Indie Monday

Today’s guest: Andrew Charles Lark


Every other Monday, I’ll be featuring other authors on my blog—authors who produce quality work outside the boundaries and strictures of the traditional mass-produced, mass-marketed commercial publishing world and traditional bookstore shelves.

Today’s featured guest is the multitalented author, playwright, actor, and teacher Andrew Charles Lark. Andrew is a graduate of Wayne State University, where he received his bachelor of arts degree in English. His play, Stop Up Your Ears!, a farcical account of a month in the life of Florence Foster Jenkins, won Wayne State University’s Heck-Rabi award and was produced at the Hilberry Studio Theater in Detroit. Other plays have been produced at theaters around Detroit and Hudson, New York.

Recently I posed some questions to Andrew. Here’s what he told me.

DLAndrew, welcome. Could you tell us a little about yourself?

ACL: I’m a Metro-Detroit boy through and through. For all its troubles and woes, I love this city and its thriving arts and literary scene, and I’m delighted and revel in the true renaissance it’s experienced over the last few years. Detroit is a blue collar town but it’s a town that’s in love with culture, and that’s evident when one looks at the massive international impact we’ve had in our thriving music scene with Motown, and scores of other genres; our literary luminaries like Elmore Leonard, Jeffrey Eugenides, and Philip Levine to name a few, and although I stand in the shadow of giants, I’m proud and honored to contribute, in my own small way, to our area’s literary scene through my short stories, books, and plays.

DL: Tell us about your latest book and works in progress. Where did the ideas for those come from?

ACL: I have a children’s book coming out later this year titled, Monstergarten, and it’s my hope that it will help to allay those first day jitters that many five-year-olds go through as that first day of kindergarten approaches. I’m working with Danny Raymond, a wonderful illustrator who’s found just the right mix of fun and scary to make Monstergarten a delight for children four through seven years of age, but really, I think everybody who picks it up will love it. 

I’m also writing a short story that’s one of three stories in an upcoming dystopian anthology. Two other authors, for whom I have great admiration, are contributing as well. I’m really excited about this anthology because it addresses the end of humanity. Each author has been assigned a different take on that tragic time when humanity finally snuffs it—natural, man-made, and alien/supernatural. 

My ideas for this formed over the last year or so, and I had to do something creative to help process the depressing news I see almost daily regarding our imperiled planet and humankind’s seemingly boundless lack of empathy when it comes to the environment, the climate, and rampant species extinction. This may sound depressing, but I think it’s a topic of vital importance, but rest assured—the book doesn’t have a political agenda; it’s merely three great “what if” stories written by three very imaginative authors.

book cover final.jpg

I also continue to work on The Persistence of Whispers, the sequel to Better Boxed and Forgotten, my first novel, a supernatural-fantasy-mystery set in Detroit’s historic Indian Village. I’m also writing a full-length play titled, Viv n Vince, that brings classic Hollywood and Stonewall together.

DL: Why do you write? What do you hope to accomplish with your writing?

ACL: I’ve always been a story teller; even way back in elementary school, when we students would have to get up and share something with the class, my arm would always shoot up to go first. It was always fairly easy for me to invent scenarios and assemble them into fun and imaginative stories. My father was an artist and my mother was a poet, so I think some of that rubbed off. My brother is a musician, and my sister has mad skills in the kitchen as a professional chef, so we were always encouraged in our individual artistic endeavors.

As far as accomplishing anything with my writing, I can only hope that my stories and plays engage and entertain. Deeper themes always manage to creep into my stories, but in ways that are not overt and obvious, and that’s fine. I guess it’s like this: if you’ve ever walked out of the cinema after having seen a great film that generates great conversation between you and the person you saw the film with—that’s what I hope to accomplish. I hope to entertain and to make you think a little perhaps.

DL: Please talk a little about your writing process. What is your favorite part of the process? Least favorite?

ACL: When my writer hat is on, I strive to get, at a minimum, two single-spaced, 12 font, New Times Roman pages down on paper. I typically don’t write at home. I enjoy writing in coffee houses where there’s a slight buzz of people engaged in their individual things. I tune the white noise out and get to work, but I need to look up every now and see what’s going on.

I love those times when I’m writing and the subconscious seems to take over. As it is with Freud’s concept of the Id, Ego, and Super Ego—these reside inside and are instrumental to my process. When they’re in harmony, there’s a stasis and equilibrium, and my writing goes swimmingly, and other times there are battles and conflicts and I really struggle to get words onto the page. I also self-edit. I’ve heard that this is a bad habit that I should try to break, but I can’t help it. I’m a bit compulsive, and if, for example, there’s an error on page four, or an awkward sentence that needs work on a previous page, this will bug me and stand in my way until it’s fixed to my satisfaction.

My least favorite parts of the process are when things have run dry and I’m struggling for ideas. For example, it’s taken me way too long to finish The Persistence of Whispers, and that’s because I’m struggling with a well that needs time for the waters to replenish. Honestly, if I had it to do all over again, I would have written Better Boxed and Forgotten as a stand-alone book, but I didn’t, and I owe it to those who loved it to soldier on with book II.

DL: Could you reflect a bit on what writing or being a writer has meant for you and your life?

ACL: Again, I’ve always been a story teller. It’s the way I process stimuli. A teakettle whistles when the water starts to boil, and it’s the same with me. The ideas roil and boil inside and they need to pour out. My writing has also brought me the gift of being part of a great community of Detroit area, independent authors whose work and creativity inspire me in my own work.

Writing for the theater has been rewarding as well, in that a couple of my plays have enjoyed professional productions both in Detroit and New York. It’s an incredible experience watching a play that I wrote—something that came from my imagination—engage, other professionals in their skills with costumes, lighting, set design, directing, and acting—and watching how my plays have been interpreted by these other artists is the most fascinating aspect of all.

DL: Many thanks for joining us today. What are links to your books, website, and blog so readers can learn more about you and your work?

ACL: Thank you for the interview. It was an honor and a lot of fun. My website and blog:

Better Boxed and Forgotten’s Amazon Page:

My Facebook Page is:

Author: Donald Levin

A prize-winning fiction writer and poet, Donald Levin is the author of six Martin Preuss mysteries: Crimes of Love, The Baker's Men, Guilt in Hiding, The Forgotten Child, An Uncertain Accomplice, and the newest, Cold Dark Lies. He is also a contributor to Postcards from the Future: A Triptych on Humanity's End, and has recently published a sequel to his contribution, The Exile. He is also the author of The House of Grins, a novel, and two books of poetry, In Praise of Old Photographs and New Year’s Tangerine. He lives and writes in Ferndale, Michigan, the setting for the Martin Preuss Mysteries.

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