Dr. Roy Peter Clark has taught writing at The Poynter Institute for three decades, a body of work summarized in his latest book "Writing Tools: 50 Essential Strategies for Every Writer." Clark has worked full-time at Poynter since 1979 as director of the writing center, dean of the faculty, senior scholar, and vice-president.

In 1977 Clark was hired by the St. Petersburg Times to become one of America’s first writing coaches and worked with the American Society of Newspaper Editors to improve newspaper writing nationwide. Because of his work with ASNE, Clark was elected as a distinguished service member, a rare honor for a journalist who has never edited a newspaper.

Clark has worked with writers and taught writing in more than 40 states and on five continents. His influence has been felt far and wide both on young writers and grizzled professionals. He is the founding director of the National Writers Workshops, eight regional conferences, including one at Harvard, that attract more than 5,000 writers annually.

From 1977-78 Clark wrote news, features, and reviews for the St. Petersburg Times. In 1996 he began writing serial narratives for newspapers, including "Three Little Words," "Sadie’s Ring," "Her Picture in My Wallet," and "Ain’t Done Yet," a serial novel syndicated by The New York Times. He is the author of "The Line Between Fact and Fiction," published in the journal Creative Nonfiction.

Since 2000, Clark has written more than 500 articles and essays for The Poynter Institute website. In 2006, he wrote his first essays for National Public Radio and appeared twice as a guest on the "Oprah Winfrey Show."

Selections from interview with Mitch Stephens in June 5, 2006:

"We’re looking at training journalists from a third approach apart from the quantitative, social-science, chi-square approach and the retired-journalist, role-up-your-sleeves, green-eyeshade, teach-’em-over-and-over-again-how-to-write-leads approach."

"Just because something is dull doesn’t make it true, and just because something is lively doesn’t make it false."

"Never, never settle for first-level creativity—pat, overly familiar. Write it strongly. Aim for second-level creativity."

"Don Murray [another writing coach] talks about ‘cliches of vision.’ The story form itself can have the effect of clouding the way you see the world—the David and Goliath archetype, for example, ugly ducklings, the emperor’s new clothes. These forms are ancient and they effect how we see the world. Reporters have to avoid being sucked into them."

"Why not learn about evidence from experts in criminal justice, about interviewing skills and methods from psychologists. We have much to learn from social scientists, scientists, specialists in the humanities. It is that kind of cross training that interests me."