Hallmarks of his work include dense plotting and a relentlessly pessimistic—albeit moral—worldview. His work has earned Ellroy the nickname "Demon dog of American crime fiction."
Ellroy writes longhand on legal pads rather than on a computer and prepares elaborate outlines for his books, most of which are several hundred pages long.
Dialog and narration in Ellroy novels often consists of a "heightened pastiche of jazz slang, cop patois, creative profanity and drug vernacular" with a particular use of period-appropriate slang. He often employs stripped-down staccato sentence structures, a style that reaches its apex in The Cold Six Thousand and which Ellroy describes as a "direct, shorter-rather-than-longer sentence style that's declarative and ugly and right there, punching you in the nards." This signature style is not the result of a conscious experimentation but of chance and came about when he was asked by his editor to shorten his novel White Jazz from 900 pages to 350. Rather than removing any subplots, Ellroy achieved this by eliminating verbs, creating a unique style of prose. While each sentence on its own is simple, the cumulative effect is a dense, baroque style.
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