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Roaming the Old West with Holmes on the Range

Roaming the Old West with Holmes on the Range

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There are a lot of ways to go about writing a Sherlock Holmes story. Some folks attempt to very carefully emulate Sir Arthur Conan Doyle’s own style, and to turn out a tale that feels as if it might have been penned (or typed these days) by the creator of the great detective himself. No surprise that results vary. GREATLY. Hugh Ashton and Denis O. Smith are the best I’ve found in this regard.

You can find stories ranging from pretty good to not suitable for (digital) toilet paper. I’ve had a half dozen of my own stories published and I’m still working on better voice the good doctor.

Some folks write whatever the heck they want, often with the name of Holmes being the only similarity to the famed detective. It is possible to find good Holmes stories that sound nothing like Dr. Watson’s narrative style, of course. And Holmes has been placed in different eras, and even worlds. In addition, there have been Holmes parodies around for over a hundred years. I’ve written a couple myself, and they were fun.

There are Holmes-like successors out there, of whom August Derleth’s Solar Pons is the best. Yes, I’m aware that’s a subjective judgment, but it’s mine, and I’m the one writing this essay, so it stands. I’ve written about Pons more than once, and even contributed introductions and pastiches to anthologies.

But today I’m going to look at one of Sherlock Holmes’ contemporaries; albeit, one quite different and far away. We’re not talking about Martin Hewitt here.

Steve Hockensmith had been writing short stories for Ellery Queen’s Mystery Magazine Christmas issue, and wanted to sell more to the venerable magazine. EQMM does an annual Sherlock Holmes issue, so he figured that was the way to go. But he wanted to write more than ‘just another Holmes story.’

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A (Black) Gat in the Hand: James Reasoner on Trail Towns in the Traditional Westerns of REH

A (Black) Gat in the Hand: James Reasoner on Trail Towns in the Traditional Westerns of REH

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Intro by James Reasoner…

The first big series I did here at Black Gate was Discovering Robert E. Howard. And I was excited to get one of my favorite Westerns writers, the beyond-prolific, James Reasoner, to talk about REH’s Westerns. Continuing on with our recent Westerns theme, here’s James’ essay on trail towns in REH’s traditional Westerns. Saddle up and hit the trail!

 

When Robert E. Howard was growing up in Cross Plains in the 1920s, it was entirely possible that some of the older men in town might have gone on cattle drives in their youth, as the great trails from Texas to the railheads in Kansas opened up after the Civil War and changed the focus of the Lone Star State’s economy. Whether a young Bob Howard ever listened to these old cowboys spin yarns about those days, we don’t know, but he certainly might have.

J. Marvin Hunter’s classic book Trail Drivers of Texas appeared in 1927, and this volume might well have caught Howard’s interest, too, although we have no record of him ever reading it.

What we do know, however, is that Howard wrote several Western stories in which the trail towns which served as destination points for those great herds of Longhorns play an important part, beginning with “Gunman’s Debt”, which went unpublished during Howard’s lifetime but is one of his best Westerns. It’s set in the small Kansas settlement of San Juan, and although Howard tells us that the rails and the trail herds haven’t reached it yet, it’s clear that they’re on the way. San Juan is new and raw and more than a little squalid:

Three saloons, one of which included a dance hall and another a gambling dive, stables, a jail, a store or so, a double row of unpainted board houses, a livery stable, corrals, that made up the village men now called San Juan.

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A (Black) Gat in the Hand: John Bullard on REH’s Rough and Ready Clowns of the West – Part I

A (Black) Gat in the Hand: John Bullard on REH’s Rough and Ready Clowns of the West – Part I

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“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep

(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)

A (Black) Gat in the Hand was primarily about hardboiled Pulp stuff when it began, because that’s what I mostly what I was interested in, and knew about. And I was the one writing it. But over our six year run here, I’ve gotten some friends to help me out. Some wrote about hardboiled, but others have filled in the Pulp gap with interesting essays on other areas. I’m really pleased that the scope has been expanded. And the next few weks, we’re gonna explore the Western genre (Duane Spurlock started us off with a 2019 essay on one of my favorites – T T Flynn).

I’ve gotten to know a bunch of neat folks through my love of Robert E. Howard. And I met fellow REH Foundation Award winner John Bullard at the 2022 Howard Days. We have several common interest areas. One is Robert E. Howard. One is NOT Howard’s Breckenridge Elkins (though we both like Sailor Steve Costigan). John joins A (Black) Gat with a deep dive into Howard’s successful character. Next week he’ll be back for a look into Howard’s other humorous Western characters. 

Rough and Ready Clowns of the West: Robert E. Howard’s Humorous Western Characters, Part I

Since Bob invited me to contribute something on Robert E. Howard and his voluminous writings for his continuing A (Black) Gat in the Hand series, I thought I would write on Howard’s humorous pulp Western characters. They are not particular favorites of Bob’s (shocking!), so he probably won’t be writing about them for this series any time too soon. Also, this summer is the 90th anniversary of the creation of Breckinridge Elkins, one of Howard’s best-selling characters during his life. Because Elkins was such a success, Howard created three more humorous Western characters using Elkins as a starting point: Bearfield Elston, Buckner J. Grimes, and Pike Bearfield. That should be enough reasons for a look at Howard’s rough and ready clowns of the West.

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Old School Steampunk: Reading The Steam Man of the Plains (1883)

Old School Steampunk: Reading The Steam Man of the Plains (1883)

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In the days before television, movies, or even pulp magazines, readers who wanted exciting fantastic fare read dime novels. This style of popular literature lasted from about 1860 to 1930, before the pulps finally killed them off. In those 70 years, countless series and titles were published — mysteries, Westerns, historical dramas, romances, and even steampunk.

Yes, steampunk goes right back to the age of steam. I recently read one of the most popular titles, the 1883 edition of The Steam Man of the Plains, published by the Five Cent Wide-Awake Library, a series directed specifically at adolescent boys. You can read it online at Northern Illinois University’s excellent online collection of dime novels.

Warning: spoilers follow!

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Deities and Demigods of the Word Count: or, How to Write 500 Novels and Still not be Considered Prolific

Deities and Demigods of the Word Count: or, How to Write 500 Novels and Still not be Considered Prolific

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Nice book, but where are the 800 others you lazy git?
Nice book, but where are the 800 others you lazy git?

Last week, M Harold Page posted an interesting article here on Black Gate about achieving a steady word count as a writer, giving some insights into his own practice. He said,

I manage 1,000 words a day at the start and an average of 3,000 words a day once I’m underway. Sprinting – 5,000 to 7,000 words a day; that’s for the last half.

Many newbie writers would screech in horror and say no one can write that fast, while most MFA snobs would turn up their noses and say it’s impossible to write anything of worth at that rate, that writing must be an agonizing process of constant revision and polishing. They’re both wrong, as Page’s own writing attests.

The fact is, however, Page’s speed is rather modest. Mine is about the same, so I’m not knocking him. I know how hard it is to keep up a good momentum while maintaining your responsibilities to family, not to mention the distractions of the Internet and local pub. I’m fortunate enough that writing is my day job, so at least I don’t have a separate career getting in the way of my productivity.

Page and I may both have a bunch of books to our name, but we are mere henchmen, mere spear carriers to the great Deities and Demigods of publishing — the truly prolific. Dean Wesley Smith, who has written well over 100 novels and about 500 short stories and only seems to be picking up speed, recently shared a link to an interesting blog post titled 17 Most Prolific Writers in History. I have a lot of quibbles with this list, as I’m sure you will too, but while it isn’t authoritative or entirely accurate, it’s certainly inspiring and daunting in equal measure.

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Results of a Writing Retreat in Tangier, Morocco

Results of a Writing Retreat in Tangier, Morocco

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My local produce seller, a farmer from one of the villages in the Rif

 

When the writing gets tough, the tough writers go to Tangier…

One of the advantages of living in Europe is that you have North Africa right at your doorstep. Sadly that region, with all its diverse cultures and beautiful landscape and ancient sites, has largely become a no-go area. Algeria and Libya are war zones and Tunisia and Egypt are highly unstable as well. That leaves Morocco, a safe and stable country that’s drawn me back several times to use as a writing retreat.

As I mentioned in a previous post about Living in a Moroccan Medina, I regularly go to the northern port of Tangier to get away from email and editors and take some time to do some serious writing. Not only does the city resonate with literary giants of the past like Paul Bowles, William S. Burroughs, and Mohamed Chukri, it also provides inspiration in the form of a large traditional medina, fine views over the Strait of Gibraltar, and a growing arts scene.

So what does a Canadian writer living in Madrid work on when he’s in Morocco? Read on. . .

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Vintage Trash: Producers Releasing Corporation, the Poorest of Hollywood’s Poverty Row

Vintage Trash: Producers Releasing Corporation, the Poorest of Hollywood’s Poverty Row

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The 1930s through 1950s are generally seen as Hollywood’s Golden Age. It was a time when major studios had glamorous stars and made blockbuster pictures with casts of thousands.

It was also a time when cheap production companies ground out quickie films on a shoestring budget, and sometimes, just sometimes, created something worth watching.

Welcome to Poverty Row, the result of the world’s insatiable appetite for film. In the days before television, many people went to the movies every day. Not only did they get a movie, but they also got a newsreel, cartoon, and a shorter “B” movie. Neighborhood theaters often showed B-movies as features since they were cheaper to rent and the audience of local kids didn’t care about great production quality, they just wanted to see some cowboys shooting it up. And that’s where Poverty Row came in.

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Post-Modern Pulp: Speaking With Indie Action Writer Jack Badelaire

Post-Modern Pulp: Speaking With Indie Action Writer Jack Badelaire

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COA_SmallToday we’re talking to Jack Badelaire, author of numerous action books in the tradition of the 70s “Men’s Adventure” genre. His best known work is his Commando series of WWII action novels. Jack reflects on indie publishing and the state of the genre.

Full Disclosure: Jack is a critique partner of mine. He’s also a fellow member of the secret commando group Sicko Slaughterers (“SS,” we really need a new acronym), which goes after terrorists and human traffickers. So far I’ve killed 1,487 sickos, while wimpy little Jack has only killed 1,059. He gets props for killing that ISIS commander in Raqqa with a blender, though.

Anyway, on with the interview.

The Men’s Adventure fiction of the 60s and 70s is obviously a huge influence on your work. You’ve mentioned that you think there’s a lot more going on in these books than many people think. Could you expand on that?

This genre of fiction was brewed up during an especially turbulent period of history. The Cold War, Vietnam, rejuvenated organized crime syndicates, the rise of international terrorist organizations, the War on Drugs… and those are just the chart-toppers.  These post-modern pulps of the period were a direct reflection of, if we want to get Freudian for a moment, society’s collective Id. The Executioner went out and slaughtered Mafiosi because we wished someone would, and Phoenix Force obliterated terrorists because we wished someone would. Even today, the modern successors to these stories feature ex-SEALs and former Delta Force operators hunting terrorists and organized crime syndicates, stories little different than those written thirty or forty years ago.

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Wild West Outlaws of the Silent Screen: When Hollywood Hired Real Bandits

Wild West Outlaws of the Silent Screen: When Hollywood Hired Real Bandits

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Jesse James Jr. (left) in a promotional still from Jesse James Under the Black Flag.
Jesse James Jr. (left) in a promotional still from Jesse James Under the Black Flag.

When movies first became popular at the beginning of the twentieth century, the world was already captivated with tales of the Wild West. Dime novels, plays, and traveling shows entertained millions in the U.S. and abroad. Movie directors were quick to pick up on this and Westerns were a popular film genre right from the start.

The first years of film overlapped with the last years of the Wild West. The last corners of the frontier were being settled, and some towns still had the shoot-em-up reputation movie viewers craved. Directors often went on location and hired real cowboys to do their stuff in front of the camera. One of them, Tom Mix, became one of the genre’s enduring stars.

But movie directors wanted bad men too, and they didn’t have to look far. Several real Western outlaws reenacted their crimes on camera.

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Mashed Up

Mashed Up

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FireflyAs might be expected from the guy who wrote Sword Noir: a Role-Playing Game of Hardboiled Sword & Sorcery and is now Kickstarting Nefertiti Overdrive: Ancient Egyptian Wuxia, I love a good mash-up. I use the term mash-up to refer to a creative work that blends two or more apparently dissimilar genres. The mash-up most genre fans would know would be Firefly, mashing-up space opera and westerns.

Brotherhood of the WolfNow space opera and western are not terribly dissimilar, but Firefly included many of the trappings as well as the tropes of the western. The characters carried six-shooters and lever action rifles, they had costumes that appeared quite close of 19th century American frontier clothing, and pseudo-frontier language dotted their speech – along with Mandarin. While I often hear Firefly referred to as sci-fi with some western aspects, I think it is more fitting to call it a western in space.

That’s kind of splitting hairs.

Firefly melded two genres, but there is a wonderful French movie that mixes at least four – period drama, martial arts, horror, and romance. The Brotherhood of the Wolf is one of my favourite movies and an inexhaustible source of inspiration. It might not be the finest movie of its age, but it was my favorite movie of 2002.

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