Godless—A Review

A character and dialogue driven western, Godless presents a traditional plot with some fresh twists, served up with an appropriate balance of action. (Godless is a Netflix original mini-series.) A good script, excellent acting, appealing filmography, and a focus on storytelling makes Godless an excellent addition to the Western film genre.

Here's a good review at Columbus Underground

Did McDonald's invent fast food?

I recently watched The Founder with Michael Keaton. I enjoyed the film. It’s an interesting character study and does a good job of telling the McDonald’s story. (I personally think McDonald’s has lost its way, but no worries, In and Out Burger picked up the business model and did it one better by delivering great burgers.) The story, of course, is about the invention of fast food, the bane of the calorie conscious the world over.

However, the concept of fast food reminded me of something I ran across in my research for The Shopkeeper. I wanted to make my western series different from the norm, so I focused on miners instead of cowboys and other traditional icons of the frontier. Mine workers start early in the morning, and I discovered they frequently ate biscuits standing up in a saloon.  This may be the real start of fast food. (McDonalds just slapped egg, sausage, and cheese inside the biscuit.)

Here’s how I used that tidbit of research in The Shopkeeper.

Other meals I eat for fuel, but I dawdle over breakfast—and Mary cooks a hell of a breakfast. Mary ran the restaurant across the street from my ragtag hotel. It was not a restaurant in a New York sense, but nonetheless it was the best place to eat in Pickhandle Gulch. Her small building, plank floors, and long tables were all made from unfinished lumber, but a few touches like lace curtains had softened the rough appearance. Breakfast for miners usually consisted of biscuits eaten standing up in some stale-smelling saloon. Not fancy, but quick. They needed to get to work. Mary catered to the mine owners, town merchants, and people like myself, who had the time and money to eat a slow, hearty breakfast.

As I entered her tidy café, the aroma pulled the trigger on my appetite. I took my usual seat at a table by the window, and Mary sauntered over with a cup of black coffee that suspended its own little cloud of steam above the rim.

“What’ll ya have today, Mr. Dancy?”

“Everything.”

“Everything it is—over easy, crispy, and soaked in grease.”

“You got it,” I said.

Risk taker, Rule Breaker, Game Changer

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.

Crossing the Animas

The trade paperback edition of Crossing the Animas is now available. You can buy it at Amazon here.

You might be surprised by the plot. Steve gets into trouble once again. McAllen builds a horse ranch, Sharp finds a long-lost love, and Steve and Virginia plan a wedding. Bad guys aplenty want to disrupt all of their plans. Wonder how it will work out.

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

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.

Planes, Trains, and Automobiles—A Travel Memoir

                   

"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!"

My wife and I are on an extended vacation that traverses five states and a couple of countries. (Can you vacation in retirement?) We started with meeting high school friends in Carson City and then my wife’s brother in Garnerville, Nevada. Since many of the Steve Dancy novels take place in and around Carson Valley, I always enjoy visiting the area to get ideas and check up on how Jenny is doing. From there we flew to San Diego for a week of surfing and beach-style laziness.

After SoCal, we were supposed to return to Omaha for a week, but schedules got messed up, so we stayed home only overnight before flying to New York. Well, not exactly. Seems SouthWest had a computer glitch that turned every airport in the nation into serpentine lines of anxious travelers trying to figure out a new way to get from point A to point B. Due to family commitments, we had to get through this goo of snarling humanity or miss our opportunity to see all six grandkids together. Unfortunately, when we got to the front of the glacial line they told us the only available flight to New York was two days in the future. Bummer. Our son saved the day by booking us a car to drive us to Chicago for an early morning flight the next day. As we tooled along the highway in splendid exasperation, he even got all six of us flight reservations—my wife and me, my daughter, and her three kids. Since it was seven in the evening, our driver assured us he could get us to Chicago by 3:00 AM.

After a few hours’ sleep at an airport hotel, the six of us boarded a crowded flight to JFK. As a special treat for our 50th wedding anniversary, the kids had rented a house in South Hampton. Unfortunately we arrived too late for the train or jitney, so once again we piled into a mini-van for a sluggish ride out of New York City on a Friday night.

Now things came together beautifully. We arrived in time for a late grilled dinner in the backyard. The grandkids, together again, went bonkers. They laughed and ate and played and swam and generally made us feel old. A drink took the edge off, another put us to bed.

The world looked different after a good night’s sleep. We had four days ahead of us to do nothing but try to keep up with six kids under twelve years old. We even went surfing. Crummy wind-blown waves, but it was fun having three generations in the water. I lost a bet with my grandson that I would catch the better wave, but we had only wagered an ice cream cone, so I had enough money for the rest of the trip. The experience reminded me of Warren Miller’s admonition that “you only ski better than your kids one day in your life.”

All good things must come to an end. On Tuesday evening, we took the jitney back to New York. Our travel hobgoblin had not retreated into the woodwork. After leaving the Jitney, we flagged down a cab to take us to our timeshare. (Hotel costs hampered visits to see our NYC grandkids, so a few years ago we bought into a timeshare-like arrangement.) The cab driver’s mouth dropped open when he saw all the kids and enough luggage for Duchess Kate Middleton. Then he started dancing in place and begged me to allow him to drive over to McDonalds to pee. Having been there myself, I said yes. I didn’t know McDonalds was ten blocks in the wrong direction. It was late, we were tired, and our cabbie took us on a prolonged detour (meter off, of course.) I didn’t complain because we were piled in well beyond the legal limit for a single cab.

Our next travel adventure was beyond inconvenient, it was dangerous. In Times Square we signaled for an Uber, but a pirate pretended to be our car. Dumb us, we didn’t verify the driver’s name before jumping in. Trapped in gridlock, a small gang of teenagers started banging on car hoods and then threw Pepsi on our driver’s car. He immediately jumped out yelling and took after the boys. They jeered and threatened him, so he returned to the car and I saw him pull a cheap steak knife out of the driver’s door. Oh Shit! He brandished the weapon and the boys went on to harass sane drivers. When he finally dropped us off, he delivered the coup de grâce by demanding $30 for a twenty block ride. I had already seen the knife, so I paid him sans tip and we bailed out as fast as we could.

I have a chocoholic granddaughter, but instead of venturing back to Times Square to visit the Hersey store, we decided to take a train to the mother lode of all things chocolate, Hersey, Pennsylvania. By this time you would think we had learned our lesson and stayed put. No way. Except for jostling crowds at Penn Station, comatose Amtrak employees, rude train passengers, WAY-overpriced snacks, and a first-time Uber car that ran around in circles because our driver didn’t have a clue where to find the biggest amusement park in Pennsylvania and felt looking out the window at big signs was a sign of weakness or something. The trip was as pleasant as an emergency trip to the dentist. I exaggerate … a bit. The good news is that once we arrived, everything went like clockwork and we had a great couple of days wolfing down chocolate and getting the bejesus scared out of us on rides engineered by sadists.

When we returned to New York Penn Station, I lost it with a driver who yelled at my daughter on the phone because we couldn’t find him. He kept telling her that he was parked right behind the police. I asked him to look around and tell me where he didn’t see police. He had no answer.  After our sullen journey, I over-tipped because I felt guilty for yelling at him, only to discover that my daughter also tipped him heavily to make up for her rude father.

We celebrated our 50^th anniversary with the kids early because for some odd reason, school now starts in mid-August, and what we really wanted as a gift was to see all of our kids and grandkids together. On our actual anniversary, we decided to do our own private celebration in Paris. What seems like a long time ago, I ran an operation in Paris. My wife joined me on many business trips and it’s a city with a lot of memories for us. Because our schedule got shoved forward, we are now waiting in NYC for our flight to the City of Lights. After our travel experiences so far, I wonder about flying over vast amounts of very cold water.

As I write this, I am sitting quietly in my timeshare. My daughter and her family have returned to Omaha. Our other grandchildren are still on Long Island. We see little of our son in the city because he works day and night.

We are alone. It’s quiet. It’s peaceful. We don’t travel again for another week.

I’m bored.

The Hateful Eight— Tarantino mailed it in

I like westerns and I like Quentin Tarantino films, so I had high expectation when I rented The Hateful Eight. Bummer. It's not only a crummy movie … punishment is compounded by its interminable length. Long is usually good for Tarantino, but it’s a bad sign if you ever consciously wonder when this thing will be over. The movie desperately needed editing by someone unintimidated by the grand master.

The Hateful Eight came across as a parody of a Tarantino movie instead of the genuine article. His good films are characterized by stylish cinematography, clever and incongruous banter, startling and extreme violence, and artful revelation of plot through time displacement. The Hateful Eight included all of these elements, but without charisma. It felt flat and uninspired. Tarantino dispassionately applied his formula without the artistic essentials that make it work.  Too bad. He’s tried twice to hit one out of the park with a western. Django Unchained was a ground-rule double, and he may have barely beat out an infield grounder with The Hateful Eight.

I have watched Pulp Fiction and the Kill Bill films many time. I’ve also re-watched other Tarantino movies. I can’t imagine spinning up The Hateful Eight again.

Celebrating a Birthday in Gardnerville, Nevada

Historic U.S. Route 395

For my birthday we ran up from San Diego to Gardnerville, Nevada. We stopped overnight in Santa Clarita to pick up friends, so it feels like a party. It’s a beautiful drive up U.S. Route 395. High Sierra with Humphrey Bogart was filmed in Lone Pine, Charles Manson was jailed in Independence, Bishop lays claim to the oldest rodeo in the country, Mammoth remains my favorite ski resort, Lee Vining is named after a saloon patron who shot himself in the most private of parts, and Bodie makes other ghost towns appear stunted. Schat’s Bakery alone makes the long drive worthwhile. This doesn’t even mention the stunning scenery. All that open beautiful land makes you wonder why everyone huddles on top of each other in Los Angeles.

Gardnerville is in Carson Valley, south of Carson City. The whole region feels peaceful. Homes are spread out, friendly people abound, traffic moves swiftly on the single thoroughfare, and majestic mountains loom in every direction. It’s a great place to live or visit.

Except … I can’t believe the amount of mayhem I’ve invented in these precincts.

Several Steve Dancy Tales take place in Carson City and Virginia City. Whenever I visit, I’m reminded that I wrote about another time. The Carson Valley of today seems quiet and subdued, but when Mark Twain wandered these environs, the region could truly be called the Wild West.

If you want to experience the history of this region, Roughing It by Mark Twain and An Editor on the Comstock Lode by Wells Drury provide first-hand accounts of Virginia City in its heyday.

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. 159 Amazon readers rated the book 4.4 stars, and 434 Goodreads fans gave the book an average score of 4.2. 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

Is it possible to stage a Inimitable western street duel?

The western fast draw setup is as well known as the title sequence for Gunsmoke. Two men face off in the street, settle their stance, flex their fingers, and bet their lives on who is quicker. Great drama, but how do you make it fresh and different. There was the knife scene the Magnificent Seven and a lifelong secret about The Man Who Shot Liberty Valance, but  Terror In A Texas Town outdid them all.


And for a nostalgic moment, here's Matt Dillon's famous duel, ending with a little film crew fun.



I ran across this movie clip in an interesting article by John Heath titled "Why Superhero Movies Aren't Like Westerns." I believe Heath makes some good observations.

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.

Gunslingers Forever

Mark Bonner edits great tributes to western films. Previously, I posted his video, Westerns Forever. As an amateur film maker, I know these short videos are an enormous amount of work. I hope you enjoy them as much as I did.


Gunslingers Forever by MarkmBonner

The Hateful Eight—I Can't Wait

I like Quentin Tarantino films, especially the Kill Bill duple. I wasn't over-enthusiastic for Django Unchained (I prefer my spaghetti Westerns al naturel), but from all appearances, Tarantino has caught it just right with The Hateful Eight. The movie looks like a solid western with an exceptional cast and all the Tarantino goodies.

Here's the plug for the film:

In post-Civil War Wyoming, bounty hunters try to find shelter during a blizzard but get involved in a plot of betrayal and deception. Will they survive?

Sounds like Hitchcock's Lifeboat in a frozen cabin.  Or perhaps, Agatha Christie's And Then There Were None with six guns (Originally Ten Little Indians in novel form). Knowing Tarantino, it's all the above and more. Much more.

Whatever the story line, the movie seems to be a true western set on the frontier after the Civil War. Nasty weather, bad guys, mysterious shenanigans, and unbridled violence. Sounds like a Tarantino buffet!

Boy, will I be disappointed if the movie doesn't live up to the trailer. 




You can read an interview with Quentin Tarantino here.

Characters Matter

Characterization is a crucial aspect of fiction. We know this because it's drilled into us at school, in workshops, and in all the how-to books and journals we read. The protagonist must come across as real and interesting enough to pull the reader all the way through to the end of the story. A common mistake, however, is to focus too much attention on the protagonist. When you read a great book or watch an outstanding film, it's usually the antagonist that lifts the story above the ordinary.

A favorite villain: Frank in Once Upon a Time in the West

Protagonists, especially those of the heroic breed, are bound by rules and common perceptions that somewhat inhibit creativity. Antagonists, on the other hand, are wide open for manipulation. They can be bad to the bone like Hannibal Lector or Chigurh. They can be nasty or evil, but mend their wayward ways like Ebenezer Scrooge or Darth Vader. The reader may be misdirected to believe the antagonist is bad and then everything is flipped around like with Boo Radley and Mr. Darcy. 

Antagonists can make a story memorable even when they are not even human, like Moby Dick or Christine. The one thing these antagonists all have in common is great character development.

Concentration on character development shouldn't stop with the protagonist and antagonist. Nobody willingly hangs around with boring people and nobody wants to read about characters with cornmeal personalities—not even the bit players. Everybody inside the covers of your book has to be interesting. Give each of them a distinct personality. If you have a character like a postman or waitress that appears only for a couple pages, don't slow down the story by describing their personality, show it. You need to do it with dress, movement, or dialogue. Show, don't tell, is more difficult with the brevity of a minor player, but you only need to spice the character enough to make him or her three dimensional.

A fictional work has a single writer with a single personality. If you populate your work with slight variations of yourself, you'll create a homogeneous universe that will bore people silly. A writer must suppress their own personality when developing characters so they are all different from each other. It's not enough that they look and talk different—they must think and act differently. They must be different people.

The fiction writer's personality will show up in the total work, but it's best if it's not directly reflected in the characters, especially the protagonist or antagonist. Have fun with these two. Make them unique from yourself and every other character in your work. This is especially true for the antagonist. 

A really good bad guy or gal gives a hero a reason to be heroic.

9 Golden rules for the Road Runner and Coyote

Chuck Jones created 9 Golden rules for the Road Runner cartoons. These famous rules insured that fans received exactly what they expected from these Loony Tunes characters. First the rules, and then some storytelling lessons we can draw from this popular series. 

Rule 1. The Road Runner cannot harm the coyote except by going “beep, beep!”
Rule 2. No outside force can harm the coyote—only his own ineptitude or the failure of the Acme products
Rule 3. The coyote can stop anytime—if he were not a fanatic. (Repeat: “A fanatic is one who redoubles his efforts when he has forgotten his aim.” George Santayana)
Rule 4. No dialogue ever, except “Beep Beep!”
Rule 5. The Road Runner must stay on the road—otherwise logically he would not be called Road Runner.
Rule 6. All action must be confined to the natural environment of the two characters—the Southwest American desert.
Rule 7. All material, tools, weapons, or mechanical conveniences must be obtained from the Acme Corporation.
Rule 8. Whenever possible, make gravity the coyote’s greatest enemy.
Rule 9. The coyote is always more humiliated than harmed by his failures.

Chuck's handwritten rules

Previously, I published the 7 rules for the television series Bonanza. Television series, movie franchises, and even cartoons need a list of dos and don’ts so the characters and action remain consistency from episode to episode. Book series need the same. The protagonist must remain true to his or her character and the plot cannot go too far afield without losing fans. If you write a series, or even a single novel, write down the plot and character rules. This little exercise brings clarity and dependability to stories.

There are additional lessons to be gleaned from the Road Runner and Coyote. All stories revolve around an antagonist making life difficult for the protagonist. Different stories can have a multiple number of one or the other. Although Steve Dancy is the main protagonist in my Western novels, he has two (and now three) characters in secondary protagonist roles. Multiple bad guys or gals are also not uncommon. 

After these main characters, the entire story is usually populated with all sorts of supporting and bit players. What if we were to whittle this down to the bare essentials? Could a story be told in a world populated by only one protagonist relentlessly pursued by a single antagonist? Steven Spielberg’s first movie Duel meets this criteria, as well as Tom Hanks’ Cast Away. These are intimate, tense stories. Of course, the Road Runner cartoons fits this minimalist construct. In fact, the Road Runner has no dialogue except for a single word repeated twice.

How in the world can you keep audience interest with these limitations? Watch. You’ll see storytelling reduced to its barest elements. Even if you have a cast of thousands, you can keep the reader’s interest by following the precepts displayed so eloquently by Road Runner cartoons. 

Writing Advice from George Orwell

Orwell's Rules

35 cents for a Masterpiece

1. Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
2. Never use a long word where a short one will do.
3. If it is possible to cut a word out, always cut it out.
4. Never use the passive where you can use the active.
5. Never use a foreign phrase, scientific word, or jargon if you can think of an everyday English equivalent.
6. Break any of these rules sooner than say anything outright barbarous.

Orwell's Questions

1. What am I trying to say?
2. What words will express it?
3. What image or idiom will make it clearer?
4. Is this image fresh enough to have an effect?
5. Could I put it more shortly?
6. Have I said anything that is avoidably ugly?