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Delia Ephron

Delia Ephron (born July 12, 1944) is an , , , and renowned for her witty explorations of relationships, , and in novels, essays, films, and stage works. Best known for her longtime collaboration with her older sister, the late , she co-wrote acclaimed screenplays including (1998), (1996), and (2005), as well as the play Love, Loss, and What I Wore (2009), which ran for over two years and has been performed internationally. Her solo works, such as the bestselling novel Siracusa (2016) and the memoir Left on Tenth (2022)—adapted into a play in 2024—further highlight her distinctive voice blending humor and emotional depth. Born in New York City to screenwriters Henry and Phoebe Ephron, Delia grew up in Beverly Hills, California, alongside her three sisters, including Nora. She graduated from Barnard College, where she developed a passion for New York City, eventually settling in Greenwich Village. Ephron's early career included humorous essays for The New York Times Magazine, such as the piece that became her bestselling book How to Eat Like a Child: (And Other Lessons in Not Being a Grownup) (1979), and contributions as an editor at New York magazine. Throughout her career, Ephron has authored novels like (1997), which she adapted into a directed by , and essay collections such as Sister Mother Husband Dog (Etc.) (2013), reflecting on her bond with and personal tragedies including the deaths of her sister, husband Jerome Kass (to whom she was married for 32 years until his passing in 2015), and her own battle with cancer. In 2021, she married Peter Rutter, and her work continues to draw from these experiences, emphasizing resilience and love. Ephron's contributions to and literature have earned her recognition for revitalizing genres while infusing them with authentic emotional insight.

Early life and education

Family background

Delia Ephron was born on July 12, 1944, in to screenwriters and Phoebe Ephron. She was the second of four daughters in the family; her elder sister was (born May 19, 1941), followed by younger sisters (born March 9, 1948) and (born October 21, 1952). Henry and Phoebe Ephron were a prominent duo in , with credits including the musical (1956), the romantic drama Daddy Long Legs (1955), and the comedy (1957), among others. Their collaborative work created a household deeply immersed in , script development, and the rhythms of , which profoundly shaped the creative environment for their daughters from an early age. The Ephron family was of Jewish heritage, with Henry's parents being Jewish immigrants from regions now in , and born to a Jewish family in . This background, combined with the parents' connections in the entertainment industry, provided and her sisters with early exposure to cultural and professional networks in and .

Childhood and schooling

Delia Ephron was born in on July 12, 1944, the second eldest of four daughters to screenwriters and . Shortly after her birth, the family relocated to , settling into a spacious Spanish-style stucco house on the 700 block of Linden Drive in the city's affluent flats. This move immersed Ephron in the heart of Hollywood's creative milieu from infancy, where the rhythms of defined daily life in a household filled with scripts, typewriters, and discussions of narrative craft. Growing up amid her parents' successful but tumultuous career—marked by hits like and struggles with —Ephron experienced a dynamic that blended and tension. Meals often turned into impromptu workshops, with Phoebe and prompting their daughters to identify clever lines or potential titles from their work, instilling an early sensibility for wit and structure. Her sisters, , , and Hallie, amplified this environment through close-knit play; the siblings engaged in imaginative games and shared sessions that foreshadowed their collective path toward writing, fostering Ephron's budding interest in crafting tales. Ephron attended local public schools in Beverly Hills, culminating in her graduation from the renowned . This pre-college education, set against the backdrop of her family's industry connections, exposed her to a community of ambitious peers while the constant hum of parental script revisions at home reinforced her affinity for words and drama.

College education

Ephron enrolled at Barnard College in New York City in the early 1960s, graduating with a Bachelor of Arts degree in history in 1966. During her time at Barnard, Ephron showed limited initial interest in writing, focusing instead on her history coursework amid the vibrant urban environment. It was there that she discovered a deep passion for New York City, immersing herself in its energy through explorations of its streets and cultural landmarks, which later influenced her creative sensibilities. Although specific extracurricular involvements like literary clubs are not prominently documented, the intellectual atmosphere at Barnard and Ephron's family background in provided subtle hints toward creative pursuits, fostering an appreciation for storytelling. Following graduation, Ephron remained in , taking an early job as an events planner at the , which exposed her to cultural and organizational work in publishing-adjacent fields. In 1969, she married academic Dan Brock and relocated to , for his position at , where she ventured into a business that led to her first book contracts for instructional titles like The Adventurous Crocheter in 1971. These initial publishing experiences marked the gradual realization of her writing potential, transitioning from craft guides to humorous essays and beyond.

Personal life

Marriages and family

Delia Ephron married and Jerome Kass in 1982, beginning a partnership that lasted 32 years until his death from in 2015. The couple, both writers, shared a deep creative and personal connection, with Kass providing steadfast support during Ephron's professional endeavors. They had together. Following Kass's death, Ephron reconnected with Peter Rutter, a and high school acquaintance she had dated briefly 54 years earlier on a setup by her sister . Their renewed relationship blossomed quickly through email correspondence initiated after Rutter read Ephron's 2016 New York Times about widowhood, leading to marriage in 2017 at NewYork-Presbyterian/. Ephron has no children, but her adult family life centered on her close-knit relationships with her —Nora, Amy, and Hallie—marked by frequent discussions and shared holidays that offered emotional sustenance and inspired her writing. 's death from in 2012 profoundly affected Ephron, intensifying the bond with her surviving sisters as a key support system.

Health challenges and recovery

In March 2017, shortly after reconnecting with and marrying Peter Rutter, Delia Ephron was diagnosed with (AML), an aggressive form of the disease, during a routine . The diagnosis came just five months after she had begun with Rutter, a , following an exchange sparked by her New York Times on . Ephron underwent immediate using CPX-351, an experimental treatment accessed through a compassionate-use program at NewYork-Presbyterian/, which allowed her to avoid typical side effects like . After a 25-day hospital stay, she achieved initial remission and was discharged, resuming aspects of her routine in . However, the returned in November 2017, eight months after her , necessitating a transplant as the only viable option. The transplant, performed at the same medical center, successfully took hold, with bloodwork showing steady improvements in her , red blood cells, and platelets, leading to full remission by 2018. Throughout the ordeal, Rutter provided unwavering support, from proposing in the hospital to standing by her during recovery. This health crisis was deeply compounded by prior losses to cancer: her sister Nora's death from AML in 2012 and her first husband Jerome Kass's death from in 2015, which framed Ephron's experience as a profound test of amid repeated familial . The challenges disrupted her daily life in , where she resides on Tenth Street, forcing pauses in writing and social activities like attending the , though she gradually reintegrated into her neighborhood's vibrant routine post-remission. These events are recounted in her Left on Tenth.

Literary works

Novels

Delia Ephron's novels for adults and young adults explore intricate family relationships, personal loss, and emotional reinvention, often blending humor with poignant drama to illuminate the complexities of human connections. Published between 1995 and 2016, her works frequently draw on themes of bonds, parental decline, and the search for self amid upheaval, reflecting her signature witty yet tender narrative voice. While not all achieved widespread commercial success, her has garnered praise for its sharp and relatable portrayals of domestic turmoil. Her debut adult novel, (1995, ), centers on three sisters—Eve, the dutiful middle child; Georgia, the ambitious editor; and Maddy, the flighty —who navigate their fractious relationships while caring for their ailing, alcoholic father, Mad. The story unfolds through conversations and family crises, highlighting themes of , , and in the face of loss. Critics lauded Ephron's ear for authentic and her ability to infuse humor into grief, with noting how a stranger's connection aids Eve's emotional reckoning with her father. The novel was adapted into a co-written by Ephron and her sister , directed by . In Big City Eyes (2000, G.P. Putnam's Sons), Ephron shifts to single motherhood and suburban unease, following Lily Davis, a New York City journalist who relocates to a Long Island town with her teenage son Sam to shield him from urban dangers, only to uncover a local murder mystery that exposes small-town hypocrisies. The narrative weaves mystery with introspection on isolation, passion, and maternal guilt, as Lily grapples with newfound suspicions and a budding romance. Reviewers appreciated the novel's blend of suspense and satire, with Publishers Weekly highlighting Ephron's witty prose in depicting Lily's culture shock. Ephron ventured into young adult fiction with Frannie in Pieces (2007, HarperTeen), a story of and where 15-year-old Frannie, reeling from her father's sudden death in a car accident, finds a mysterious in his studio that transports her through fragmented memories of her family's past. As she assembles the pieces—both literal and emotional—Frannie confronts her sense of a shattered world and rebuilds her identity. The book addresses loss, danger, and through a fantastical lens, earning acclaim for its inventive structure and emotional depth; Kirkus Reviews praised its exploration of a teen's heightened awareness of peril post-tragedy. The Lion Is In (2012, Blue Rider Press) presents a whimsical road-trip tale of reinvention, tracking three disparate women—runaway bride and kleptomaniac Tracee, recovering alcoholic , and stifled minister's wife Rita—who flee their troubles and end up stranded at a dilapidated with a circus lion named Richard. Their unlikely bond forms amid chaos, emphasizing friendship, courage, and self-acceptance as the lion becomes a metaphorical catalyst for change. Ephron's lighthearted yet insightful approach drew positive notices, with calling it a "whimsical but winsome" journey of self-discovery. Ephron's most commercially successful novel, (2016, Blue Rider Press), a New York Times bestseller, dissects marital deception during a couples' vacation in , where ers Michael and Lizzie join friends Finn and Taylor, along with Taylor's manipulative daughter Snow, leading to unraveling secrets and relational fractures. Told in alternating perspectives, the book probes , , and the fragility of long-term partnerships against an exotic backdrop. It received strong critical reception for its tense plotting and psychological acuity, with The New York Times praising its portrayal of marital tensions.

Non-fiction and memoirs

Delia Ephron's non-fiction works primarily consist of autobiographical essays and memoirs that offer intimate reflections on family dynamics, grief, love, and resilience in the face of personal adversity. These writings draw heavily from her life experiences, blending sharp humor with emotional depth to explore the absurdities and heartaches of everyday existence. Her first major non-fiction book, Sister Mother Husband Dog (etc.), published in 2013, is a collection of essays that delve into her relationships with her late sister Nora Ephron, her mother, her husband, and even her dog. The pieces address themes of familial loss—particularly the profound impact of Nora's death in 2012—and the quirks of New York City life, such as the challenges of aging and maintaining connections amid daily absurdities. Ephron's prose in the book is noted for its effervescent wit and unflinching honesty, capturing moments of sorrow without descending into sentimentality. Critics praised the collection for its poignant balance of laughter and tears, with the New York Times highlighting how it serves as a "valentine" to love and loss. Ephron's 2022 memoir, Left on Tenth: A Second Chance at Life, became a New York Times bestseller and expands on these themes through a narrative of widowhood, unexpected romance, and health challenges. The book recounts her grief following the 2015 death of her second husband, Jerome Kass, and her serendipitous reconnection and marriage to high school sweetheart Peter Morton at age 72, set against the backdrop of Manhattan's vibrant streets. It also candidly addresses her 2017 diagnosis of acute myeloid leukemia, weaving in reflections on second chances and the fragility of life. Reviewers lauded the memoir for its humorous take on tragedy, describing it as a "joy" that honors fear and sickness while celebrating love's persistence. The work's reception underscored its inspirational quality, and it was later adapted into a 2024 Broadway play.

Humor and children's books

Delia Ephron established her distinctive witty voice in humor writing through early works aimed at capturing the absurdities of youth for both children and adults. Her breakthrough came with How to Eat Like a Child: And Other Lessons in Not Being a Grown-up, a 1978 collection of essays that expanded on a 500-word piece originally published in The New York Times Magazine, offering playful instructions on childhood antics like slurping spaghetti, staging sleepovers, and perfecting the art of whining. The book became a bestseller, resonating with readers through its lighthearted celebration of kid logic and was later adapted into an NBC musical television special in 1981, featuring Dick Van Dyke and child actors performing songs based on its lessons. This success marked a pivotal moment in Ephron's career, highlighting her talent for observational humor that bridged generational appeal and led to annual musical theater revues nationwide. Building on this foundation, Ephron explored adolescent in Teenage Romance: Or, How to Die of Embarrassment (1981), presented as the faux diary of Sarah Strain, a 13-year-old navigating crushes, awkward dances, and family mishaps with exaggerated teen angst. Illustrated by Edward Koren, the book uses diary entries and doodles to mock the of first love and social blunders, earning praise for its empathetic yet comedic take on puberty's pitfalls. Ephron extended her humorous style into children's fiction with The Girl Who Changed the World (1993), a middle-grade about 10-year-old Sparks, who rallies neighborhood kids into a "revolutionary army" to prank her tormenting older brother, blending with clever schemes that ultimately foster family bonds. The story's snappy dialogue and focus on preteen empowerment made it a fun exploration of revenge and reconciliation, recommended for sparking discussions on relationships. In , Ephron infused wit into more introspective narratives, as seen in Frannie in Pieces (2007), her debut following 15-year-old Frannie Anders, who copes with her father's death by assembling a magical puzzle that whisks her into dreamlike adventures revealing hidden family memories. The book's quirky humor emerges through Frannie's puzzle-fueled escapades and sharp observations on and growth, earning four starred reviews and recognition as a Book Sense Pick. Ephron's final notable contribution to youth-oriented humor was The Girl with the Mermaid Hair (2009), a tale of vain 16-year-old Sukie Jamieson, whose obsession with beauty unravels when a magical mirror exposes painful family secrets, prompting a humorous yet poignant journey toward . Through Sukie's selfie-obsessed antics and transformative revelations, the satirizes teen vanity while delving into themes of truth and imperfection, praised for its imaginative blend of fantasy and realism.

Screenwriting and film production

Key screenplays

Delia Ephron's screenwriting career spans several decades, with many of her notable works co-authored with her sister , blending humor, family dynamics, and romantic elements in adaptations and original stories. Her contributions often emphasize character-driven narratives that explore personal growth amid comedic or fantastical scenarios, frequently achieving commercial success through ensemble casts and relatable themes. Ephron's first screenplay credit came under the pseudonym Jenny Wolkind for Brenda Starr (1989), a adaptation co-written with Noreen Stone and James D. Buchanan. The film follows intrepid reporter Brenda Starr (), who travels to to investigate a mad scientist's plot involving a deadly formula, blending adventure and romance in a stylized, colorful world drawn from the long-running . Despite its ambitious production, the movie was a critical and commercial failure, grossing just $67,878 worldwide against a $16 million budget. In 1992, Ephron co-wrote This Is My Life with , adapting her own 1989 novel into a dramedy directed by . The screenplay centers on single mother Dottie Ingels (), a cosmetics salesperson who quits her job to pursue a career in , forcing her to balance rising fame with her responsibilities toward her two young daughters, ultimately straining family bonds. The film highlights Ephron's knack for witty, observational humor about women's ambitions, though it underperformed at the with $2.9 million in domestic earnings. Mixed Nuts (1994), another collaboration with who also directed, reimagines the French comedy Le Père Noël est une ordure as a chaotic tale at a hotline called Lifesavers. Ephron's screenplay weaves an ensemble of quirky characters—including a director (), a transvestite (), and a distressed caller ()—into overlapping crises involving eviction threats, romantic entanglements, and unexpected visitors, emphasizing absurd holiday mishaps and emotional undercurrents. Despite its star-studded cast, the film was a disappointment, earning $6.7 million domestically. Ephron served as one of four writers on (1996), directed by , crafting a about a skeptical tabloid journalist () and her partner () who discover a real angel (John Travolta) living incognito in , complete with wings, a love for dance, and a fondness for women and beer. Her contributions focused on the script's blend of whimsy and heartfelt redemption, turning the angel's earthly exploits into a feel-good narrative. The film proved a major success, grossing $119.7 million worldwide. The Ephron sisters reunited for (1998), a modern remake of the 1940 film , directed by Nora. Delia co-wrote the , which updates the enemies-to-lovers to the digital age: bookstore owner Kathleen Kelly () unknowingly falls in love online with her corporate rival Joe Fox (), whose chain threatens her independent shop, incorporating themes of anonymity, fate, and charm. The film's sharp dialogue and nostalgic exchanges drove its performance, with $250.8 million in worldwide gross. Hanging Up (2000), co-written with Nora and based on Delia's 1997 novel, was directed by and explores the strained relationships among three sisters—successful producer Georgia (), organized middle sister Eve (), and free-spirited Maddy ()—as they navigate phone calls and caregiving for their ailing, irascible father () in his final days. Ephron's screenplay delves into sibling rivalries, grief, and reconciliation through rapid-fire conversations and humorous family quirks. It earned $51.9 million worldwide but received mixed reviews for its uneven tone. For (2005), directed by , Delia co-wrote the screenplay adapting the TV series into a meta-comedy where a self-absorbed () casts a real witch, Isabel (), as the lead in a , leading to magical mishaps on set as she regains her powers and disrupts his ego-driven life. The script playfully subverts tropes with feminist undertones and satire. The film grossed $131.4 million worldwide, though it was considered underwhelming given its $85 million budget. Ephron's adaptation of Ann Brashares' 2001 novel, The Sisterhood of the Traveling Pants (2005), co-written with Elizabeth Chandler and directed by , follows four lifelong friends—each facing summer challenges involving family, romance, and loss—who share a magical pair of that symbolically connects them across distances. Her screenplay emphasizes themes of , self-discovery, and diverse teen experiences through interwoven storylines for characters like shy Lena () and outspoken Tibby (). The coming-of-age drama succeeded commercially, grossing $42 million worldwide on a $25 million budget.

Producing credits

Ephron's producing involvement in film often complemented her screenwriting work, focusing on oversight of adaptations and collaborative decision-making rather than hands-on production. She served as on (1993), (1994), and (1996), all directed by . Ephron held credits on (1998), contributing to the project's development alongside Nora Ephron's direction. She served as producer on (2000), where she oversaw the adaptation of her novel into a directed by and co-written with her sister . Overall, Ephron's producing scope remained more limited than her writing endeavors, highlighting the collaborative dynamics of filmmaking in her contributions.

Theater contributions

Off-Broadway works

Delia Ephron's primary contribution to Off-Broadway theater came through her collaboration with her sister Nora on the play Love, Loss, and What I Wore, which premiered at the Westside Theatre on October 1, 2009, under the direction of Karen Carpenter. The production, produced by Daryl Roth, featured a rotating cast of five actresses and ran for an impressive 1,013 performances before closing on March 25, 2012, marking it as a significant success in intimate Off-Broadway theater. This all-female endeavor—from writing and producing to directing and performing—highlighted Ephron's ability to craft ensemble-driven works centered on women's voices. Adapted from Ilene Beckerman's 1995 illustrated of the same name, the play expands the book's personal anecdotes into a series of interconnected and ensemble vignettes, each triggered by articles of that evoke pivotal life moments. Ephron and her gathered material by distributing questionnaires to over 100 women, incorporating stories from friends and family to weave a tapestry of shared experiences, with Delia specifically authoring the poignant "Thin" about and romance. The structure avoids a linear , instead presenting 28 discrete scenes that progress thematically from childhood to adulthood, using as a for memory and identity. The play's themes revolve around , humor, and , exploring how garments symbolize , heartbreak, and in women's lives—from first bras and dresses to mourning attire and empowerment outfits. Ephron's role emphasized transforming personal and cultural narratives into relatable stage moments, fostering a sense of communal reflection among audiences and performers alike. Its innovative format earned the 2010 Drama Desk Award for Unique Theatrical Experience, underscoring Ephron's impact in elevating everyday stories to theatrical resonance.

Broadway debut

Delia Ephron made her Broadway debut as a playwright with Left on Tenth, a play adapted from her 2022 memoir of the same name, which chronicles her personal experiences with loss, rediscovery of love, and battling leukemia. The production premiered in previews on September 26, 2024, at the James Earl Jones Theatre, with its official opening night on October 23, 2024, under the direction of five-time Tony Award winner Susan Stroman. Starring Julianna Margulies as Ephron and Peter Gallagher as her romantic interest Peter, the play explores themes of remarriage and resilience amid illness, drawing directly from Ephron's own life story of reconnecting with a high school acquaintance after her husband's death from cancer. Ephron's involvement extended beyond writing, as she actively shaped the staging to authentically convey her intimate narrative of vulnerability and second chances. The production ran through February 2, 2025, marking Ephron's transition from screenwriting and works to a major stage. Critics offered mixed to largely negative reception, praising the performers' chemistry and moments of warmth but critiquing the play's light treatment of heavy subjects like and chronic illness, often describing it as a sentimental rom-com that skimmed the surface of deeper emotional territory. For instance, noted that while Margulies and Gallagher brought charm to their roles, the "treads lightly" compared to the memoir's more profound exploration of loss. Following its Broadway run, Left on Tenth received a regional premiere at GableStage in , from November 21 to December 21, 2025, expanding Ephron's theatrical footprint and allowing the story to reach new audiences in a more intimate setting. This staging underscores Ephron's commitment to sharing her autobiographical tale of hope and renewal through live performance.

Awards and honors

Early recognitions

Ephron received the New York Apple Award from the in 2009, shared with , recognizing their significant contributions to the casting and production of films. In 2011, she was honored with the Athena Award at the inaugural Athena Film Festival for her creativity and panache as a , highlighting her impact on . Ephron's play Love, Loss, and What I Wore, co-written with and based on Ilene Beckerman's book, premiered in 2009 and won the 2010 for Unique Theatrical Experience, celebrating its innovative format of interlocking monologues performed by rotating ensembles of actresses.

Recent accolades

Ephron's 2022 memoir Left on Tenth: A Second Chance at Life, which chronicles her recovery from and subsequent rediscovery of love, achieved Times bestseller status and inspired widespread speaking engagements, including discussions on and second chances at venues like 92NY. The work's adaptation into a play in 2024, directed by and starring , further amplified its cultural impact as a heartfelt blending humor and , earning praise for highlighting themes of in later life. On May 15, 2025, Ephron was honored with the from , a nonprofit supporting older adults, recognizing her personal story of health recovery and advocacy for aging gracefully amid loss. This accolade underscored the broader resonance of her post-loss writings, which emphasize emotional renewal and have influenced public conversations on aging and inspiration.

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