While at Kingsgate House Elizabeth Clark and her sisters were some of the earliest pupils at the (then) Winchester High School for Girls (now St Swithun's).

She gradually became aware of her latent gift as a storyteller as she began to capture the interest of the village children by telling them fairy stories.

The photograph above is taken from a promotional pamphlet she put out which quoted favourable press reviews, including an article that appeared in the Evening Standard: Miss Elizabeth Clark is an idealist.

Her stories are related with a sympathetic understanding of what a child wants to know ... She can carry the children with her not only into the well-known world of Grimm and Anderson but along routes of old saga for which East and West are alike responsible.

[4] Her 1933 publication Twenty Tales for Telling was dedicated to the Girl Scouts of the USA and includes a story Jack-in-the-Pulpit based on her experiences in New England.

[5] Alexander Haddow wrote in a review of this collection about Elizabeth Clark's power of telling stories: Those who have heard her tell a story know what a perfect artist she is, how she lives her part, what perfect command of her voice and what a gift of expression she has.He had heard her speak and wondered how a girl of eight would react to the printed text.

Having read them all, the girl to whom he gave the book pronounced them all lovely leaving the reviewer with the strong impression that Miss Clark's charm had come through in print.

[citation needed] In 1995 Winchester City Council included in a citywide literary festival an exhibition entitled Hampshire Daughters.

This featured three women writers with Winchester connections: Jane Austen, Charlotte Mary Yonge and Elizabeth Clark who were born approximately 50 years apart.

In The Old Woman and the Pixies and the Tulips she 'builds' the little white house in detail, its garden and all its flowers until the scene stands clear and the action can begin.

[14]: 82–92  Sometimes humans' relationships and interdependence with animals is the key to the story as in (albeit very briefly) Robin Redbreast's Thanksgiving[14]: 138–150  not forgetting of course Father Christmas and the Donkey.