Donald Edwin Westlake—often simply known as Donald Westlake—was a towering figure in the world of crime fiction, and his name became practically synonymous with the genre itself. With an astonishing output that spanned hundreds of novels and non-fiction works, Westlake proved time and again just how deeply committed he was to storytelling. He’s best remembered for two iconic characters: the unflinching, no-nonsense criminal Parker and the endearingly unlucky thief John Dortmunder—both of whom helped cement Donald Westlake’s legacy as a master of mystery and suspense.

Born on July 12, 1933, in Brooklyn, New York, Donald Westlake spent much of his early years growing up in Albany, upstate. Even as a young man, it was clear that writing was his passion—he was rarely seen without a pen in hand, scribbling away at stories that reflected his love for the hard-boiled noir style of the 1930s and 1940s. Like so many writers before him, Westlake faced a mountain of rejections after sending out countless short story submissions. But persistence paid off: in 1954, he made his first professional sale, marking the beginning of what would become a remarkable literary journey.

While attending Champlain College in Plattsburgh, NY, Donald Westlake continued honing his craft, drawing inspiration from classic pulp fiction and noir traditions. By 1959, he had taken a job at a literary agency and relocated to New York City—a move that would open new doors for his career. Around this time, he began publishing under the pseudonym Alan Marshall, churning out several sensational exploitation novels such as All My Lovers (1959) and All the Girls Were Willing (1960). These early works may not have carried his real name, but they were unmistakably shaped by Westlake’s sharp eye for narrative tension and character depth.

It wasn’t long before Donald Westlake stepped into the spotlight under his own name. His debut novel released under his true identity was the 1960 crime thriller The Mercenaries, a gritty tale that signaled his arrival as a serious voice in crime fiction. But perhaps his most transformative decision came in 1962, when he adopted yet another pen name: Richard Stark. Writing as Stark allowed Westlake to dive into a darker, more brutal world—one where morality was fluid and survival depended on ruthlessness. The first novel in this series, The Hunter (1962), introduced readers to Parker, a cold, calculating career criminal who operated with near-machine-like precision.

That book was a hit, and its impact extended beyond the page. It was adapted into the 1967 film Point Blank, starring Lee Marvin in the lead role. Though it didn’t dominate the box office, the film’s moody, noir-inspired atmosphere earned it a devoted following over time, turning it into a cult classic. Interestingly, this wasn’t the first time Donald Westlake’s work had brushed against Hollywood—though not always with his approval. Jean-Luc Godard’s 1966 film Made In USA was loosely—and illegally—based on Westlake’s Richard Stark novel The Jugger. Unsurprisingly, Donald Westlake took legal action and won. As a result, the film remained largely inaccessible in North America until after his passing in 2008.

Through it all—whether writing as himself, Alan Marshall, or Richard Stark—Donald Westlake remained a constant force in literature, shaping the evolution of crime fiction with intelligence, style, and relentless creativity. His influence lingers in every tautly plotted heist and morally ambiguous antihero that followed.