Sara Paretsky schreibt im Outfit über den am 17. Januar verstorbenen Edward D. Hoch:
Ed was one of the kindest, most gracious and gentlemanly of all crime writers. His was the first face and hand to welcome any newcomer to MWA, and almost all of us active writers can cite any number of generous acts, from seeing that our own work got published, to his support of Sisters in Crime when we were first starting out. His memory will live long, but we will miss him sorely.
Bei Naked Truth about Literature and Life wird der Frage nachgegangen, was Romanautoren von Filmen lernen können. James O. Born (wir kennen ihn von seiner Ballerstunde auf Bücher) macht den Aufschlag:
Some of the best advice I was ever given was by Elmore Leonard when I was just starting to write. He and his assistant, Gregg Sutter, encouraged me to look at the book like a movie with each chapter broken into scenes. It sounds simple but to a novice like me it was the Holy Grail. To this day I can focus on each scene of a novel without becoming overwhelmed with the idea of a larger project. Maybe that way of looking at the novels makes them seem like they would transition to film.
Bei ihm gibt es auch eine interessante Diskussion über gelunge Verfilmungen.
I also like to watch the “Special Features” at the end of a rented movie – you never know what you might learn. This time, it was a comment from the wardrobe mistress (do they still call them by that old-fashioned name? Or are they costume designers?). She said that when each actor comes to her studio, to talk about their costumes for a movie, she asks them about their character. The question that tells her more about the charcter, that guides her in pulling together the costumes, is, “What do you have in your pocket?” Ooooohhhh, that’s a good question, I thought.
Bei Sons of Spade beantworten Jim Fusilli und Ray Banks einige Fragen zu ihren Privatdetektiven. Jim Fusilli, von dessen vier Terry-Orr-Romanen zwei auf Deutsch erschienen, sagt, es gebe wahrscheinlich keinen weiteren Terry-Orr-Roman:
I enjoyed doing the four Terry Orr novels, but I’m not certain that the P.I. field is the best place for my writing.
Fusilli schrieb außerdem ein Buch über Brian Wilson und das Beach-Boys-Album „Pet Sounds“.
I think Ken Bruen is already a massive influence on newer writers, and not just stylistically. He’s bringing emotion back to what is still primarily a chilly, investigative sub-genre. Laura Lippman, Walter Mosley and George Pelecanos bring in the sociological elements, without becoming either too preachy or too political. James Sallis deconstructs the mythology and the very idea of a fictional private investigator. And James Crumley happens to write some of the finest, meatiest prose I’ve ever read.
Really, the PI will never die. He or she will just evolve into something more meaningful for their time.
Und J. D. Rhoades (ähem, auch noch nicht übersetzt) hat in seinem „What fresh hell is this?“-Blog ein schönes Zitat von Mark Bowden (der Sachbuchautor von „Killing Pablo“ und „Black Hawk Down“) gepostet:
The essential difference between writing nonfiction and writing fiction is that the artist owns his vision, while the journalist can never really claim one, or at least not a complete one—because the real world is infinitely complex and ever changing. Art frees you from the infuriating unfinishedness of the real world.