Cowboys are cool. Cows, not so much

“A mine is a hole in the ground, owned by a liar.” Mark Twain

I recently saw a college friend for the first time in decades. He seemed surprised to learn I wrote novels. I guess I need to work on that world famous part. 

“What do you write?” he asked.

“Westerns.”

He immediately made a disparaging crack about cowboys and Indians.

I explained there were no cowboys in my novels.

He was incredulous. “Then what do you write about?”

“I write about people … people who happened to live on the American frontier. My characters live in cities, towns and camps, not on the range. They’re miners, businessmen, politicians, schoolmarms, shopkeepers, lumbermen, lawyers, doctors, newspapermen, and they come in all ages and in both sexes.”

“Bad guys?”

“Oh yeah, outlaws aplenty. Otherwise you don’t have a story.”

“And gunfights?”

“Of course. They’re part of the genre. But in six books, I’ve only had one duel where two men stood off against each other. My gunfights are more realistic to the history of the West.”

“But no cowboys?”

“Nary a one. Cows didn’t draw people west. Money laying in the dirt got people to get up and leave home. Mining drew far more people than ranching. The romantic cowboy has been written about since Owen Wister and The Virginian, and cowboys have become the stable of Western literature. When I started writing Westerns I wanted to do something different, so I wrote about mining, instead of ranching.”

Virginia City

I continued, “Cowboys have become such a cliché that most people don’t know that Tombstone was a mining town, not a cow town. Denver started as a mining camp. Mark Twain’s encounters with the Wild West occurred in Virginia City, where $305 million was mined from the Comstock Lode.  (Still, the fictional Cartwright’s Ponderosa gets all the attention.) 240 million troy ounces of silver were extracted from Leadville. Almost all of our ghost towns were once thriving mining camps. Mining was an exciting industry that drew every kind of character to the West.  Wyatt Earp made a career of following the action, and he abandoned cows to chase after silver and gold.”

“So you don’t like cowboys?” He said this with an undue sense of satisfaction.

“I do. Cowboys are self-reliant, live by a code, and are skillful with horses, ropes, guns, and nature. I believe their individualism is a metaphor for an important American value. But others have already written about cowboys, cow towns, and the open range. I wanted to explode another facet of the Wild West, so I write about mining, which allows me to get into bustling cities and the technology revolution of railroads, telegraphs, and electricity. Instead of lamenting the demise of the Wild West, I examine the influences that eventually tamed the frontier.

 “Is there drama in mining?” he asked.

“Are you kidding? Money is power … and the power-crazed chase after wealth with a passion. Mining drew fortune seekers, politicians, shysters, engineers, shopkeepers, and people with every kind of scheme under the sun to separate miners from their money. Most rail lines after the transcontinental contest connected mines to markets. Everybody chased after the money: good men, bad men, and hard cases that enforced the will of the greedy.”

“Okay, okay, you convinced me,” he said. “I’ll try one of your books.”

As Hollywood says, this story has been inspired by true events. That means a conversation did occur somewhat along these lines, but I was much less articulate in real life.

Honest westerns filled with dishonest characters.

Center Point Has Published Crossing the Animas in Large Print

Center Point will publish a hard bound, large print version of Crossing the Animas, A Steve Dancy Tale. They’re a great group of people, so I signed the contract immediately. 

I’m thrilled that Center Point will have published all six of the Steve Dancy novels. It also pleases me that the first five books earned past their advances. That probably explains why Center Point bought the large print rights to Crossing the Animas. That’s a compliment I feel really good about.

Look for Crossing the Animas in your local library. Trade paperback and ebook formats are also available.

Honest westerns filled with dishonest characters.

Western Fiction Review reviews Wanted II

New review of Wanted II by the Western Fiction Review. This is a U.K. based website and it's great to get some overseas exposure.

You don’t need to have read any of the previous tales to enjoy any of the stories found here, but you may well find yourself rushing out to read more about some, or all, of them.

Here you will find stories that range from the traditional approach to western storytelling to one that borders on the mystical. There is plenty of action, some shocks, animal stars, and humour to be found in these fast moving tales, so there should be something to satisfy every western reader.

The Western Writer's Group is back, bringing you brand new,
original stories from characters you love. 

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.

The Evolution of a Big Diehl Book Cover

Book covers are a big deal. People really do judge a book by its cover. The Steve Dancy Tales always use black and white photos with only my name in color. For those who follow this blog, you already know my son designs my covers. (I joke that I'm getting his pricy art school tuition back one book cover at a time. In truth, his billing rate to real clients makes me embarrassed to ask him to do yet another cover.)

For Crossing the Animas we picked a great photo by William Diehl. Admittedly, this is a modern photograph, but the subject matter is vintage. Here is the original photo and resulting cover side by side. It may look simple, but there's craft in the cropping and lettering.

We didn't just select this photo on a whim. Here are some of the concepts covers we considered.

The construction of Denver & Rio Grande line between Durango & Silverton plays a key role in the story, and Diehl's iconic photograph fit the plot perfectly.

If you like trains, the Old West, or just great photography, visit the William Diehl website. Here are a couple more samples of his art.

Jenny's Revenge in Audio

Jenny's Revenge is now available in print, ebook, large print, and audio formats.

Joe Formichella reads Jenny's Revenge. Joe is a seasoned author, editor, and audio performance professional. Check out the audio sample below. He's a Hackney Literary Award Winner and Pushcart Prize nominee.

Honest Westerns filled with dishonest characters.

Jenny Bolton has plans, and they don't bode well for Steve Dancy.

Married at 15 to a Nevada politician, Jenny suffered repeated assaults, witnessed her husband's ghastly murder, buried her mother-in-law, and killed a man. Dancy, who had once served as her paladin, rejected her without as much as a goodbye. Abandoned on a raw frontier, she's single-handedly building an empire that spans the state. Despite her triumphs, she feels she never should have been left alone.

Soon to marry, Steve is eager to begin a new life, unaware that Jenny is mad for revenge.

Trey Parker and Matt Stone of South Park Talk About Storytelling

NYU teaches a class in storytelling the Tisch School of the Arts. On the first day of class, Professor Liotti invited Trey Parker and Matt Stone to discuss their take on storytelling. In this short video, there are a couple of nuggets of great advice, which helps explain the 20 year success of the animated television series. I found it interesting that they basically said writer's block is not an option. If they can't come up with a show idea, seventy people are idled. This reminded me of William Shakespeare, who had forty people depending on him to come up with a new play that would draw a large enough paying audience to feed themselves and their families. Nothing drives creativity like hunger.

Get More:
www.mtvu.com

By the way, kudos to NYU for teaching storytelling. Many universities think creative writing is solely about crafting wonderful sentences. Not true. Storytelling is at the heart of anything still read or viewed that was written over twenty years ago.

Storytelling is the art, good writing is the craft that brings it to life.

A Travel Memoir—Partie Deux

Yesterday my wife and I left Paris for Omaha. That’s not a sentence most people would enjoy writing, but we’ve been gone a month and look forward to our home and dullish routines. Twenty-five years ago I was in Paris nearly every month and my wife often accompanied me. She did the museums, cathedrals and other large buildings. I worked. I enjoyed interacting with the French in a non-tourist setting and kidded my wife that she did dead France while I did live France.

This trip we focused on dead France … and walking. Museums and walking. Cathedrals and walking. Monuments and walking. Walking to find new and interesting places to eat. Sometimes just walking to watch the street life. But if you placed all of our steps end to end, you still wouldn’t reach a Brasserie-free zone. How cool is that!

We noticed a couple of differences from twenty-five years ago. For one thing, tourism isn’t nearly as easy or enjoyable. Terrorists and technologists put a dampener on the fun.

Security is everywhere. And I mean tough, no nonsense soldiers, not our clock-watching TSA gatekeepers. These decked out fully armed men and women strode purposefully in urban warfare formation. They never stopped. They never quit looking around. They never acted friendly.

Every public place included security checkpoints. In most cases, this meant two lines; one to check your bags and another for tickets. Standing line could wear you out before you got the first glance at a historic artifact. Worse, everything was cordoned off. No more grand vistas of the Eiffel Tower. The base is surrounded by barricades and open space under the tower is the province of black and white photographs from the pre-digital age. Notre Dame is still free, but a glacial line to get through security can consume the entire forecourt. If you’re a millennial, you think this is normal. How terribly sad.

Technologist have spoiled the party as well. Everybody born after the breakup of the Beatles has a selfie stick and insists on recording every moment of their lives. It’s as if they can’t enjoy life in the moment. They must see a digital representation to believe it’s real. And they can’t just snap their picture and get on with it. They wield their selfie stick like a baton, twirl it, shove it in other people’s faces, or just endlessly hold up traffic as they preen and mug for the perfect shot to share with the world on Instagram. Everybody is a celebrity in their own mind.

In the olden days, read the distant Twentieth Century, single-purpose cameras took photographs on expensive film that took more coin to develop and print. It also cost far too much to make a copy for everyone on the planet. Tourists stood away from the object of interest, took their picture, and moved on. That meant Kodak Moments seldom disrupted your enjoyment of a world wonder. Not today. People crowd forward so they can shoot backwards while claiming an arc of free space by waving a plastic stick with all of the authority of a scepter. Digital is free, everyone has a device, and spreading copies to people you don’t know is de rigueur. Pity the poor soul who just wants to feast on an exhibit with their eyes and ears.

These inconveniences were restricted to tourist attractions. Our small hotel in a pleasant neighborhood had all the charm of the Paris we knew twenty-five years ago. We were nestled on a quiet side street, with tiny grocery stores, casual cafés, fine dining, with trendy shopping, Metro stations, and bustling Parisians just steps away.

We had a wonderful time. Actually, our first visit was thirty-five years ago. At the time, we had never been anyplace more exotic than Tijuana. On our first night, we walked out of our Left Bank hotel and wandered down the street to a restaurant. We had no idea how to order. We knew no French. The waiters knew no English. We were so naïve, we ordered entrées as our main course. We had accidentally chosen La Coupole, the most famous and historic restaurant on all of the Left Bank. The whole experience was fun as hell, and it had a lot to do with our penchant for travel ever since. We were again in Paris for our fiftieth anniversary, so we decided to celebrate our grand night at La Coupole. It was fun. The food was great. The waiters charming. And best of all, the ghosts of all those famous artists and writers joined us in celebration of our first fifty years together.

Viva la France.

P.S: I write this from New York City, not Omaha. Our flight was cancelled. My last post (Planes, Trains, and Automobiles) bewailed our travel mishaps getting to New York. Evidently our travel hobgoblin has returned.

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 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.

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.

Over 1,400 Book Reviews and Counting

I read every book review. Can't help myself. I'm perverse. I even like to read bad reviews. Dumb, I know, but it's a five minute exercise I enjoy with morning coffee.

• Over 1,400 Amazon reviews for an average of 4.4, with 525 of those for The Shopkeeper. 
• Nearly 4,000 Goodreads ratings for 4.0 and another 400 written reviews
• Plus dozens of professional reviews

Shopkeeper at Amazon

Goodreads

I appreciate every reader. A review or an email note gives me a feel for my audience and helps me connect with readers. Less than 1% of readers leave a text review and I'm grateful for every one. I don't just read them, I take note of what they like and don't like. Each review helps me with my next book. Thank you.

If you like short illustrated reviews, I get a kick out of 3-Panel Book Reviews by Lisa Brown.

Lisa Brown's 3-panel Book Review  of The Metamorphosis

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!

My Second Short Story

I write novels. Seven and counting. (Plus six nonfiction books, if I include my ghost writing assignments.) I’ve previously written only one short story, for which I received an Honorable Mention as a finalist. Maybe that didn’t count. It was a newspaper contest for a one hundred word novel. In the beginning, I thought anyone could string together one hundred words, but it took me a week to create a draft fit for submittal. Short is hard.

All of this is preface to telling you that I have written my first real short story. “Snake in The Grass” is a Steve Dancy Tale with a twist. I won’t tell you the twist. You have to read it for yourself. Where? First, you’ll need to wait a few months. The book is an anthology written by seven top selling Western authors.

Wanted, A Western Story Collection includes stories by Brad Dennison, Lou Bradshaw, Tell Cotten, Robert J. Thomas, WL Cox, James D. Best, and Duane Boehm.

I’ll let you know when it becomes available. In the meantime, I’ll leave with a few of my favorite quotes about short stories.

A short story must have a single mood and every sentence must build towards it. Edgar Allan Poe

A short story is a different thing all together - a short story is like a kiss in the dark from a stranger. Stephen King

The great thing about a short story is that it doesn’t have to trawl through someone’s whole life; it can come in glancingly from the side. Emma Donoghue

I used to write things for friends. There was this girl I had a crush on, and she had a teacher she didn’t like at school. I had a real crush on her, so almost every day I would write her a little short story where she would kill him in a different way. Stephen Colbert

The Return—Now Available in Audio!

The Return, A Steve Dancy Tale is now available in audio. Jim Tedder has done an exceptional job in narrating this fourth book in the Steve Dancy series.

It's the summer of 1880, and Thomas Edison's incandescent bulb is poised to put the gaslight industry out of business. Knowing a good business opportunity, former New York shopkeeper Steve Dancy sets out to obtain a license for Edison's electric lamp. Edison agrees, under one condition: Dancy and his friends must stop the saboteurs who are disrupting his electrification of Wall Street.

After two years of misadventures out West, the assignment appears to be right up his alley. But new troubles await him in New York City. Dancy has brought a woman with him, and his high-society family disapproves. More worrisome, he has also unknowingly dragged along a feud that began out West. The feud could cost him Edison's backing ... and possibly his life.

In the near future, I will receive some promotional codes for free copies of The Return. If you would like a free audio copy of The Return, send me a note at jimbest@jamesdbest.com.

Audio: A whole new way to enjoy the Steve Dancy Tales

Steve Dancy Wants to be Pals with Jack Reacher

There have been some memorable fictional characters. Sherlock Holmes, James Bond, Hercule Poirot, and Harry Potter to name a few. (I’d like Steve Dancy to climb into this group, but I need a few million more sales. A little help, please.) The above names are make-believe people, but known the world over. How does a branded character come about? They must be difficult to create because there are so few of them. Strong characters are not rare. Think of Elizabeth Bennet, Tom Sawyer, Captain Ahab, Rhett Butler, or Hannibal Lecter. But for the most part, these were one-offs, while a branded character returns time and again, frequently leaping from the printed page to screen and stage.

The inventors of Holmes, Bond, Poirot, and Potter didn’t want for material things. Sherlock Holmes has been portrayed on screen more than any other character, and that excludes the House television series. Spanning 54 years, James Bond is the longest running film series with a human protagonist. (Godzilla is the longest and most prolific film series.) Agatha Christie used Poirot to propel herself to the #1 Bestselling author of all time, while Harry Potter is the #1 bestselling book series.

These are worldwide icons. Yet they’re fictional. They sprang from the imagination of authors. How in the world do you do that? One author has told us.

I recently reread Killing Floor by Lee Child. In a new introduction, Child describes how he developed the Jack Reacher character, who was introduced in this novel back in 1997.

“I liked some things, and disliked other things. I had always been drawn to outlaws. I liked cleverness and ingenuity. I liked the promise of intriguing revelations. I disliked a hero who was generally smart but did something stupid three-quarters of the way through the book, merely to set up the last part of the action.  Detectives on the trail who walked into rooms and got hit over the head from behind didn’t do it for me. And I liked winners. I was vaguely uneasy with the normal story arc that has a guy lose, lose before he wins in the end. I liked to see something done spectacularly well. In sports, I liked crushing victories rather than ninth-inning nail-biters. 

To me, entertainment was a transaction. You do it, they watch it, then it exists … for me the audience mattered from the start.

G. K. Chesterton once said of Charles Dickens, 'Dickens didn’t write what people wanted. Dickens wanted what people wanted.'"

Child sat down and came up with three specific conclusions.

"First: Character is king. There are probably fewer than six books every century remembered specifically for their plots. People remember characters … so my main character had to carry the whole weight.

Second conclusion: If you can see a bandwagon, it’s too late to get on … it’s a crowded field. Why do what everyone else is doing? … The series that were well under way … lead characters were primus inter pares in a repertory cast, locations were fixed and significant employment was fixed and significant. I was going to have to avoid all that stuff.

But the third conclusion, and the most confounding conclusion: You can’t design a character too specifically … a laundry list of imagined qualities and virtues would result in a flat, boring, cardboard character … I decided to relax and see what would come along. Jack Reacher came along.”

Child goes on to explain that Reacher has the following characteristics:

• Fish-out-of-water because he had previously only known military life
• He’s huge, utterly sure of himself, with intimidating presence (opposite of flawed protagonist)
• Old-fashioned hero: no problems, no navel-gazing
• Owns nothing but the clothes on his back—literally
• No ties to family, friends or location
• Ex-military cop to give him plausibility with investigative techniques
• Rootless and alienated in a giant country (Child is British)
• Reacher as Medieval knight-errant
• First name is simple, ordinary, blunt, and straightforward
• Certain nobility based on rank of major in military

Child wrote: “I wanted the kind of vicarious satisfaction that comes from seeing bad guys getting their heads handed to them by a wrong-righter even bigger and harder than them … so Reacher always wins.”

I started by asking, “How does a branded character come about?” It appears by creating a character unlike all the other series protagonists. Not a unique trait, but opposite in every detail. At least it worked for Reacher. A Forbes study discovered that Jack Reacher is the strongest branded character in fiction, and Lee Child has the strongest reader loyalty of any bestselling author.

In Production—Audio Version of The Return

Coming Soon in Audio

Jim Tedder has agreed to narrate The Return, A Steve Dancy Tale and has already completed 6 chapters. This is exciting news because Tedder did a great job on Murder at Thumb Butte. He has a long career in broadcasting and brings a great storytelling voice to the series.

In answer to some queries, I've completed ten chapters of Crossing the Animas, A Steve Dancy Tale. Darn, I sure wish I could write as fast as Jim Tedder can narrate.

Here is the first chapter of The Return.

Literature vs. Popular Fiction

I bounce around the internet each morning after checking email. I scan a lot of articles, but rarely get by the first few paragraphs. My time is precious and there is just so much stuff out there. If I tried to read it all, I’d never have time to write.

An exception was “Literature vs genre is a battle where both sides lose” by David Mitchell, published at The Guardian blog. I don’t enjoy dissertations on writing as an art form. I’m a storyteller whose medium is the written word, so I prefer articles about how to improve my craft. But Mitchell grabbed my attention with his first sentence.

“Literary fiction is an artificial luxury brand but it doesn’t sell.”

There is an audience for literary fiction, but Mitchell points out that the demand for genre fiction dwarfs the high-tone variety. He claims, “fancy reading habits don’t make you cool any longer. The people who actually buy books, in thumpingly large numbers, are genre readers.”

I think the difference is how a writer approaches a project. If a writer starts off to tell a story, a good craftsman will focus on writing the novel properly to keep the reader engaged. If a writer starts with the goal to write a literary masterpiece, then the focus becomes assembling sentences so clever they stop the reader to admire the prose. A good storyteller never takes the reader out of a story, so fancy writing is counterproductive.

Here’s the dirty little secret of fiction writing: if it doesn’t sell, it’s soon forgotten. Mark Twain, Shakespeare, Jane Austen, Owen Wister, Raymond Chandler, Louisa May Alcott and many other “Great Writers” understood this truism. 

“It might reasonably be said that all art at some time and in some manner becomes mass entertainment, and that if it does not it dies and is forgotten.”  Raymond Chandler

Honest westerns filled with dishonest characters

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.