The Weird West

I just finished writing a book that, frankly, I wasn’t sure how to categorize. I’d tell people, “It’s unusual, a little weird. It’s set in the early 20th century New Mexico and Mexico (1902-1921) and has supernatural elements (Native American mysticism and fantasy).” I was afraid I was going to have to invent my own genre. But before I took such drastic measures, I started looking for other similar books and couldn’t find any – exactly – but I did find a sub-genre of the western called the “Weird West.” Apparently this sub-genre has been around for decades, going back to 1935 with the serial, The Phantom Empire. (There might be some even before that so don’t hold me to that date.) This sub-genre is basically any book with a western setting that contains elements of another genre like horror, fantasy, steampunk, Native American mysticism, paranormal, and science fiction.


Finding this sub-genre was like a light coming on. I hadn’t heard the term before (okay, you might wonder where I’ve been) but I realized I had published books similar to this sub-genre under another sub-genre called “paranormal western romances.” I wrote about ghosts and cursed treasure in Desire’s Treasure (Arizona, 1884); time travel in The Turquoise Sun (Colorado, 1896); and reincarnation and Native American mysticism in Firelight (Colorado and Arizona, 1896). The beauty of the romance book world is that they welcome sub-genres as long as the romance remains center stage. I wasn’t so certain I’d be as lucky writing a non-romance “western” novel that stepped out-of-bounds. But I wrote it anyway because I fell in love with the hero and the tale of his dark past.

If you stop to think about it, the American West is the ideal place for supernatural elements. There have always been ghost tales, hauntings, Native American mysticism, and all manner of strange goings-on. Recently we’ve seen in movie form, Cowboys & Aliens (science fiction), Jonah Hex (fantasy/superhero), Abraham Lincoln, Vampire Hunter (horror/fantasy), the Wild Wild West (steampunk), and, some years ago, the fantastic surreal High Plains Drifter (supernatural/superhero). In books, a few that come to mind are Stephen King’s Dark Tower series (fantasy), Louis L’Amour’s Haunted Mesa (Native American mysticism), and Peter Brandvold’s Dust of the Damned (horror). The supernatural even appears in country/western music. Remember “Ghost Riders in the Sky” by the Sons of the Pioneers?

Sub-genres aside, the main key to success in any book is great characterization and a plot that makes the reader transcend belief, whether that’s in the real world, the supernatural world, or a combination thereof. Another key to success is finding the right niche, of course, even if it’s a little weird. I hope I’ve done both. Time will tell.

Heroes and Anti-Heroes

One of the authors I grew up reading was Louis L’Amour. In his book, Sackett’s Land, he said, “A man needs heroes. He needs to believe in strength, nobility, and courage.” The heroes in L’Amour’s books all very much met this criteria. You could say that Louis’s heroes were the “white hat” guys, even (if they didn’t wear white hats). They didn’t have vices or demons or even insecurities and doubts. They walked a straight path and they always knew exactly where that path was going. The only time they got side-tracked was if they had to fight the bad guys or help out another good guy. Even the old westerns we used to see on TV in the 50s and 60s (okay, I’m giving away my age here), were all about the quintessential hero.

Then something happened. The anti-hero emerged. He was the hero who had goodness deep in his soul but he wasn’t perfect. He battled right and wrong and stepped over the line frequently because the line wasn’t always clear.  He had vices and demons, and he’d made his share of mistakes in his life. As a matter of fact, he was still making mistakes and trying to overcome those vices and demons. He didn’t wear a white hat. He probably didn’t even own one. He was the imperfect guy all of us imperfect people could relate to. He was the bad boy the ladies fell in love with because they thought they could reform him. Some didn’t even care if they accomplished that; they just wanted him because he stirred their blood in a way the “straight and narrow” guy couldn’t.

In today’s literature and films, the anti-hero is predominant. And not just westerns, of course. But, as westerns go, he has appeared in such western movies as Unforgiven and Lonesome Dove. The TV series Justified and Longmire have wonderful anti-heroes. I’ve found first-hand this to be true with my own books. The stories with the flawed heroes are the ones the readers have liked the most: Seth Sackett in Came A Stranger; Nathaniel Brannigan in Desire’s Treasure; Jim Rider in Mountain Ecstasy. Tyler Chanson in Tyler’s Woman; Keane Trevalyan in The Turquoise Sun; and Dev Summers in The Last Rodeo. They’re all men who have vices, demons, pasts that haunt them, or they have a little (or a lot) of that bad boy in their personality.

I’ll admit, I have an easier time making my men imperfect than I do my women, but it’s just as important for our women who have a few of their own inner struggles, dark pasts, secrets, and vices. Things they need to face or overcome in the course of our stories--or at least be dealing with successfully. So, make a conscious effort to bring imperfection into your characters. Anti-heroes and heroines are more fun to write about. And they are definitely what readers nowadays want in their characters.

Horse Gaits and Riding/Writing Blunders

I’ve read books by authors who attempt to write about horses but have clearly never been on one. For example, one book that made a real faux pas was a romance novel I read years ago where the hero and heroine had intercourse (and I’m not talking about conversation) on a galloping horse. Yikes! Maybe there should have been a warning footnote in the book that said: Stunts performed by professionals. Don't try this at home. If you’ve ever been on a galloping horse you know it’s hard enough just to stay on. It’s not like sitting in a rocking chair. I seriously doubt there's even a "professional" who could pull this one off.

Another thing I see a lot are authors who have a character gallop a horse for miles and miles, maybe even all day, oftentimes over rough terrain like sagebrush hills. Rider/Writer Beware: there are rocks and badger holes hidden in that sagebrush. Unless you want to break your horse's leg and maybe your own neck when the horse flips over on you, I wouldn't advise a flat-out gallop in this terrain--unless Indians are after you, of course. Plus, this is not an easy gait for either horse or rider to sustain for that length of time. Even the pony express boys (who were young and very tough) had to change horses every 10-15 miles at relay stations and rode 75 miles on their “workday” before resting at a home station where another rider took the next relay. And we've all heard of cowboys racing after stampeding cattle in the middle of night. They actually did this, but many of them were trampled to death when their horses went down. So be sensible. If you do have your character do some great feat, acknowledge the dangers and the problems that go with it.

Now for a quick run-down of the standard four gaits, plus a few less common ones.

Gait – A distinctive movement of the feet and legs that determines a horse’s speed. A horse has four common gaits–walk, trot, canter, gallop.

Walk – A natural, slow gait of four beats. Each foot leaves and strikes the ground at separate intervals. An average speed is 4 miles per hour but will vary depending on the individual horse, breed, terrain, and even the rider.

Trot – A two-beat diagonal gait. The front foot and opposite hind foot take off together and strike the ground simultaneously. All four feet are off the ground at the same time for a brief moment. This gait can be rough on the rider if the horse doesn’t have a light, springy step. Rising in the stirrups in time to the beats makes it less jarring for the rider. On the first beat, riders raise their body slightly by pushing their feet down on the stirrups. They come down in the saddle on the second beat and then go right up again. This is called posting.

Gallop – An all-out run. The fastest speed for a horse. A leaping and bounding motion. A fast, three-beat gait during which two diagonal legs are paired and strike the ground together between the successive beats of the other two unpaired legs. All four feet are off the ground for a brief interval. Propulsion is chiefly in the hindquarters, but the forequarters sustain tremendous jar as the horse lands. A rider will usually lean out over the horse’s neck for balance with this top speed.

Canter – Sometimes called a lope. A slow, three-beat rhythmic gait. On the first beat, one forefoot strikes the ground. Then the other forefoot and opposite hind leg hit the ground together. On the third beat, the other hind foot strikes the ground. It is comfortable for the rider and can be sustained for long distances. A rider will usually lean back in the saddle for this  “rolling” gait. The speed, if sustained, would be 10-12 mph, again depending on the factors mentioned above.

Other Gaits:

Pace – A fast two-beat gait in which the front and hind feet on the same side start and stop simultaneously. The feet rise just above the ground level. All four feet are off the ground for a split second and the horse appears to float. Faster than a trot but slower than a gallop. It has a rolling type of motion. Not suitable for travel in mud or snow. A smooth, hard footing is better for this gait to be decently executed.

Fox Trot – A low, short, broken type of trot in which the head usually nods. The horse brings each hind foot to the ground an instant before the diagonal forefoot. A slow gait.

Running Walk – A slow, four-beat gait, between a walk and rack. The hind foot oversteps the front foot from 2 or 3 to as many as 18 inches, giving the motion a smooth, gliding effect. The horse’s head will bob or nod. This is easy on both horse and rider. An all-day working gait at a speed of 6 to 8 mph.

Rack – A fast, showy, unnatural, four-beat gait. Each foot strikes the ground separately at equal intervals. It is also known as the “single foot.” It is easy on the rider, hard on the horse. Popular in the show ring.

Traverse – Also known as the “side step.” It is a lateral movement of the animal without forward or backward movement. Often helps a rider in opening or closing gates, lining up horses in the show ring, and taking position in a mounted drill or posse.

In conclusion: If you are an author who wants realism in any story involving a horse, don't make the mistake of assuming riding is like sitting in a rocking chair just because some people make it appear that effortless. At the very least, find someone who has a gentle horse who will let you ride it around inside a corral. You will immediately understand the amount of skill it takes to ride well, and you'll walk away with a greater appreciation for those who have mastered it. You'll also readily understand what would require a stunt rider to perform.

Image courtesy of Naypong at FreeDigitalPhotos.net - "White and Black Horses Running"

Author Interview: Will Edwinson

Will Edwinson is an award-winning writer of fiction and nonfiction and has written a newspaper column. His second book, Buddy…His Trials and Treasures, won first place in state competition, and second place at national. His nostalgia column that he wrote under another name, won second and first-place awards in two separate competitions from the Utah-Idaho-Spokane Associated Press Association. He has written dozens of articles for Idaho Magazine. Will grew up on a farm in rural Southeast Idaho. After college, he continued to operate the family farm until his retirement. His passion was always writing. He has written four books. Besides writing, Will also enjoyed singing in his younger years. He has performed on stages from Sun Valley, Idaho, to Lake Havasu City, Arizona.  He is currently retired and living in Tucson, Arizona.

Tell us about your book, Buddy … His Trials and Treasures.

Buddy is a compilation of short story adventures about a young boy growing up in rural America during the 1940s.  Buddy is a bit like Tom Sawyer in that he quite often finds himself in hot water for which he must pay the consequences.  Unlike, Tom, however, Buddy’s mischievous deeds are without much forethought. They happen because he’s…well…he’s just Buddy.  Each adventure is a stand-alone story, but they are also formatted in such a way that one can read the book from cover to cover and follow Buddy as he grows up.

You live in Arizona but spent most of your life in Idaho. Can you tell us about your background and how it not only led you to become a writer, but how it influenced the stories you write?

Yes, I spent the bulk of my life in Idaho.  It’s only the past three years that I’ve lived in Arizona.  My background is in rural America and agriculture. My dad was a farmer, and his father before him. Early in life I knew that’s what I wanted to do too.  I love small town America, its culture (the sense of community) and its simple life-style. As for how my rural background influenced my stories, I’m not sure. Like many authors, my writing is not genre specific. I think of myself as a story teller, so I write in many genres. My stories are centered generally on what I see happening every day, and what I’ve read—or been told—about the way things were in the past.

You also write a newspaper column and have won awards. Tell us more about both.

How I got into the business of writing columns was sort of a fluke. I wasn’t seeking the job.  It happened at a book signing at Waldenbooks in Pocatello, Idaho. A young man in his mid-thirties walked past my table (people always try to sneak past the table of an unknown author). As he walked by, I handed him a flyer that described my Buddy book, and said to him, “Perhaps you’d like to read about my book while you browse the store.” He took the flyer, thanked me, and walked away. I later saw him leave the store and mentally wrote him off as a potential fan. 

About a half hour later, to my surprise, he returned to my table. He introduced himself as the managing editor of the Idaho State Journal, a daily newspaper. He had read my flyer and was evidently impressed, because he asked me if I’d be interested in writing a weekly column for the paper. I told him I’d never done anything like that, but the challenge sounded intriguing, and that’s how I got to be a newspaper columnist. I won two AP awards during my five year tenure; a second place, and a first place. I still write an occasional column for the paper from here in Arizona, but not on a weekly basis as before.

How do you feel about the ebook and self-publishing craze? How do you think it will affect traditional publishing?

I haven’t decided how I feel about it yet, but I will say this: good or bad, I believe it’s the wave of the future. The upside, I believe, is that authors who are trying to break into the business, but can’t get agents or publishers to give them a nod, will be able to get their books published.  The downside is, there are a lot of fly-by-night publishers that will publish anything.  Consequently, there may be less professional editing of these self-published books with the result of poor quality books getting published. As for traditional publishing, I think this new trend will cause the major publishing houses to rely on established blockbuster authors with a well-known track record. The only new authors they will go with, in my opinion, are those who have had a successful self-published book.

In your opinion, and in your experience, what aspect of the writing/marketing process presents the biggest challenge for writers in today's changing publishing atmosphere?

The biggest challenge, as I see it, aside from writing a compelling story, is that writers are now  expected to become involved—in a major way—in the marketing of their works. All the gurus that I’ve talked to, or read, say we should not concentrate on the book, but rather we should concentrate on marketing ourselves, the author. The book is secondary, they say.  We should be marketing our expertise on the subject we are writing about. This is might work well for non-fiction writers, but I don’t agree with this premise for fiction writers.  What do fiction writers have to offer for sale, if it’s not their book? The major thing we have to sell, as I see it, is a compelling story, and that’s where the emphasis should be.

There are lots of tips out there for writers. If you could boil it down to one or two, what would they be?

There’s a saying among screen writers:  “To write, is to rewrite.”  I think this holds true for any writer, so my tip would be to rewrite, rewrite, rewrite, polish, polish, polish.

Where can a reader find Buddy?

It’s currently available at www.amazon.com,  www.barnes&noble.com, www.wheatmark.com,  or by asking for it at your favorite bookstore. It’s distributed by Ingrahams, so any bookstore is able to order it.

Are you working on a new project?

Two, as a matter of fact. I’ve been working on a revised version of my first novel that is now out of print. My plan is to release it in late summer. It’s entitled Shadow Revolution--Code Name: Operation Achilles. It’s a political fantasy about a twenty-first century style revolution and civil war in the United States. The war is fought with cyber weapons instead of guns and bombs.

The second project is an historical novel (with more fiction than history). It’s entitled Louisa--Iron Dove of the Frontier (Louisa is pronounced with a long i). The historical part of the story centers around Louisa Houston Earp, the half-Cherokee granddaughter of Sam Houston.  She was married to Wyatt Earp’s younger brother Morgan, for a few short years until his assassination in Tombstone, Arizona. The fiction portion of the story is, she could put on a pair of chaparajos (chaps) and spurs, strap a pistol to her hip (she was a crack shot, by the way), and wrangle dogies with the roughest of cowboys;  later come in from the range, put on her party gown, and feel right at home with Vassar graduates. She was also a trained classical concert pianist and played classical music in honky-tonk saloons. Her showmanship actually won the rowdy cowboys over to the point they accepted and actually enjoyed her music.  My plan is to release this one sometime next year. 

 Will's website & blog

 

A Horse of a Different Color

Sorrel. Appaloosa. Grulla. Gray. Bay. Palomino. Dun. Chestnut. Roan. Claybank. Buckskin. Paint.

If you’ve ever read a book set in the West, or a book about horses anywhere, you’ve probably come across some of these terms. You might know what they mean. You might not. You might be curious about it. You might not give a hoot.

As a writer of western fiction, I care because I generally always have a horse or two in my books. Most of the time, I don’t put names on them unless they have a major role in the story; i.e., Flicka or Trigger. But if you give your horses a color, like buckskin, strawberry roan, or bay, it will make that animal unique and memorable, no matter how minor his role.

That said, I’ve compiled a run-down on a few of the terms used for the color of horses. These are by no means inclusive. There are many combinations.

Sorrel or Chestnut: Reddish brown, sometimes with a coppery hue. A wide range of shades. Mane, tail, and legs the same color as the body, but can be lighter. There can be some white markings toward the hooves. Variations: Liver chestnut (darkest shade); dusty chestnut (light, dusty appearance).

Appaloosa: Spotted. Usually dark, round, or egg-shaped spots on a white “blanket” over the loin and hips. They can have black spots all over. Hooves striped vertically black and white. Eyes encircled by white. (This is a breed, not just a color.)

Grulla: Mouse-colored, blue or soft gray. Black mane, tail, and legs.

Gray: Grays are born with dark skin but the color changes. They can be various shades from dark to nearly white, dappled, or flea-bitten (tiny flecks of black or brown).

Bay: Deep rich brown with black mane, tail, and legs.

Palomino: Golden colored with white mane and tail. Can range from light to dark golden.

Dun: Varying drab shades, slightly brownish-dray or grayish-yellow coat with black mane and tail. A black dorsal stripe (down the middle of the back). Variation: copper dun.

Roan: A mixture of white hair and one other color. Mane and tails are usually the base color but can also have white interspersed. Variations: strawberry or red roan (red/white hair); blue roan (black/white hair)

Claybank: A diluted copper dun.

Buckskin: The body is similar to tanned deerhide, yellowish-brown. Black mane, tail, lower legs. Dorsal stripe.

Paint: White with large patches of brown, black, chestnut, or any other color. Legs are usually white. Manes will follow the color pattern on the neck.

"Black Horse" Image Courtesy of Tina Phillips (FreeDigitalPhotos.Net)