Benton's Books

make folks stand tall in the stirrups to read more

© 2005 W.R. Benton, All Rights Reserved

So, you wanna write western fiction? Well, it’s just exactly like writing other types of fiction, except totally different. Now, if that don’t have y’all corn-fused, nothin’ will, huh? Pull up a chair pard, grab a cup of coffee, put yer feet up, and let me explain how I go about a-doin’ a western novel (I have written eight, had one published in March of this year, three more due out within the next few months, and a four book series later in the year).

             First, y’all need to learn a bit about the time period you’re going to write about, either the early settlement of the west, the middle, or the end of our westward expansion. Each period has its own historical considerations that authors must keep in mind when writing the story. Ya don’t have to be an expert, but as my grandpa would say, “Ya gotta know come heah from fetch.”

For instance, during the early movement westward, the British, French, and Spanish were all involved in America and I think a good early movement novel should have many of those folks as characters in the book. I also use a lot of German, Irish, and other European immigrants in my books, because they were some of the largest groups to migrate to our country. But, remember that the British and French were here early (and not as immigrants, they intended to stay), though not as early on as the Spanish who stampeded to our nation right after its discovery. As a matter of fact, around 1540 (less than 50 years after Columbus) the Spanish moved across what is now Arizona looking for the Seven Cities of Gold and from that period on the Spanish were out in force.

Make sure your manuscript reflects the nations that were in control of the ground your characters are walking. In my book, Ty Fisher and the Army Gold, I have the main characters go to Saint Louis and since the period is 1825 I have the majority of the citizens of the town French (since this was prior to the Louisiana Purchase). Then, my characters head to the southwest in search of a robber turned killer and they meet a lot of Spanish folks (Mexicans) as they travel to Santa Fe and Tucson (which would have really happened). Remember, those places were not part of America at the time and it hurts a good book not to be fairly historically accurate.

One last thing on history, completely research the time period you’re writing about. I recently reviewed a very good book which mentioned in the text that large numbers of buffalo that were being killed off by buffalo hunters, only I know it didn’t happen until almost thirty years later and the type of gun being used in the book had not even been invented yet. It was still an excellent book, but history buffs that buy your book will know the facts about the time period, so solid research will increase sales.

Second, look at your dialog, pilgrim. I write mostly about the mountain man period and I have conducted hours of research on dialog (which drives my editor and publisher mad during proofing), because my writing is strong on character interaction and dialog. But, if you want your characters to speak as they really spoke at the time this is a crucial step. A mountain man would not say, “Frank has died.” Instead, he would say, “Frank has gone beaver on us” or, “Frank’s gone unner.” Another key to dialog is consistency with the spelling as well. By that I mean, I don’t think if matters much if you spell far (as in distance) as fur or fer, as long as you spell it the same way each time. Then again, ask your publisher and you may get a different response.

Here is an example of dialog from Ty Fisher and the Army Gold, Ty turned and looked at old Sanchez as he replied, “Waugh! He’s still ‘live, but it won’t be fer long. He took that knife deep and his lights have been cut. He’ll go under in jes’ a little bit.”

Another aspect on dialog is to remember that immigrants were quickly moving into America and in very large numbers. I often have my Germans, Spanish and French using some of their native tongue to add authenticity to my writing, especially when they get excited (it’s natural they would slip back to their native tongue when scared or excited). Now, don’t use too much of another language or you’ll lose your readers. So, you don’t speak much German, Spanish or French? Neither do I, but I use a web site, http://www.freetranslation.com/ to translate a couple of words, just so my character is quickly identified by language use and believe me, it helps a writer develop a character to the fullest. Nothing is more disappointing to a reader than having a person of a different nationality speaking perfect English when they are suppose to be a new arrival.

Here is an example (of German) from Ty Fisher and the Army Gold; Dutch slowly walked backward in fear until he hit the closed door to the stables and finally said, “It ist not possible, Heiliger Gott! I vas tolt you ver dead, but you are standing dare.”

Also, remember education was limited and very few folks of any nationality were well educated. Most white folks in those days could write their names, read bit from the Bible and maybe count a little. This is especially true of black Americans, who were prevented from being taught to read and write by laws in the southern states. So, don’t have your character’s all using perfect English, unless you want to add a twist to the story. In one of my books, In the Shadow of the Mountain, I do have a runaway slave that speaks better English than my main character, but I did that to show that in the west a person could and often did meet many different types of people. In my book, the slave had been taught to read and write by his master in order to do the accounting books for the plantation. All educational levels were moving westward, so have a mix in your manuscript, but keep in mind most folks were not very well educated. Waugh! As simple as a young pup a-fallin’ offa log, huh?

Third, character development is a very serious consideration. I always make my main character a person with strong morals (I hint at sexuality, but go no further with the good guy/gal), fairly smart (from the school of hard knocks), and one that never strays far from the code of the west. Remember, all of the good characters in your manuscript should be honest, trustworthy and totally dependable. Your villains should be self-centered, greedy, and of low moral character, you know, the kind we all love to hate. The bad folks are written to be back shooters, thieves, and cattle rustlers, just as some of them really were. Now, except in the most unusual cases, women were treated special and respected by both the good and bad guys. Why? Well, during the settling of the west good wholesome women (not soiled doves as whores were called) were rare and usually given special treatment by all men they came in contact with. However, there were rapists and killers of women then, just as now, but use those types to bring your good characters deepest emotions out in your book.

In Ty Fisher, Blood of the Mountain Men, I have Bull Singleton rape and kill two women, and when Ty meets a man searching for Bull this statement says it all; The big man, Barnes, I know’d right off who he was, looked at me and replied, “I, Thomas H. Barnes, am on a mission fer God. One of yer mountain man trash done raped and kilt a woman in our town and I’ll be damned if-un I let ‘em go free aftah a-doin’ it. He’ll stretch hemp when I find ‘em, even if-un I gotta ride into the flames of hell and pull ‘em out personal like.”

Fourth, I always start a book right off with action, because I have found publishers and readers will rarely read far into a book that does not grab them right off the bat. Make your reader want to continue reading. Hook them on the first paragraph and keep them hooked by ending each chapter with something either unsaid or undone (suspense). Here is an example of a beginning from Greenriver; “My name is Greenriver, by God!” The old mountain man stated in a low but controlled voice as he slowly stood from behind his table. There was more than just a small bit of irritation in his tone and the redness of this face indicated he was obviously growing very angry. He was a tall man, at least six foot and then some, wearing a full beard speckled with white. His teeth, what few that remained, were snow white and even. I watched as Greenriver’s right hand moved gradually toward his knife.

And in a chapter ending from Indian Dreamer; Jeb removed his hat, wiped the sweat from his forehead and looked around as he rode his big bay, scanning the countryside. He was bone tired and from his estimate the three of them had covered about twenty-five miles since sunup, but now it appeared they were about to have some serious trouble. He knew the Sioux were still out there, because he could feel them, but where? For more than three hours someone had been watching them and while he had not seen a soul, his senses told him he was being watched. He had learned early in the Civil War that just because you could not see an enemy did not mean they were not there. He had also learned quickly to rely on his gut feelings. He stayed straight in his saddle and didn’t turn his head as he whispered to the old withered black man riding beside him, “Moses, we are being watched.”

“I knows. Theys done been a-watchin’ us fer hours.” Replied the old man as he lowered his hat and acted as if he was only interested in keeping the hot sun from his eyes.

“Lordy, do you think it’s dem Injuns ‘gain, Masser Jeb?” The young black woman riding behind the two men asked in a voice quivering with deep fear.

As you can see by both examples, the reader will most likely want to continue reading to just to see what happens next.

Fifth, respect the various races, groups, religions, and the native peoples that have made our country great. Of course I use Indians of various tribes in my books, but I try to show them as they were, dignified, honorable, and brave people, fighting a war they could not win against an endless white tide of settlers. While I also use African Americans in my books frequently, I show them as most of them were, honest, a bit unsure of the future, hard working, and good solid folks. I think it is very important to use the large mixing bowl of cultures we have in our nation to tell a tall tale. But, keep it respectful and in a positive light for all concerned.

Thousands of black folks moved out west when the Civil War ended, with each searching for a home and they contributed a great deal to our history (Many African Americans were mountain men or famous cowboys). Many of these black men and women became cowboys, black smiths, seamstress, cooks, or had other needed western skills.

There were also thousands of white men from the south that moved out west after the war, searching for jobs or to just get away from Yankee carpetbaggers, but men from the north came as well. The whole country seemed to develop a strong uncontrollable urge to move westward, as if the movement would help them forget the four years of battles and slaughter. Let yer mind meander a bit down the trail heah and ya might get the idea fer a good plot! I wonder what would have happened if a Johnny Reb and a Yankee pardnered fer a winter with some cows up in the high lonesome? Or, if an Irish Yankee headed down into Texas to gather up some unbranded cattle that had not seen a branding iron since before the war? The ideas are endless.

Writing a western is hard work, just like any novel. But, by doing some research, looking closely at dialog, using people of the various nations and races that settled our great country, and by developing strong characters that are able to walk their talk, you too can write a good read.

Keep yer powder dry pilgrim and I’ll catch ya on the downside of the mountain.

Authors Note: My latest book, “Death on the Mountain” can be ordered from Barnes and Noble using ISBN 1-894936-44-2 or visit my website, http://www.wrbenton.com to see other books that are available.

"First published by Inkwell Newswatch (IN) http://www.fwointl.com/in.html"