Photo: Award-winning author Wayne Clark channels a lifelong love for New York City into his captivating novels.
A Journey Through Time and Storytelling
Wayne Clark discusses his passion for writing, the vibrant lure of New York City, and his seamless transition from journalism to novel writing.
Author Wayne Clark stands as a formidable figure in the literary world, having carved out an extraordinary career as both a journalist and a novelist. A consummate wordsmith with over half a century of experience, he has woven his unique perspective and storytelling finesse into the fabric of modern literature. Clark’s deep-rooted passion for New York City has served as a vibrant backdrop for his novels, bringing to life an endlessly fascinating space where humanity’s complexities unfold against the towering skyline. With seven novels under his belt, including three in the gripping NY PI series, Clark has proven himself a master at intertwining intrigue, historical authenticity, and character-driven narratives.
What makes Wayne Clark’s work so compelling is his ability to bring authenticity to every page. His rich journalistic background has honed his talent for understanding people and peeling back the layers of their experiences, which effortlessly translates into the unforgettable characters of his fiction. From the morally ambiguous Humph Barstal to his evocative depictions of New York City’s pulse, Clark’s storytelling bridges the gap between realism and imagination, inviting readers to immerse themselves in worlds both familiar and surprising.
Beyond the stories themselves, Clark’s creative philosophy is one that aspiring writers can learn from. In his interview, Clark shares how resilience, curiosity, and adaptability—hallmarks of a life spent living in dynamic environments like Germany, Holland, and Mexico—have shaped his worldview and enriched his narratives. His advice to writers is refreshingly candid: forget imitation, embrace your own voice, and, above all, keep writing, even when faced with a blank page or uncertainty. Clark’s journey from journalism and copywriting to translating and eventually writing novels is a testament to the idea that creative evolution knows no boundaries.
In this insightful conversation, Reader’s House is thrilled to share Wayne Clark’s reflections on his craft, his inspirations, and the philosophies that drive his work. Whether you’re a longtime admirer or a curious newcomer, prepare to be both inspired and captivated by the mind of a writer who has, quite literally, seen the world—and distilled it into unforgettable prose.
What inspired you to set all your novels in New York City?
I grew fascinated with the city as a teenager. Because I grew up listening to radio, descriptions of the city were magnified in my mind. Add to that the countless movies in the 1950s set in Manhattan about struggling playwrights and actors, or good old gangster movies. I started visiting the city at the age of 17 or 18. We lived only 300 miles away. I had a car, an old English Ford my dad had given me when I learned to drive. Though I was too young to drink, I was six-foot-four and was never “carded”, as people say now. I already knew I wanted to write. My time in the city, much of it spent at jazz clubs and ball games, fueled that dream.
“Descriptions of the city were magnified in my mind.” – Wayne Clark
How has your extensive career in journalism influenced your fiction writing?
Writing for magazines in particular often involved spending a great deal of time with the subjects of the story and building a rapport with them as people. You were always looking for layers of experience and personality. That of course is what you try to add to a fictional character in a novel.
Can you share your writing process and how you balance historical accuracy with storytelling in your NY PI series?
I have published three novels in the NY PI series and have completed two more. I’ve gotten to know the returning characters as well as I know my family or lifelong friends. It sounds clichéd but I do talk to them and some have actually appeared in my dreams. Because I usually can easily picture them in a scene, one that is not necessarily dramatic, I’ve learned to let conversation flow. I’m not sure what will pop out but I usually follow my golden rule: keep your fingers moving. Sure, I run into writers’ block now and then, but for the most part I refuse to stare at a blank screen. Occupy it with nonsense, if necessary, but something, big or tiny, will eventually appear and beg to be enlarged upon.
“Avoid the temptation of trying to sound like some well-known writer—it simply won’t work.” – Wayne Clark
As for historical accuracy, I take pride in that, especially in today’s fact-challenged world of political discourse and social media.
Some years ago, I did quite a bit of research about a former mayor of New York City who, during his tenure as mayor, was heralded for his unbending honesty. The truth was that he was simply a master of hiding his illegal activities. The more I found out about his dishonesty the more I rubbed my hands together in glee. My discoveries fit perfectly into the book I was then writing. However, I eventually discovered that his dishonesty was not officially discovered until the end of his term as mayor. My protagonist, the private eye, could not have known the truth about the mayor. As a result, I had to to abandon my main plot. Beyond a few microseconds, it never really occurred to me to simply fudge the dates.
How do the locations you’ve lived in, like Germany, Holland, or Mexico, influence your creative perspective?
I was an army brat. We moved a lot when I was young. I recall going to three different schools within a single year. You learn to adapt. You learn to move on from the loss of friends. However, new environments held promise. They also taught me at some point that superficial differences in people mean nothing. I’m speaking of things like appearance, language, customs. When I was in my 20s, working at the magazine I mentioned in Montreal, one of my colleagues spent time in China. To this day, almost 60 years later, I remember him passionately recounting how there was, in the end, little difference between the poor fishermen he interviewed and us, well-paid, Western journalists. He told me, “We all want the same things in life.” How does that connect to writing? For me it means that I welcome every opportunity to show how society may want to separate people into us and them, but plain, old human values and needs unite most of us given the chance.
What was the most challenging aspect of transitioning from journalism and copywriting to novel writing?
The transition wasn’t difficult. I wanted a change. I had obtained university certification as a translator, French to English. It allowed me to work from home. Translation is still writing because you have to make the translated document read as if it were the original document. I also learned that the deadlines in the translation business in Montreal were as brutal as any I’d faced as a journalist.
How do you approach developing characters like Humph Barstal to make them resonate with readers?
I have no pat answer to that question. However, I’d say that making sure your protagonist has his share of foibles and flaws will allow readers to identify with him.
7. What advice or inspiration would you offer to aspiring authors looking to find their voice in writing?
Avoid the temptation of trying to sound like some well-known writer. It simply won’t work. As I mentioned before, keep your fingers moving and your own brain and your own heart will eventually make sense of what your fingers produce. You won’t have to act or get into character when you sit down to write. With enough practice, you’ll become you at the keyboard.
