Explore Quotes by Elmore Leonard

It took me 20 years to buy an electric typewriter, because I was afraid it would be too sensitive. I like to bang the keys. I'm doing action stories, so that's the way I like to do it.

Writing on the beach is not what it's cracked up to be. The sand blows, and you perspire, and the page gets all blotty and messed up, so I don't do that anymore.

People ask me, 'Why are you still writing books?' Like I'm still only writing to make money and as soon as I have enough I'll quit and go fishing? I like to write books. It's the most satisfying thing I do.

I don't want to write any more screenplays, I'll tell you that right now. It's a waste of time. You've got too many people who think they have the answer to a good screenplay and they don't. No one knows.

I never know what I'm going to write next. If I'm still writing the book but I'm very near the end, and I begin to think of what I'd like to do next, then I'll know that what I'm writing is in hand. I'll think of an ending and it will be fine.

Writers - all writers, even screenwriters - like to make their mark. I don't think many screenwriters can write. They pass as writers.

I really - I don't take my work that seriously, and I think that's what keeps me loose. If I try to write, if I catch myself trying to write, I'll fall right on my face. I'll see it. If I see in the prose that I'm - 'Boy, look at me writing,' I rewrite it. I rewrite it because I don't, because I think it's distracting.

The bad guys are the fun guys. The only people I have trouble with are the so-called normal types. Their language isn't very colorful, and they don't talk with any certain sound.

When you are developing your style, you avoid weaknesses. I am not good at describing things, so I stay away from it. And if anyone is going to describe anything at all, it's going to be from the point of view of the character, because then I can use his voice, and his attitude will be revealed in the way he describes what he sees.

When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.

Writing screenplays is not my business. I've written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You're an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.

I think the best advice I give is to try not to write. Try not to overwrite, try not to make it sound too good. Just use your own voice. Use your own style of putting it down.

I would say just start writing. You've got to write every day. Copy someone that you like if you think that perhaps could become your sound, too. I did that with Hemingway, and I thought I was writing just like Hemingway. Then all of a sudden it occurred to me - he didn't have a sense of humor. I don't know anything he's written that's funny.

When I get an idea for a book, something appeals to me, it's usually a character. I'll see a picture of a female marshal in front of the courthouse in Miami and she's got a shotgun on her hip and it goes up on an angle. And she's good-looking. And I say, 'I've got to use her.'

I decided to write Westerns because there was a terrific market for Westerns in the '50s. There were a lot of pulp magazines, like 'Dime Western' and '10 Story Western' that were still being published. The better ones paid two cents a word. And I thought, 'I like Westerns.'

If I just sit here, what am I going to do? I don't have a trade. I don't teach or anything. I just love to make up characters and gradually build a story around them.

The truth is that the writers who most influenced me weren't people categorized as crime writers. I'd say I learned more from John O'Hara, who isn't much read today but whose short stories I really admired, and Hemingway, who I think has lasted pretty good.

I'm not aware of a cadence when writing, but I hear it after. I write in longhand, and that helps. You're closer to it, and you have to cross things out. You put a line through it, but it's still there. You might need it. When you erase a line on a computer, it's gone forever.

There are some people who have been reading me for years, and they keep saying kind things about the writing. That's what you're writing for, to get people to respond to it.

I can write anywhere. But I don't use a computer, and I could never write on a laptop. I hate the sound of computers; it's too dull, like it's not doing anything for you.

I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it.