Elmore Leonard- for those of you who don't know-

Was arguably the greatest Crime Novelist of the 20th century.

Author of dozens of great books

A True prose stylist.

And he boil all of his technique down into 10 simple rules.

We'll look at each in turn, beginning with...
๐Ÿ. ๐๐ž๐ฏ๐ž๐ซ ๐จ๐ฉ๐ž๐ง ๐š ๐›๐จ๐จ๐ค ๐ฐ๐ข๐ญ๐ก ๐ฐ๐ž๐š๐ญ๐ก๐ž๐ซ.

Readers are interested in *people* not things.

Unless the opening is a character *reacting* to weather, the reader will skip ahead looking for characters.

It's as simple as that...
๐Ÿ. ๐€๐ฏ๐จ๐ข๐ ๐ฉ๐ซ๐จ๐ฅ๐จ๐ ๐ฎ๐ž๐ฌ.

Similar principle as above. Cut right to a character doing something.

Prologues almost always serve as a throat-clearing and can be done without.

Or they mean that the plot you have outlined is too convoluted.

Cut it and see what happens.
๐Ÿ‘. ๐๐ž๐ฏ๐ž๐ซ ๐ฎ๐ฌ๐ž ๐š ๐ฏ๐ž๐ซ๐› ๐จ๐ญ๐ก๐ž๐ซ ๐ญ๐ก๐š๐ง "๐ฌ๐š๐ข๐" ๐ญ๐จ ๐œ๐š๐ซ๐ซ๐ฒ ๐๐ข๐š๐ฅ๐จ๐ ๐ฎ๐ž.

'Said' is far less intrusive and distracting than 'grumbled' 'yelled' 'lied' etc.

The reader should be able to infer the tone of the speech by the dialogue and characters actions
The fun of reading is creating the world of the book in your imagination

This is the whole concept behind 'show, don't tell'

Don't do all of the work for the reader by telling them what to think.

It will intuitively repel them.
๐Ÿ’. ๐๐ž๐ฏ๐ž๐ซ ๐ฎ๐ฌ๐ž ๐š๐ง ๐š๐๐ฏ๐ž๐ซ๐› ๐ญ๐จ ๐ฆ๐จ๐๐ข๐Ÿ๐ฒ ๐ญ๐ก๐ž ๐ฏ๐ž๐ซ๐› "๐ฌ๐š๐ข๐"โ€ฆ๐ก๐ž ๐š๐๐ฆ๐จ๐ง๐ข๐ฌ๐ก๐ž๐ ๐ ๐ซ๐š๐ฏ๐ž๐ฅ๐ฒ

Adverbs should almost always be avoided because they distract the reader and disrupt the rhythm of the dialogue exchange

Always keep the prose flowing
๐Ÿ“. ๐Š๐ž๐ž๐ฉ ๐ฒ๐จ๐ฎ๐ซ ๐ž๐ฑ๐œ๐ฅ๐š๐ฆ๐š๐ญ๐ข๐จ๐ง ๐ฉ๐จ๐ข๐ง๐ญ๐ฌ ๐ฎ๐ง๐๐ž๐ซ ๐œ๐จ๐ง๐ญ๐ซ๐จ๐ฅ. ๐˜๐จ๐ฎ ๐š๐ซ๐ž ๐š๐ฅ๐ฅ๐จ๐ฐ๐ž๐ ๐ง๐จ ๐ฆ๐จ๐ซ๐ž ๐ญ๐ก๐š๐ง ๐ญ๐ฐ๐จ ๐จ๐ซ ๐ญ๐ก๐ซ๐ž๐ž ๐ฉ๐ž๐ซ ๐Ÿ๐ŸŽ๐ŸŽ,๐ŸŽ๐ŸŽ๐ŸŽ ๐ฐ๐จ๐ซ๐๐ฌ ๐จ๐Ÿ ๐ฉ๐ซ๐จ๐ฌ๐ž.

Nothing further to add. Says it all.
๐Ÿ”. ๐๐ž๐ฏ๐ž๐ซ ๐ฎ๐ฌ๐ž ๐ญ๐ก๐ž ๐ฐ๐จ๐ซ๐๐ฌ "๐ฌ๐ฎ๐๐๐ž๐ง๐ฅ๐ฒ" ๐จ๐ซ "๐š๐ฅ๐ฅ ๐ก๐ž๐ฅ๐ฅ ๐›๐ซ๐จ๐ค๐ž ๐ฅ๐จ๐จ๐ฌ๐ž."

Such cliches show a lack of discipline.

Personally a 'all hell broke loose' would make me lose all trust in the writers competence.
๐Ÿ•. ๐”๐ฌ๐ž ๐ซ๐ž๐ ๐ข๐จ๐ง๐š๐ฅ ๐๐ข๐š๐ฅ๐ž๐œ๐ญ, ๐ฉ๐š๐ญ๐จ๐ข๐ฌ, ๐ฌ๐ฉ๐š๐ซ๐ข๐ง๐ ๐ฅ๐ฒ.

Dialect can be used to great effect, but it is really easy to get carried away with it.

Which will- you guessed it- pull the reader out of the story.
๐Ÿ–. ๐€๐ฏ๐จ๐ข๐ ๐๐ž๐ญ๐š๐ข๐ฅ๐ž๐ ๐๐ž๐ฌ๐œ๐ซ๐ข๐ฉ๐ญ๐ข๐จ๐ง๐ฌ ๐จ๐Ÿ ๐œ๐ก๐š๐ซ๐š๐œ๐ญ๐ž๐ซ๐ฌ.

As we discussed in rule 3- the idea is to let the reader use their imagination.

Let the reader fill in the gaps.

Too much description stifles them.
๐Ÿ—. ๐ƒ๐จ๐ง'๐ญ ๐ ๐จ ๐ข๐ง๐ญ๐จ ๐ ๐ซ๐ž๐š๐ญ ๐๐ž๐ญ๐š๐ข๐ฅ ๐๐ž๐ฌ๐œ๐ซ๐ข๐›๐ข๐ง๐  ๐ฉ๐ฅ๐š๐œ๐ž๐ฌ ๐š๐ง๐ ๐ญ๐ก๐ข๐ง๐ ๐ฌ

Description brings action & flow to a standstill

Unless for a specific and purposeful dramatic effect, this is *not* what you want to do

Flowery description is egotistical
๐Ÿ๐ŸŽ. ๐“๐ซ๐ฒ ๐ญ๐จ ๐ฅ๐ž๐š๐ฏ๐ž ๐จ๐ฎ๐ญ ๐ญ๐ก๐ž ๐ฉ๐š๐ซ๐ญ ๐ญ๐ก๐š๐ญ ๐ซ๐ž๐š๐๐ž๐ซ๐ฌ ๐ญ๐ž๐ง๐ ๐ญ๐จ ๐ฌ๐ค๐ข๐ฉ.

This sums up all of the above.

This is the takeaway.

Leave your ego and need to show how clever you are and stick to clean rhythmic prose.

Respect the readers time.

\\Fin/
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