Crikey, what's not to like with Elmore? I love almost all his stuff, he's got the goods ... I really liked KILLSHOT, I haven't seen teh film yet, I guess it's not gonna get a real release ... but most of his books are just great.

Last summer was the summer of Leonard for me. My local library has his works in full (all beat up original editions yet!) and I started ticking them away, both his crime and western fare alike, in order.

I got stalled around Pronto but intend to get back on it again soon.

Like Josh said, any Leonard you pick up is pretty much gold so I'd like to mention two that don't usually get much face time in Elmore conversations...

The first is a fascinating book called THE HUNTED, about a guy on the lam from the mob hiding out in Isreal. When a hotel in Jerusalem burns down, his face makes the international papers and this brings a squad of hitmen from Detroit after him. This is just the tip of the iceberg but I've never read anything like this book before... very existential at times, not the usual Leonard fare.

Secondly, an amazing western called GUNSIGHTS. Remarkable character work, great action, and, again, like nothing I've ever read before, from Leonard or anyone else. Would make a great movie if done right! (in other words, Hollywood, don't touch!!!)

I don't think I've gleaned much from Dutch for my screenplay work but lord knows my prose writing is much clearer and crisper since discovering him.

The funny thing is, screenwriting instructors always say "don't spend a page describing something, it's not a novel." as if most novels focus on details and minutia.

Even those big Russian novelists don't do that. Raskolnikov is simply described as "a young man" and he lives in "His little room, more like a cupboard than a place to live in, was tucked under the roof of a high five-story building."

No descriptions of azure skys or endless descriptions of the carpet and the fading paint and that old antique clock that sits in the corner.

"Out of Sight" it's the best of all Leonard's adaptations. "Be cool" is pretty cool too.
I haven't seen "Killshot" but having Mickey Rourke onboard is a good omen.

What amazes me about Elmore's work is how exactly and easily it seems to be adaptable to film. I started reading his novels after noticing his name associated with "Get Shorty" and "Jackie Brown". Usually I prefer to read a novel before I see the hack job put up on the screen. In these cases, reading the novel afterward did not disappoint because it was almost like a novelization of the film. The characters, setting, and plot points were pretty much identical. Some of that credit goes to the filmmakers, sure. But I think much of it goes to how the author writes. He's definitely one of my heroes.

I believe it is also Leonard who stated, and I'm paraphrasing here, that if the writer and their writing in a novel ever became too evident and show-offy, he'd tune out, be taken out of the story. In short, don't show off, just tell your tale and get out.

Probably a very good axiom to apply to screenwriting, eh?

Yeah, he's a good writer to study.

I'm a fan of clean, tight prose. If a writer starts in with describing the weather or the furniture, my eyes just glaze over.

This is a good reminder for me to get those Leonard books I have sitting on my shelf.

I recommend the lesser known title "Unknown Man #89". Good one.

Rule #11 -- All writing rules are bullshit, as has been proven by writers since time immemorial. It's important to remain creative and break some rules--just know that they >are< rules and that you >are< breaking them.