would have come up with on my own, and vice versa.

In terms of what’s special about audiyo-yo – we bring a unique mix of production and creative expertise to the table. At FableVision, there’s an amazing braintrust of people who put kids at the center of their work. They’re innovators in terms of using different media to reach kids where they are and to help them grow. In the audio industry, what sets us apart is the breadth of experience we have with making stories for a kids’ audience across all different types of media. We combine that with a deep understanding of the nuts and bolts of what it takes to bring a podcast from concept to final broadcast-quality audio.

What advice would you give to people hoping to work in kids’ audio?
Immerse yourself in the medium and figure out what speaks to you. Do you love highly sound-designed stories or simpler audiobooks? Interesting new formats or classic ones? Short form appointment-type content or longer, serialized shows? Listen to as much as you can and follow your taste to seek out mentors and companies who are doing work you love. This is a welcoming field and it’s relatively easy to access experienced folks who are excited to bring in new talent, but people also want to know that you’ve done your homework and are interested in what they do specifically. The last thing I’d say is be curious about your audience – talk to kids about what’s interesting and exciting to them and allow that to inspire you.

Brooklyn

What’s an Anne fun fact that most people don’t know?
I think most people don’t know that I won a trophy in the Coney Island Mermaid Parade in the early 2000s.

So… you love Brooklyn?
Man, do I love Brooklyn! I’ve lived in Brooklyn since the late 1990s. There’s just no place like it – the art and culture, the food, the brownstones, but mostly the opportunity to meet people from all over the world with totally different experiences, who all come together in this crazy, busy, loud, and magical place. I’m fortunate to also have family in more rural places as I do need to escape the bustle of the big city sometimes. I basically gravitate towards either the biggest, most raucous environment in the world or a farmhouse down some country road where there are no humans whatsoever.

More About Anne

Favorite podcast?
I have to take this opportunity to plug my sister Meg’s amazing parenting podcast, What Fresh Hell: Laughing in the Face of Motherhood. It's chock full of hilarious advice and every once in a while I get name-checked, so that’s exciting. For kids, there are so many shows that I love, but Grim, Grimmer, Grimmest, which I worked on at Pinna with Adam Gidwitz and Ilana Millner, is a sentimental favorite of mine and just a master class in storytelling.

Favorite game?
Gone Home is a video game I deeply love – it’s so nuanced and thoughtful about how it reveals its secrets. I’ve also been playing a cooperative card game called Hanabi recently with my family, which is really fun and super challenging!

Favorite book?
I was an English major in college so it’s a long list! I go back to The Age of Innocence by Edith Wharton, The Autobiography of Red by Anne Carson, and Dept. of Speculation by Jenny Offill over and over again. I recently read Kiese Laymon’s Long Division and was insanely delighted by it – it plays with form in interesting ways, but the character voices are so strong and endearing that it still feels immediate and emotional.

Favorite place to travel?
I’m interested in good food and art, and some history to dig into, which was checked off by the special and vibrant Oaxaca, Mexico that I visited with family. Mostly, there are many more places that I want to go to – ask me again in a few years!

Comment

Organization, communication, and trust: FableVision associate producer Andrea Hoerner has perfected the recipe for flawless project management down to a science. With a background in journalism and experience in higher education, Andrea combines strong people skills with her knowledge of pedagogy to lead teams that produce media that engage viewers and inspire change.

The journalist in her seeks to honor the story being told by building strong connections with her team and clients. “The hours and hours I’ve spent with subjects either writing or photographing them has enabled me to build trust with clients and help them articulate their needs,” she shares. “Holding space for people to work through their ideas and observing what excites people are all ways of interaction that I bring with me into every meeting.”

In her role, Andrea manages the studio’s technical and creative teams, as well as supports the production team on a variety of media projects. Read on for her organization hacks, advice to budding producers, and the sense of wanderlust that inspires her in all her endeavors.

Welcome to FableVision! What initially drew you to the studio, and what do you enjoy most about working in educational media?
When I first heard about FableVision, I had been trying to marry my passion for social impact and education with the work that I was doing day to day. Having come from a background working in higher education, I closely aligned with the studio’s mission. I spent some time doing my own research and connected with a FableVision staff member to learn more about the various types of projects the studio tackles. I was drawn to the work being done at FableVision, and now here I am!

Here at FableVision, we tell “stories that matter, stories that move.” How do you, in your role as an associate producer, try to honor the different stories being told?
While each project has its own mission, deliverables, and clients, my universal goal as a producer is to ensure that our team’s creative collaboration on every project is a catalyst for the desired result of audience engagement and education. Regardless of the learning goal, I like that the work FableVision does is positive and instills a feeling of empowerment through play or interaction. As storytellers and creatives, the best way to honor different stories being told is through creating connection with audiences emotionally and visually.

Before joining the FableVision team, you reached out to other professionals to learn more about the industry. What’s one piece of advice you would pass on to someone interested in entering the field?
As someone who loves learning from others and their experiences, I’d recommend a two-part piece of advice. I’d encourage someone interested in entering the field to network to get a sense of how the work and culture can vary at different organizations within the industry. And more importantly, I’d advocate for some internal reflection on your skill sets and experiences (“Me-search,” as I like to call it). I’ve learned that you can talk to as many people as you’d like, which is great; however, if you don’t really know who you are or what you’re looking for, it’s easy to lose sight of your own purpose.

You manage and support multiple teams at the studio. How do you keep the lines of communication open between departments and ensure everyone works together to get a project over the finish line?
The needs of any given project fluctuate at different times, but constant effective communication remains a pervasive part of day-to-day management. When it’s crunch time for a project or we’re about to enter a new phase of production (QA Testing, animation, etc.), I am a fan of daily team huddles or meetings. These meetings typically last all of 15 minutes every day, usually bright and early, but they provide an opportunity for all team members from different departments to have a 360-degree view. This process helps build trust on our teams, which are different for each project, and I’m often sad when a months-long project wraps after the team has found a great rhythm!

There are a lot of moving parts when it comes to managing a project. What is your secret to staying organized?
Personally, I love organization on a Marie Kondo level, so it’s not surprising to those who know me that I have many tricks up my sleeve. One of my favorite ways I like to stay organized across my different projects that all have moving parts is through very colorful post-it note lists on my wall. I like the visual display with color and the flexibility to prioritize or de-prioritize action items listed in front of me.

You have a lot of hobbies. How do you cultivate your interests both in and out of work, and what is your go-to way to relax after a busy week at the studio?
My hobbies and activities are a bit more limited these days given COVID, but I like to spend as much time outside as possible on the weekends. I’m a National Parks lover, and one of my goals is to visit as many national parks as possible! If I’m not hiking with my camera or kayaking on the Charles, I can be found meandering through the Museum of Fine Arts or dabbling with watercolor. Additionally, I’m always trying to perfect new recipes for baked goods or meals and enjoy sharing them with friends!

We hear that you’re an avid fan of photography. Who are your favorite photographers and what do you enjoy photographing the most?
Photography has always been about “clicks and connections” for me, meaning connection through my lens with my own photos or the photos of others. I am always connecting to a specific sense of place, time, and often people, which in turn usually helps me learn more about myself.

Two of my favorite photographers are quite different from each other in style, subject, and time. The first is Ansel Adams, as his images inspired my hiking travels to Wyoming a few years ago. It was incredible to float down the Snake River and see the Tetons emerge on the horizon like he did. I love the way he utilizes light, especially in his black and white pieces.

The other photographer is James Nachtwey, who is an American photojournalist and war photographer. I remember watching a documentary about his work in high school and it left me stunned by the beauty and raw quality of his work; he has covered tragic events/crises globally from the Rwandan Genocide to famine in Somalia. While many would run away from capturing the individual human experience in conflicts like these, Nachtwey runs towards those at the heart of these experiences to tell their stories and give them a voice through his work.

We also hear that you love to travel. What are some of your favorite trips that you’ve taken? Where do you look forward to visiting once it’s safer to do so?
I’m itching to get back out West (Wyoming, PNW) again on another hiking trip with my camera. Staying inside most of the last year has made me really miss being out in nature and spending time in environments that are radically different from city life. Outside the U.S., I would really like to visit Norway either in the summer or winter to get a glimpse of the Northern Lights!