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.
Tess Malone is an associate editor for The Millions and an editor in Atlanta. She tweets at @temalone.
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