Story arcs drive the popularity of TV series. Can it do the same for a book series?

In novels, a story arc usually refers to rhythm of a story from introduction, to big trouble, to resolution. Basically, the rise and fall of tension and emotion in a story. In most novels, this story arc is self-contained in a single book. Not so, for television.

How does a story arc work different for television? Dictionary.com defines it as "a continuing storyline in a television series that gradually unfolds over several episodes." I would add "or seasons." Think about the hunt for Red John in the Mentalist, or the quest for the throne in Game of Thrones, or the feud between Deputy Raylan Givens and Boyd Crowder in Justified. In television, a good story arc threads it's way through multiple episodes that tell self-contained stories with a beginning, middle, and end. 

Despite the pervasiveness of the term, everything carried along from one episode to another is not a story arc. "Space: the final frontier" from Star Trek is setting, not story arc. The solution of the crime in Bosch takes an entire season, but this television program is more akin to what we used to call a mini-series. Same for the old television program 24. These are dramatizations of a novel or single story over many episodes. A true story arc involves an embedded, larger mystery in a series of smaller stories. Without closure to this grand mystery, the series is hard to put aside. It's also important that a story arc can be resolved. In fact, it is the promise of resolution that draws in the audience week after week. They want the answer to this puzzle. 

So, can the television style of a story arc help pull along readers of a book series? I'm not an expert, but J. K. Rowling is. Each Harry Potter included a self-contained story, along with the gradual reveal of the Lord Voldemort mystery. Handled deftly, a long running story arc can pull readers through the entire series. The problem is you can't string along readers forever. Readers feel they are owed resolution. The trick is to present this resolution in a manner that is not the death knell of the story.

Crossing the Animas resolves the series-long story arc of the Steve Dancy Tales. It's yet to be seen if I did it in a manner that allows me to reboot the series with a wholly new story arc.

I bet I did. Just wait. See where the story goes next.

WSJ Editorializes on Hollywood Malaise

Rod Pennington writes that "Sunday's Oscars ceremony takes place during one of the gloomiest times for the film industry in recent memory." With ticket sales trending down, Pennington has some specific advice.

The solution to today's film malaise is simple: better storytelling. Studio executives seem to have forgotten the basic rules preached by the late mythology scholar Joseph Campbell, and his model of "Reluctant Hero." Over four decades this formula has dominated blockbusters: Luke Skywalker, Harry Potter and Katniss Everdeen, among many others, are ordinary people reluctantly thrust into extraordinary situations. Elaborate car chases and stunning special effects are fine, but audiences still want someone they can root for.

Since this advice echoes my previous posts, I have no choice but to declare Pennington a genius.

With home theaters a norm, Hollywood believes that to get people off their couches and into movie theater seats, they must blow things up, speed around corners, kill multitudes in gruesome detail, overly edit action scenes, and lay down an ear-splitting sound track. Nowadays, the story is so secondary that the sound track routinely overpowers characters speaking to each other. Screenwriters who understand dialogue write for cable, where they're allowed to strut their stuff. Today's movies are empty calories loaded to the gills with noise and eye candy. Can Hollywood once again learn to walk and chew gum at the same time? I believe so, but only when the story becomes paramount and all the rest is viewed as the delivery system.

And by the way, you know, when you're telling these little stories? Here's a good idea - have a POINT. It makes it SO much more interesting for the listener!" Planes, Trains, and Automobiles

House of Corn, Stone Presidents, and a Sioux Triumph

Mitchell Corn Palace

We recently moved from Arizona to Omaha and are still getting to know the neighborhood. Friends—and sometime relatives—wanted a road trip to check out the northern hinterlands. We blasted through Iowa to get to South Dakota to our first stop in Mitchell. We came to see the world renown Corn Palace.  Each year, the town decorates the outside of the building with artworks made entirely from corn cobs. Pretty cool. Or at least cooler than a big ball of twine.

K Bar S Lodge

After gawking at the ethanol cathedral, we speed down the road to spend the night at the K Bar S Lodge, which is in the shadow of Mount Rushmore. The huge lodge closes at the end of the month and guests were sparse. As we wandered the buildings, we kept an eye out for a tyke on a trike or a pair of scary twins. I never spotted a worrisome apparition, but the next day at Mount Rushmore, I spotted Gary Grant strolling around in a dark suit and pristine white dress shirt. We found Mount Rushmore to be an impressive feat of art and engineering and the park service has done a good job of presentation.

North by Northwest

The Knuckle Saloon in Sturgis

Lunch found us at the Knuckle Saloon in Sturgis, host city to the seventy-eight-year-old motorcycle rallies. We saw only one lonely rider, but the food at the saloon was good and the ambiance iconic.

Sheridan Inn a bit before we arrived

In the afternoon, we drove to Sheridan, Wyoming and stayed at the historic Sheridan Inn. This hotel didn’t seem haunted either, despite one of the long-term employees having her ashes buried inside the wall of her room. The photographs on the walls are reason enough to pay the inn a visit. After breakfast, we drove to Little Bighorn Battlefield National Monument. Here we found ghosts and restless spirits aplenty. Little Bighorn is a sobering experience that reminds us that there are two sides to every story.

Art work detail at Little Bighorn Battlefield

We returned by way of Sheridan and stopped for lunch and a shopping spree at King's Saddlery. If you’re ever in this part of the country, King’s is a must stop. It reminds me of the tent in Harry Potter that looks small from the outside, but goes on forever inside. This is not a tourist store but a serious place to buy ropes, tack, and appropriate attire for horseback riding. If you want something western, whether it be leather goods, belt buckles, clothing, jewelry, art, dishes, books, ropes, or whatever, you can find in at King’s.

Kings Saddlery

On the way home, ate breakfast at Wall Drug and took the 240 loop through the South Dakota Badlands. Due to thousands of signposts, Wall Drug is as hard to find as a fly in a cow pasture. It’s worth the trip, however. Good breakfast, cheap coffee, and lots of western art and artifacts. After breakfast, we sauntered through the Badlands. We saw very few cars, but we did make a sharp turn and almost ran into a Rocky Mountain Big Horn sheep. I stopped the car, wondering how much damage those curved battering rams could do to my side panels, but luckily he seemed more interested in eating the vegetation alongside the road. The Badlands landscape is impressive and when it’s uncrowded, you can feel connected to some bygone era. If you make this trip, late October is perfect … unless it isn’t. Weather during late autumn can be unpredictable, but we had it near perfect. Good luck to you, as well.

Just before we scooted home, we made a stop at Minuteman Missile National Historic Site. We stopped at the Visitor Center, and then went on a guided tour of Launch Control Facility Delta-01. Both are must-sees, but the Launch Control Facility requires a reservation. These nuclear weapon delivery systems are now thankfully in the back of our consciousness, and hopefully will remain there.

This road trip was my second favorite. My favorite is the Grand Circle. It’s a shame more people don’t hit the road nowadays. The expansive countryside of the West has awe-inspiring landscapes, a fascinating history, and friendly people eager to help a tenderfoot.

The Magnificent Seven—Hollywood Finally Gets It Almost Right

Hollywood doesn’t like Westerns. They keep trying to make them into something else. If a traditional Western is a success, like Unforgiven, critics tag it as an anti-western. The Chicago Tribune said of Unforgiven, “This dark, melancholic film is a reminder -- never more necessary than now -- of what the American cinema is capable of, in the way of expressing a mature, morally complex and challenging view of the world.” As if a Western never plumbed the depths of depravity before.

Last night my wife and I went to see The Magnificent Seven, the remake. It’s a good movie. I thought the climatic gun battle was over the top, but that’s what audiences expect nowadays. Also the storyline was more implausible than the original. A roving band of bandits in the age of Poncho Villa raiding villages for food is far more believable than a mine owner killing random farmers to acquire land that hasn’t proved to be lodes of precious metal. But, hey, this is entertainment. Suspension of belief is de rigor.

An NPR review said of the movie, “it's not a revisionist western. Nor is it an anti-western. It's a western.” The reviewer, Chris Klimek, did not necessarily mean that as a compliment. I say, thank goodness. It’s about time Hollywood got back to good storytelling. Modern Hollywood often gets itself wrapped up messaging. Storytelling is an art that requires a meaningful plot, engaging characters, proper pacing, and craftsmanship. When they made the The Magnificent Seven, they set out to make an entertaining film, not a statement. Great stories can make statements, but they must be subtle enough to not jar the reader/viewer out of the story. Philip Pullman once said, “Thou shalt not is soon forgotten, but Once upon a time lasts forever.” The Magnificent Seven did include a message about inclusiveness, but never did that theme interrupt the flow of the story.

I liked the movie, and my wife liked it as well. The film did $41.4 million on its opening weekend, which bodes well that box office receipts will be high enough to encourage more of the same.

The Magnificent Seven Ride Again

I was never a fan of signing cowboys. Roy Rogers, Gene Autry and lesser lights were too goody two-shoes for me. I categorize heroes as wholesome, flawed, and anti-heroes. In my mind, this is not three distinct categories, but a continuum, with Roy Rogers at one end and Anton Chigurh from No Country for Old Men on the other.

I’m not an enthusiast for either extreme. As a youngster, I preferred Wanted Dead or Alive and Paladin to the Lone Ranger. (I admit I watched Rin Tin Tin. You can’t get more wholesome than a boy and his dog.) Steve McQueen’s Josh Randall and Richard Boone’s Paladin engaged in gray professions and rejected many societal norms. Both characters were portrayed as generally good, but conflicted people who did the right thing in the end.

In the fifties, western films mostly pitted a good guy (and frequently a sidekick) against bad guys. In 1960, The Magnificent Seven broke this mold to start a trend toward far more complex protagonists.  There were not only seven “good guys,” they were flawed to the point of tipping into the anti-hero class. The Magnificent Seven was not the first western with anti-hero protagonists, but its enormous success triggered the Hollywood trait to copy what worked in the past. One of my favorites was the 1962 The Man Who Shot Liberty Valance. The complex, dark Tom Doniphon was one of John Wayne’s best roles, and James Stewart’s Ransom Stoddard certainly had reason for remorse. The Wild Bunch (1969), Silverado (1985), Young Guns (1988), and others employed crews of anti-heroes who seek redemption by righting wrongs.

The Magnificent Seven, directed by John Sturges led the pack. In its original theatrical release, the box office exceeded more than double the cost of the film and it has been considered a genre classic ever since. Anchored by movie star Yul Brynner, the cast included television stars and solid character actors.  Many emerged from the film as bankable Hollywood properties. The taut script moved the story capably forward with character-driven dialogue and memorable scenes. A great director, a seminal cast, and an exceptional script. That’s all you need to make a Hollywood classic.

Antoine Fuqua directed the remake. Hit or miss? Remaking a box office success seems safe, but taking another turn at a classic carries its own set of risks. Most remakes fall short because the audience already has a preset image of the story and deviations can be jarring. Why would a studio invest 9 figures on a risky venture? Who cares about a new Magnificent Seven? Evidently a lot of people. The teaser below has over 7.5 million views. That number fills a lot of multiplexes.

Some have expressed concerns about this version's adherence to the politically correct. That’s not my concern. I’m disappointed in the overreliance on pyrotechnics. The current Hollywood disease is mind-numbing computer-generated imagery that overwhelms the story. Fuqua's take on this classic didn't avoid this pitfall.

By the way, my favorite piece of trivia from the original film has to do with a little tension on the set between Yul Brynner and Steve McQueen. McQueen kept upstaging Brynner, so Brynner supposedly told McQueen that if he did it one more time, he would remove his hat. It must have worked because Brynner is never seen without his black hat firmly snugged down on his bald head.

Final Episode of Justified

I watched the final episode of Justified last night. A little tardy you might think. Not to my way of thinking. I never watch any TV until the entire season is available on DVD or streaming.  That way I can binge-watch the series without ugly commercials or intervening days of holding my breath for the next episode. I get it all, and I get it the way I want.

Except … the sixth season of Justified has been available for nearly a year, so you might ask what took me so long. Justified is my favorite television program. (Elmore Leonard is one of my favorite authors.) I was heartsick when I heard the series had come to an end. As long as I never watched the last season, it was not really over. It was always there to look forward to.

Here is what I wrote about Justified in a previous post:

Justified, starring Timothy Olyphant, Walton Goggins, and a host of other fine actors, is a character-driven modern day western based on a short story by Elmore Leonard. I believe bad guys and gals make heroes heroic, and Justified has a bevy of really bad characters. Our hero has sidekicks of course, but basically, it’s Deputy Marshal Raylan Givens against this cast of misfits, hoodlums, and felonious masterminds. Good actors portraying interesting characters in a tightly written drama presented with masterful storytelling. Who could ask for more?

But good things can’t be put off forever, so I watched the last season of thirteen episodes in four nights. The final episode did not disappoint. It echoed the pilot in a well-crafted conclusion that sets a high standard for future finales. Good writing starts with good plot decisions and Graham Yost and crew did a masterful job. It’s hard to imagine a different ending that would leave viewers as satisfied.

Here is an excellent Entertainment Weekly explanation of the final episode

Here is Variety’s description of the finale

And for fun, here Entertainment Weekly links to the Top Ten best Show Downs

For the impatient, here is the #1 Showdown!

A genuine Westerner?

I believe Mark Twain is the greatest western writer of all time. Not only did Tom and Huck live on the frontier, but Roughing It describes his own adventures in the Wild West, including his stint as a reporter in Virginia City when it was wilder than any cow town on Saturday night. Twain thought the West was a hoot, so he kept traveling in that direction until he reached the Hawaiian Islands. In 1866, he spent four months in paradise as a reporter for the Sacramento Union.

Here is a New York Times slide show about Twain in Hawaii

Here are a couple of things Mark Twain said about Hawaii.

This is the most magnificent, balmy atmosphere in the world--ought to take dead men out of grave.

The missionaries braved a thousand privations to come and make them permanently miserable by telling them how beautiful and how blissful a place heaven is, and how nearly impossible it is to get there.

Wells Fargo 1880 Rules for Stagecoach Passengers ... And a Few of My Own

Still From John Ford's Stagecoach

In the Old West, stage travel took patience and stamina. Wells Fargo published a set of rules for passengers meant to make an unpleasant experience at least tolerable. Deadwood Magazine suggests these same rules might make modern travel more civil.

1. Abstinence from liquor is requested, but if you must drink, share the bottle. To do otherwise makes you appear selfish and unneighborly.
2. If ladies are present, gentlemen are urged to forego smoking cigars and pipes as the odor of same is repugnant to the Gentle Sex. Chewing tobacco is permitted but spit WITH the wind, not against it.
3. Gentlemen must refrain from the use of rough language in the presence of ladies and children.
4. Buffalo robes are provided for your comfort during cold weather. Hogging robes will not be tolerated and the offender will be made to ride with the driver.
5. Don’t snore loudly while sleeping or use your fellow passenger’s shoulder for a pillow; he or she may not understand and friction may result.
6. Firearms may be kept on your person for use in emergencies. Do not fire them for pleasure or shoot at wild animals as the sound riles the horses.
7. In the event of runaway horses, remain calm. Leaping from the coach in panic will leave you injured, at the mercy of the elements, hostile Indians and hungry coyotes.
8. Forbidden topics of discussion are stagecoach robberies and Indian uprisings.
9. Gents guilty of unchivalrous behavior toward lady passengers will be put off the stage. It’s a long walk back. A word to the wise is sufficient.

In the interest of travelers everywhere, here are a few rules of my own:

1. Play nice with the flight attendants—the rest of us want them in a good mood
2. Use drugs and liquor lightly … or so heavily you pass out and leave others alone
3. Turn off game sounds
4. If you’re going to hog overhead storage, at least don’t wear a put-upon expression
5. Armrests are community property—remember what you learned in kindergarten
6. If you can’t remember the last time you bathed, it was too long ago
7. Drop the F-word and add please and thank you to your vocabulary
8. Air travel is not a nesting opportunity—resist the urge to haul along heaps of stuff
9. Forget Mr. Rogers—you really aren’t special

Now that I’m on the subject, I’ll tell you about my most memorable airplane incident. I was stuck in a middle seat, which always makes me cranky. The man in the aisle seat came aboard and stowed his briefcase in the overhead. Suddenly, the woman in the window seat shoved me and ordered me to let her out. Before I could move, the woman yelled at the man that he had laid his briefcase on top of her fur coat. He appeared startled at her assault but politely said she couldn’t take up the whole bin by laying her coat length ways.  She immediately shoved me again and demanded to get out. I struggled to get into the aisle, but now the man blocked my exit. Yelling went back and forth and all I could think about was that I had to spend five hours crushed between two warring parties.

Just before the flight attendant worked her way to our row, the man yelled, “Lady, I can tell you what you can do with that fur. You can—”

“Don’t you say it,” she yelled back.

It looked like nothing could defuse the situation, and then a passenger about three rows back yelled, “Hey lady, the last time that fur was on an animal, it was laying in the dirt.”

The whole plane burst out in laughter. The chagrined woman retook her seat and never uttered another peep for the entire flight. I read in blissful silence.

Tell me what you think ...

Some author’s dread poor reviews from readers. I like to hear what readers think and find I learn more from critical reviews. Besides, what some readers find objectionable, other readers enjoy. I never had a better example than today when I received two Amazon reviews that had exactly opposite takes on a major plot element of The Return.

Click to enlarge

Marilyn says, "Not as good the previous books in the series. Get Steve Dancy back to the West where he seems at home."

While another Amazon Customer wrote, "Enjoyed the Western theme, along with the Edison involvement. New York gangs added flavor that made this a great read."

No author can please every reader and it's career suicide to try. Don't ignore poor reviews because they can help you become  a better writer, but keep your focus on the total weight of  all of  your reviews.  Every writer will get a few bad reviews, so take them with a grain of salt. 

Goodreads

Amazon

Clint Eastwood Saves a Genre for a Mere $12,000

The Wholesome and the Good

Hollywood overdoes things. If something works, they just keep doing it until it doesn’t. There were 26 Western series on television in 1959, and most daytime programming used old Western B movies to fill airtime. A good thing taken to saturation. By 1964, the Western genre was waning due to overexposure in pulp, movies, and television. In case you believe Hollywood learned its lesson, think about the permutations of CSI and reality shows.

One of the remaining Western television series in 1964 was Rawhide, an endless cattle drive under the watchful eye of Rowdy Yates, played by a young Clint Eastwood. Despite the prominence of Eastwood’s image on the covers of newly released DVDs, the series starred Eric Fleming as Gil Favor, with Yates as the trusty sidekick.

By 1964, Eastwood saw that Rawhide was winding down. What to do? His Rawhide contract would not allow him to film any other movie or television shows in the United States. Then he heard about an Italian director named Sergio Leone who wanted to make a Western. Leone's low budget project had already been turned down by Henry Fonda, James Coburn, Charles Bronson, and probably others. Eastwood accepted the role for $12,000, which even in 1964 represented a pittance in tinseltown. Eastwood didn’t have an inkling of the upcoming significance of this odd film shot in Almería, Spain.

After the six-week filming of The Magnificent Stranger, Eastwood returned to Southern California to make two more years of Rawhide episodes. He seldom thought about his European sojourn and heard nothing further about the film.

Due to legal hassles, the movie didn’t debut in the U.S. until almost three years after filming. Eastwood didn’t initially recognize the renamed A Fist Full of Dollars as the Western he had made with Sergio Leone. It was a hit. A huge hit. Made for a paltry $200,000, the film grossed over $134,000,000 worldwide. The Leone/Eastwood partnership would continue with For a Few Dollars More, and The Good, The Bad and The Ugly. Eastwood persona and Leone’s idiosyncratic cinematography created huge appeal worldwide. (It wasn’t sound or film editing, as any quick perusal of IMDb Goofs will show.) After the success of the Dollar Trilogy, Henry Fonda and Charles Bronson succumbed to Leone’s entreaties and agreed to star in Once Upon a Time in the West, a box office dud, but a classic nonetheless.

From this $12,000 gig, Eastwood went on to become a Hollywood icon with a reported net worth of $375 million. (A bit more than a fistful of dollars.) This kind of puts into perspective the manufactured row over the disparity in pay between Harrison Ford and Daisy Ridley in The Force Awakens. IMDb reports, “Daisy Jazz Isobel Ridley is an English actress. She is best known for her breakthrough role as Rey in the 2015 film, Star Wars: The Force Awakens.” I hope this low paid role in a groundbreaking film works as well for Ridley as it did for Eastwood.

Tip of the hat, Ridley

And now for something completely different ...

Best Selling Novelist of All Time?

Agatha Christie as a Young Woman

Agatha Christie is often listed as the bestselling novelist of all time. If the list is for fiction writers instead of just novelists, then Shakespeare takes the top spot. Even with a four hundred year head start, Christie may be catching up with The Bard because royalties from her books are estimated to still exceed £5m a year. In a 2002 relaunch of the 1939 And Then There Were None, the book became a surprise bestseller.

Christie wrote 85 books and sold well over two billion copies. And Then There Were None sold 100 million all by itself. The success of the 1965 Hollywood remake of the story caused subsequent editions of the book to be retitled Ten Little Indians. Her works have been translated into every major language and UNESCO named her the most translated author in the world.

Sir Arthur Conan Doyle became annoyed with Sherlock Holmes so he killed him. Never fear, he used a novelist's magic powers to bring the famous detective back to life. Similarly, Dame Agatha Christie grew tired of Poirot, once describing him as "insufferable" and "an egocentric creep".

Christie invented the classic murder mystery structure. A murder is committed with multiple suspects and secrets are gradually revealed with a surprise twist at the end. Murder mysteries are active reading, with the reader knowing all the clues uncovered by the investigator. The fun is guessing the guilty party. There have been truckloads of murder mystery written but few compare with "The Queen of Crime."

I studied Agatha Christie and other mystery writers before I started Murder at Thumb Butte. I wanted to use the Steve Dancy characters in a traditional murder mystery, albeit in the Wild West with gun play, horses, rowdy saloons, and celebrity frontiersmen like Doc Holiday and Vergil Earp.

I haven’t sold nearly as many copies as Christie, but I’m happy that the novel has found a large audience. C. K. Crigger in Roundup Magazine wrote, "This is a well-plotted mystery, as well as a terrific Old West story. Best has a great character in Steve Dancy, and has created an excellent cast of secondary characters." 

If you like murder mysteries, westerns, or historical novels, Murder at Thumb Butte should be your next book. The novel has been available in print, ebook, and large print. Recently Jim Tedder did an exceptional job narrating the audiobook version. 

As Tedder says, “Go on now, get to it.”

Print, eBook, Large Print & Audio Formats

How to make a cowboy hat

Looking the Part

I'm not a hat person. Although I own dozens of hats, I seldom wear one. I don't even like helmets. I grew up in a generation where you just wheeled your bike out of the garage and went riding without a helmet or spandex regalia. When we pulled our long boards to the beach behind our bikes, we wore flip flops, board shorts, and little else. I ski with soft head gear and when I surf, so far I can still rely on my hair to keep the sun from burning the top of my head.

That said, I like cowboy hats. I own one but seldom wear it because after all these years, it still looks new. I bought it at Wall Drug, and it immediately blew off my head and rolled down the center of the street for a quarter mile and still looked brand spankin' new*. I envy tattered, sweat-stained cowboy hats that scream authenticity. Mine says tenderfoot in neon. I know, I know, if I wore it more, it would eventually look like the genuine article. I'm just not a hat person.

For western head gear, I prefer Resistol, but here's a video from Stetson about making cowboy hats. Betcha thought it was a lot simpler.

* I'm a bit obsessed with phrases. This is an interesting article about the origins of brand spanking new.

Another Remake?—The Man Who Shot Liberty Valance

My last posting was about Hollywood remaking The Magnificent Seven, one of my favorite western movies. No sooner did it go to press than I hear Paramount is remaking another one of my favorites, The Man Who Shot Liberty Valance. This remake is still in the initial stages, so actual projection onto a silver screen remains iffy. (Boy, the digital world is making lots of stock phrases obsolete.)

The original 1962 film starred Jimmie Stewart and John Wayne, with Lee Marvin playing the heavy. Vera Miles, Edmond O’Brien, Andy Devine, John Carradine, Woody Strode, Strother Martin and Lee Van Cleef also had significant roles in this John Ford film. Hard to believe Paramount can afford to put together that level of cast today.

The Man Who Shot Liberty Valance had a huge influence on the Steve Dancy Tales. Ransom Stoddard and Steve Dancy are eastern educated city dwellers trying to survive a raw frontier, both stories make use of political subplots, and the movie and books present day to day life as a backdrop to the action. At bottom, the film and the Steve Dancy Tales are fish-out-of-water/buddy stories.

I hope this particular remake never gets a green light. The original is a true classic and a new production is sure to fall short. The Man Who Shot Liberty Valance is a sophisticated, complex story, directed by a master, with a once-in-a-lifetime cast. Hollywood should quit trying to live off past glories and make new films that will be eagerly watched a half century from now.

Honest westerns filled with dishonest characters.

Coming soon to a theater near you!

Hollywood is remaking The Magnificent Seven, one of my favorite westerns. (Darn, I wished they had asked. I could have sold them material for a great, new western script.) The original film was made in 1960 and broke new ground for Westerns. The loner, with or without a sidekick, was nowhere to be found. Instead, an ensemble cast kicked up so much dust with twenty eight hoofs that filming became difficult at times. The Magnificent Seven introduced antihero gangs to theatrical westerns. Previously there were western antiheros, notably Shane and Hondo, but these were deeply flawed characters rather than outright bad guys called upon to do good. Nine years later, The Wild Bunch seems to have taken most of the credit for elevating antiheroes who flock together.

The Magnificent Seven is a buddy story which heavily relies on the chemistry of the characters. This played out exceptionally well in the original and hopefully will work for the remake as well. Of course, everything was not always copacetic on the sets of the original film. Throughout the entire movie, Yule Brynner never removed his hat to expose his bald head. Steve McQueen was such a notorious scene stealer that he exasperated Brynner, who took him aside and threatened to remove his hat if McQueen upstaged him again. Legend has it that McQueen behaved himself for the remainder of the shoot.

The new Magnificent Seven is due in 2016,  directed by Antoine Fuqua, and staring Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Lee Byung-hun, Luke Grimes, Wagner Moura, Haley Bennett, Matt Bomer, and Peter Sarsgaard. Let’s hope it’s as good as the first one.

What makes a hero —Character or Activity?

Hondo by Louis L'Amour

In 1949, Joseph Campbell published The Hero with a Thousand Faces. Campbell studied myths and stories down through the ages and came up with twelves steps in a hero’s journey, starting with normalcy or status quo and ending right back at status quo. The Matthew Winkler animated video illustrates Campbell’s definition of the journey. Campbell made a brilliant set of observations about the striking similarities of heroic sagas told throughout time and in every culture. (Steve Dancy complies with Campbell's theoretical journey.)

Campbell also breaks some new ground in describing the universal need for heroes, albeit in a language foreign to mortals.

The first work of the hero is to retreat from the world scene of secondary effects to those causal zones of the psyche where the difficulties really reside, and there to clarify the difficulties, eradicate them in his own case (i.e., give battle to the nursery demons of his local culture) and break through to the undistorted, direct experience and assimilation of what Jung called “the archetypal images.”

Say what?

The Hero With a Thousand Faces gives the impression that the journey itself makes the hero. It might be more accurate to say that anyone who prevails through all of the steps elevates himself or herself to heroic status. Most people retreat at Step One: Call to Adventure.

I believe heroism is more a question of character than events. Mark Twain agrees with me. He wrote:

“Unconsciously we all have a standard by which we measure other men, and if we examine closely we find that this standard is a very simple one, and is this: we admire them, we envy them, for great qualities we ourselves lack. Hero worship consists in just that. Our heroes are men who do things which we recognize, with regret, and sometimes with a secret shame, that we cannot do. We find not much in ourselves to admire, we are always privately wanting to be like somebody else. If everybody was satisfied with himself, there would be no heroes.”

Raymond Chandler also had a character-driven definition of a hero:

…down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.

He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him.

The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

Joseph Campbell is popular in academia, but perhaps it's possible to get a better description of a hero by asking one of those storytellers who have passed these tales down from one generation to the next.

John Steinbeck Writing Tips

Six tips on writing from Pulitzer Prize winner and Nobel laureate John Steinbeck.

1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

A New Steve Dancy Tale—Crossing the Animas

Denver & Rio Grande Railway

I started the next book in the Steve Dancy Tales. When I say started, I mean barely begun. I have a title, Crossing the Animas, and an initial draft of the first two chapters. I also have an outline of sorts. So it will be many months before the book is available.

The print edition of Jenny’s Revenge has been a long haul, but it has finally made it through all of the format and approval hoops and is available through online and brick and mortar booksellers. 

More gratifying, the audio version of Murder at Thumb Butte is available and The Return will follow shortly. Jim Tedder is the narrator for both and he is a great storyteller.

Below is another sample chapter. I’m sure you’ll agree that this is a whole new way to experience the Steve Dancy Tales.

The More Things Change ...

I moved to Omaha last year, so I found this 1877 article from the Omaha Herald interesting. For those who loath TSA, tiny seats, and surly airlines, take heart, travel was far worse in the good-ol’-days.

Here are a few of the Herald’s tips for stage travelers.

• Don't growl at food stations; stage companies generally provide the best they can get.
• Don't keep the stage waiting; many a virtuous man has lost his character by so doing.
• Don't smoke a strong pipe inside especially early in the morning.
• Spit on the leeward side of the coach.
• If you have anything to take in a bottle, pass it around; a man who drinks by himself in such a case is lost to all human feeling.
• Don't swear, nor lop over on your neighbor when sleeping.
• Don't ask how far it is to the next station until you get there.
• Never attempt to fire a gun or pistol while on the road, it may frighten the team; and the careless handling and cocking of the weapon makes nervous people nervous.
• Don't discuss politics or religion, nor point out places on the road where horrible murders have been committed.
• Don't linger too long at the pewter wash basin at the station.
• Don't grease you hair before starting or dust will stick there in sufficient quantities to make a respectable 'tater' patch.
• Tie a silk handkerchief around your neck to keep out dust and prevent sunburns. A little glycerin is good in case of chapped hands.

The article ended with a good piece of advice for modern travelers.

Don't imagine for a moment you are going on a picnic; expect annoyance, discomfort and some hardships. If you are disappointed, thank heaven.

I thank heaven every time I'm not seated next to Del Griffith!