Felicia Clark is a dynamic storyteller whose work spans poetry, theater, journalism, and screenwriting. From publishing poetry at 14 to performing in acclaimed productions like A Raisin in the Sun, she blends creativity with a passion for inspiring others. As founder of the UMOJA Arts Scholar Program, she champions young writers and artists while pursuing her goal of creating impactful television stories.
Can you take us back to the moment you wrote your first story at age five? What inspired you at such a young age?
It’s a bit hazy, but I do recall sitting at the kitchen table imagining my uncle and the rain and wanting to tell a story surrounding that. It seems I’ve always been somehow drawn—or had the urge—to tell a story. Even from the beginning.
Your work spans several mediums, including books, theater, journalism, and screenwriting. How do you adapt your storytelling style for each medium?
With fiction, I try to make it believable. I draw the audience in and give them the illusion of being a part of the storyline. I guess that’s why it’s so hard to finish certain books. You feel like you’ve gotten to know the characters, the neighborhood, etc., and now you’re saying “goodbye.” With nonfiction, I stick with the facts, but I still keep to the formula of drawing the audience in. Getting and keeping their attention is key.
What was it like seeing your first published work in your hometown of Chicago at age 14, and how did that moment shape your journey as a writer?
I had my poetry published in Chicago and a book in Wisconsin—my apologies. But I was shocked. When I saw my name and the body of work that I created, it was like I was seeing the work itself for the very first time. It was surreal. Like a real out-of-body experience.
Your theater background includes acclaimed productions like A Raisin in the Sun and The Bluest Eye. How has acting influenced your approach to screenwriting and character development?
I’ve always talked so much, and I’ve always been very observant and descriptive. Acting and screenwriting awakened my senses, giving me a reason to really show and tell a story. Showing how much the setting, the characters’ backgrounds, and their “whys”—from the location to the drapes—all play a part in character development. And how each character ties into the other. It allows me to further pull the audience in or have the story jump out. Either way, you’re there.
Can you tell us more about the UMOJA Arts Scholar program and your mission in nurturing young creative writers?
I’ve seen young singers, rappers, actors, athletes, etc. My thought was, “What about the writers?” I wanted kids to know it’s also cool to be a writer, to be a creator. We’re the ones behind the commercials, movies—not just books—as well as the artists. The UMOJA Arts Scholar Program brought forth creatives and gave them a platform, showing them their work is something exquisite, that the world needs it, and it’s a gift meant to be shared. I wanted them to experience that surreal feeling I felt when I saw my work published at such a young age (which, by the way, never goes away).
What excites you most about transitioning into screenwriting, and how does it differ from your experiences in print and theater?
Because I get to be wordier. Just kidding. It’s actually less wordy. But I get to dive into every aspect of the story. I can be more descriptive with the characters’ actions and actual dialogue. I’m putting on a show, even with just the script. With print, I’m telling a story, focusing on the story in its entirety. The script gives special attention to a group of characters more times than not. And with acting, I’m presenting a particular character and their story. To me, screenwriting appeals to a variety of senses, and I like that.
As someone who describes herself as a “paper hoarder,” what role do your poetry and story fragments play in your creative process?
When the feeling of expressing yourself hits you, you have to get it out. And you have to do it right then. I don’t know why, but if you wait, you cannot recapture the way you thought of it, the exact words that were used—nothing. This is why I always kept something to write with. It ends up being lots of writing, and the pieces could always be used, whether as actual works or to memorialize the feelings that inspired me.
How have your experiences in Chicago, New York, and Wisconsin shaped your voice and perspective as a storyteller?
Each place has its own culture, creating a different experience. From living on Long Island and crossing the Brooklyn Bridge, which passes by the Statue of Liberty, which is larger than life, to living in Chicago, listening to house music and watching people do footwork. I remember being in awe at how fast the music was and how fast they moved their feet. Living in Wisconsin was quieter than both places, and it’s where I grew up. Each experience comes from a different stage of my life, enriching my perspective and providing ample stories.
What challenges have you faced balancing the technical precision required for news production with the creative freedom of storytelling?
When it comes to writing for the news, there’s definitely a format—not much legroom. And you cannot be so wordy or embellish upon a story, as it is timed. You speak in a conversational tone. It’s more of an in-and-out way of telling a story. State the facts: who, what, when; if you have your why, tell it; and where. You need to stay ahead by following breaking news and the latest developments. It was difficult for me in the beginning. I love creating and telling a story, so this way of writing was very challenging because of the restraints. But I always have my paper and pen on deck to continuously write my ideas and stories.
Looking ahead, what are your aspirations for your future in storytelling, and are there any new projects or ideas you’re particularly excited to explore?
I would love to write for TV. A great television show is my goal. That’s where I will land, 100,000%!
