Vor einigen Tagen postete ich Elmore Leonards Schreibregeln. Die Tage hat im „Outfit“ Krimiautorin Barbara D’Amato über das gleiche Thema geschrieben. Sie bemerkt, dass „James M. Cain and Agatha Christie“ die gleichen literarischen Techniken benutzen:
„In structure and technique James M. Cain and Agatha Christie are very much alike. (…) For example, it is told mostly through dialogue, as are Christie’s novels. Both authors are far more “show, don’t tell” than was most fiction of the period.
The sentences are direct, using nothing that a friend of mine used to call „fancy writin“. (…) Or elaborate scene setting. Like Christie, Cain gives you only as much setting as you need. It has been said about Christie that she never includes a scene just for atmosphere or padding. Every scene advances the plot. Cain too.
Both writers are deceptively plain and forthright. Robert Barnard has said about Christie that her writing seems simple, and yet is very subtle. Both authors are so declarative that the reader takes the information as simply true, a useful deception in Christie’s puzzles.
Christie believed a novel should be capable of being read in one day. Cain’s novels can be gobbled in an evening.“
Ups, das ist ein Unterschied.
Es wird zwar noch verhandelt, aber anscheinend darf Joe Carnahan (so blogt er) zuerst „Killing Pablo“ verfilmen und dann „White Jazz“. (Hier geht’s zu den Drehbüchern.)
Drehbuchautorin Lisa Kling sagt, was sie derzeit in Hollywood tut: Sie geht mit einem Schild auf den Bürgersteig – und trifft alte Kollegen.
Kriminalakte 