Kelly Starling Lyons lives by the adage “lifting as you climb.” As a children’s author, teaching artist, diversity advocate, and one of the founding members of The Brown Bookshelf—a group of book creators building awareness for Black authors and their books—Kelly Starling Lyons is dedicated to raising up her readers. She is the author of 35 titles, including the Caldecott Honor-winning picture book Going Down Home with Daddy, illustrated by Daniel Minter; Ellen’s Broom: A Young Girl Discovers a Family Tradition, also illustrated by Minter; Sing a Song: How Lift Every Voice & Sing Inspired Generations, illustrated by Keith Mallett; the Geisel Honor-winning Ty’s Travels easy reader series, and more. PW spoke with Starling Lyons about how she found her way to writing for kids, what she tells budding authors in her teaching artist programs, and why she’s passionate about increasing access to diverse titles for all children.
When did you first become a writer and then decide to write for kids?
I’ve always loved to read and write. My mother wrote plays for the church and community in Pittsburgh, and she’d take my brother, Kevin, and me to the Pittsburgh Playhouse Junior to see storybook classics come to life on the stage. She would also make up magical stories at bedtime and take us to the library to check out lots of books. Being surrounded by stories, I saw myself writing them as a logical step as I grew up.
But, it wasn’t until I discovered Roll of Thunder, Hear My Cry by Mildred D. Taylor with a cover of a character who looked like me that I thought, “Maybe I could add my voice to the other voices.” And, then over the years, this idea has been watered and nurtured and then bloomed into my looking for ways to ensure that all kids are represented—and that communities that have been overlooked could be brought center stage.
After college, I started writing for the Syracuse Herald-Journal and then for Ebony. One day, I came across the picture book Something Beautiful by Sharon Dennis Wyeth and fell in love with the story. It was the second children’s book where I saw a Black girl on the cover. It wasn’t that these books didn’t exist before. I just hadn’t seen them until then. While writing the bookshelf column for Ebony and observing the growth in children’s books and how they could be agents for change, I decided that I would use my voice to ensure that all kids were represented.
Who helped you on your path to becoming a children’s author?
First, I must give lots of praise and gratitude to Wade Hudson and Cheryl Willis Hudson of Just Us Books, a Black-owned, family-owned publishing company, and my mentor at Ebony, Basil Phillips. They gave me a leg up. Phillips was the head of the book division for Johnson Publishing, which published Ebony and Jet. He took me to my first American Library Association conference, where he introduced me to the Hudsons and Patricia McKissack, a legendary children’s author. All three of them ended up being integral to my journey.
The Hudsons gave me the opportunity to write my first chapter book, Eddie’s Ordeal, about one of their series' characters, Eddie Delaney. They also gave me a real understanding of the importance of “lifting as you climb,” as well as making sure that you honor those who have come before you.
My writing philosophies and perspectives of working in children’s books came directly from them and my African American studies’ background. I see my journey as walking on a path with fellow book creators and making sure that the path is clear for others. It’s what I am trying to do with my writing, my teaching, and my books.
Can you tell us about some of these titles and their origins?
My most recent picture book is My Hands Tell a Story, about a girl baking cinnamon bread with her grandmother. And my picture book Going Down Home with Daddy tells the story of a family reunion. It’s based on my family reunions that I’ve attended since childhood and on my ex-husband’s family gatherings and traditions.
Then, there’s my chapter book series Jada Jones, about a science-loving girl who navigates friendships, personal challenges, and social-emotional issues. Jada’s story was initially planned to be one book, but it quickly became a series. Kids have really connected with Jada—dressing up as her for book character days and using her positive behaviors as examples of how to treat others. Because of the success of this series, my publisher invited me to do a spinoff, and my Miles Lewis chapter book series was born, starring a boy who loves science and sports and is not afraid to show his feelings or to make mistakes.
My Ty’s Travels easy reader series [illustrated by Niña Mata] came about from a panel I did at Kweli: The Color of Children’s Literature conference. Two I Can Read editors asked if I’d like to pitch an easy reader featuring a diverse character. The result is a series that celebrates Black boy joy and the power of imagination. I also wanted to focus Ty’s stories on the strength of the Black family, because sometimes in the media our families can be presented in a way that isn’t reflective of the kind of love and support that is there.
You also offer teaching artist programs. What are some of your talking points of your writing programs and the desired takeaways for your audiences?
The main thing I want to do is to demystify the writing process. I share about my life and what the inspirations were for my stories, and how they can share their own stories and experiences. I also leave my audiences with tangible lessons and things they can apply to their own writing.
One of these lessons includes three things that they can write about to tell their own stories: who you are, who you belong to, and where you’re from. These are the three areas I often draw from for my writing. Ultimately, I want my students to be inspired and realize that they have gifts—whether it’s writing or some other calling—that we need.
What is your greatest hope for your growing list of books and readers?
I hope that readers find my books as sanctuaries or safe places to see themselves, to be inspired, to rejoice—and to be comforted when they need comforting. For Black children, who are often the main characters of my stories, I want them to know that they deserve to be stars of stories. And I want them to know that I see and care about them.
Your diverse book advocacy also includes a focus on helping Black book creators and their books through The Brown Bookshelf. Can you share why this matters to you?
I have always had a sense of community in the arts, which includes my fellow Black children’s authors and illustrators. Because of this, 18 years ago, I became one of the founding members of The Brown Bookshelf with a mission to help raise awareness of Black children’s book creators.
We are a team of award-winning Black children’s book creators and a literary family. We are always looking for ways to boost each other and fellow Black book creators. We do a variety of events, activities, and our signature campaign called “28 Days Later,” every year during Black History Month. It’s when we shine a light on a different Black author or illustrator each day of the month.
By representing our fellow creators in a variety of ways, we’re helping to let librarians, teachers, and parents know the breadth and the depth of Black children’s literature so that kids can have these books to connect with. Children’s books that are published without strong marketing support don’t often reach their audiences. And, if these books don’t find their readers, they will not sell, and it will be harder to get more deals for these kinds of books in the future. So, with The Brown Bookshelf, my fellow members and I try to stand in the gap to help support these books and creators to make sure they are getting into kids’ hands—lifting as we’re climbing.
