Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the “Elmore Leonard paradox” in The Atlantic. “Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir.” Pair with: Our own Bill Morris’s essay on why Leonard was such a good writer.
The Elmore Enigma
Tweeting with Jennifer Egan
Jennifer Egan has a new story, “Black Box,” which is being published in ten installments over the New Yorker Fiction Twitter feed. Beginning last night at 8pm EST, and the story continues tonight at the same time.
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Listening to David Foster Wallace
One measure of a writer may be the quality of the thinking he elicits in others. Here, in advance of The Pale King, is an uncommonly perceptive BBC radio documentary about David Foster Wallace.
Some Wednesday Reading from Mr. Salesses
Recommended Reading: Matthew Salesses’ new story in the latest Guernica, “High Schools, or How to Be Asian American.”
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10 Rules for Writers by Janet Fitch
“Write the sentence, not just the story” is the first of ten rules for writers from Janet Fitch.
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The Many Lives of Yoram Kaniuk
“After receiving a hundred of his letters, meeting him fifteen times, either at his apartment on Bilu Street or at a Tel Aviv café, and receiving too many calls from his cell phone to ever hope to return, I gave up trying to count the number of times that Yoram Kaniuk had died.” Nicole Krauss remembers her relationship with Israeli writer Yoram Kaniuk, author of The Last Jew, in her obituary for The New Yorker.
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“Justified” works so well because it often captures that light touch.