PREFACE
I was raised on Westerns, in an era when horse operas dominated movie screens and television schedules. The year I entered public school, Hollywood released eleven Western feature films, and twenty Western series occupied TVs prime time.
I loved them.
By the time I graduated from high school, Westerns had changed. Aside from graphic violence and buckets of blood, they challenged audiences with a host of moral quandaries and antiheroes. Outlaws were more likely to be sympathetic characters than were the lawmen who pursued them. Backshooting was common, personal hygiene was a distant afterthought.
And still, I loved them.
A decade later, as a fledgling freelance novelist, I felt as comfortable in the Old West as with modern thrillers and the noir domain of crime. A California native, finishing the first half of my life in the Nevada desert, all my roots and memories were firmly planted in the West. Today, with twenty-seven Western novels published, I still regard the genre as one of my favorites.
It may be history, but it never gets old.
Western movies dont appear as frequently today, as they did in the 1960s, but those that make the cut in Hollywood prompt frequent Oscar buzz. Clint Eastwoods Unforgiven claimed four Academy Awards (out of nine nominations) and twenty other prestigious prizes in 1993. The remake of Elmore Leonards 3:10 to Yuma earned seventeen award nominations in 2008 (two Oscar nods among them), claiming a Western Heritage Award and a prize for star Christian Bale from the San Diego Film Critics Society. Another remakeof True Grit, in 2010, with Jeff Bridges in the Rooster Cogburn role that brought John Wayne his only Oscarwon twenty-seven awards out of a staggering 110 nominations from various film societies.
Nor have Western novels been eclipsed by Hollywood. In 2010, Amazon.com offered 213 new Western novels for sale (including two of mine), plus many reprints of older classics. In September of that year, Pocket Books announced plans to publish Jubals Bounty, written by Gene Hackman, a veteran of six Western films since 1971, who won his second Oscar for portraying Unforgivens sadistic small-town sheriff, Little Bill Daggett.
The bottom line: If publishers released an average of four new Western novels per week during 2010, when a global recession dictated cutbacks in print runs and gambling on untested authors, it means that readers are buying. The market is alive and well.
Writing Westerns examines what a Western is, while teaching you how to research and write one. Youll benefit from my experience248 books published since 1977, with twelve more under contractand the example of masters in the field, from Zane Grey and Max Brand to Louis LAmour and Cormac McCarthy. The text is arranged in topical chapters, as follows:
- Chapter 1 defines the Western genre and its various subgenres, and provides a historical overview of Western fiction and films, including their evolving trends and themes.
- Chapter 2 sketches the expansion of the American West from colonial times to the early twentieth century. It reviews the changing lifestyles, conflicts, and social issues that can bolster authenticity when one writes of various eras.
- Chapter 3 examines the archetypal Western lawman and outlaw, using historical examples that provide the key to creating dynamic, realistic characters.
- Chapter 4 explores the weapons of the West, from muzzle loaders to machine guns, and offers a primer for authors who may not be veteran shooters themselves.
- Chapter 5 discusses race and gender on the frontier, with an eye toward the creation of compelling characters and the avoidance of offensive stereotypes that may sabotage sales.
- Chapter 6 charts the parameters of research necessary to ensure historical authenticity without turning fiction dry as desert sand.
Each chapter includes a short list of recommended sources for further reading. Appendices to the main text include a glossary of Old West slang and jargon, which is helpful in writing realistic dialogue, a timeline of significant historical events, and a list of classic Western films and novels.
Research, talent, and imagination are the keys to writing a successful novel.
Join me now, as we set off into the West.
CHAPTER 1:
SADDLE UP!
It was a land of vast silent spaces, of lonely rivers, and of plains where the wild game stared at the passing horseman. It was a land of scattered ranches, of long-horned cattle, and of reckless riders who unmoved, looked in the eyes of life or death. Theodore Roosevelt
Western fiction, film included, is a literary genre set on the American frontierbut where exactly was The West? When did its settlement begin? When was it tamed or won? Like so much else pertaining to our nations history, the answer must remain: It all depends.
The story of America, at least during the first three hundred years after its early European settlers arrived, was one of constant westward movement, occupation, and conquest of the land, its elements, its wildlife, and its pre-Columbian inhabitants. At different times, the Wild Frontier consisted of the Appalachian Mountains, the Ohio River Valley, the Mississippi River, the Louisiana Territory (which France owned until its sale in 1805), the Rocky Mountains and Viceroyalty of New Spain beyond them, or Oregon Territory in the Pacific Northwest. Arizona did not achieve settled statehood status until 1912. Various published tales and films delay the so-called closing of the West until the end of Mexicos last revolution, in 1920. Some purists might contend that the frontier survived until Alaska joined the Union, in 1959.
Whos right? They all are.
The beauty of fictionwell, one beauty, at leastis that it springs from personal imagination. Over time, as you shall see, Western fiction has been set in every state and territory from colonial New York to California and beyond. Tom Mix, the renowned cowboy star of 315 Hollywood films made between 1909 and 1935, once said, The Old West is not a certain place in a certain time, its a state of mind. Its whatever you want it to be.
In short, the possibilities are endless.
WRITING WESTWARD
James Fenimore Cooper (1789-1851) is the father of Western fiction, renowned for his five Leatherstocking novels featuring frontiersman Natty Bumppo, published between 1823 and 1841. The tales depict life and death in the West of 1740 to 1804, and Coopers themes still resonate today. His best-known novel, The Last of the Mohicans, has been filmed five times since 1920, while spawning television series in the United States, Great Britain, and Italy.
The classic Western genre, as we know it today, began with what were called dime novels on the eve of Americas Civil War. The first dime novel was inspired by Englands penny dreadfuls of the preceding decades, and it was titled Malaeska, the Indian Wife of the White Hunter, by Ann Sophia Stephens, published by Beadle & Company of New York City on June 9, 1860. Hundreds more titles followed, often fictionalizing the exploits of real-life Western villains and celebrities, such as Jesse James, Henry Billy the Kid McCarty, Buffalo Bill Cody, Wild Bill Hickok, and Wyatt Earp. Most such works were wildly sensational, tethered to fact only by the use of real names.
Meanwhile, full-length Western novels found their audience with the publication of Owen Wisters The Virginian, in 1902. The following year, Zane Grey published Betty Zane, a novel based on the exploits of his aunt in the Ohio Valley during the American Revolution. Grey used the same setting for Spirit of the Border, written in 1906, before he moved his sights farther west for a total of forty-five novels penned between 1908 and 1939.