Monday, March 21, 2016

Guns and the Old West by Gordon Rottman



Firearms of all kinds and flavors were important implements in the Old West. Besides their use by “shootists”—the term “gunfighter” was little used during the era while “gunslinger” originated in the 1920 movie, Drag Harlan, they were the constant companions of lawmen, ranchers, farmers, hunters, storeowners, travelers, and just about anyone else. Even townsmen might own a shotgun or small-caliber varmint rifle.
Understanding the realities of firearms in the Old West is important for writers. Granted, some take the safer minimalist approach to depicting firearms in writing. For example, the firearm used by a town marshal might be identified only as a “pistol” or “revolver” with no mention of its make, model, or even caliber. It might be called only a “Colt” or a “.45” or a “Peacemaker.” It’s “safer” than identifying a specific weapon that may not have been used in the story’s timeline. Some writers will include full information, a “Winchester .44-40 Model 1973 rifle.” That may be too technical for some. Others consider it a slowing of the reading pace. Of course once mentioned, such complete nomenclature need not be repeated.


I say “safe” in the minimalist sense in regards to writing as it requires less in-depth research (a timesaver) and less of a chance of making an error. An example, the .44-40 Winchester Model 1873 was of course introduced that year. But it was not available in .38-40 until 1879 and .32-20 until 1882. Hopefully this series will provide you with some ideas and answers in regards to firearms of the Old West.
It is easy to get the impression from novels and movies that just about the only guns used in the West were Colt revolvers and Winchester rifles. That’s far from true. So what firearms were in common use? Over the next few months—I have no idea how many parts this series will entail—we’ll discuss the firearms used in The Hardest Ride. When I came up with the idea of this article, I thought the novel might be a good mechanism for the examination. It’s set in the winter of 1886, by which time most of the firearms in use through the Old West era were already in distribution. There were of course later weapons introduced, but by then many did not see widespread use in the Old West era. A word on distribution. The Colt Peacemaker, for example. It was introduced in 1874, but it was a year or two before they even came into wide use. Another consideration when mentioning a weapons caliber. A particular weapon may have been introduced in a particular year, but not necessarily in all the calibers it was eventually made in.  As this series continues we’ll also look at additional arms mentioned in The Hardest Ride’s sequel, Ride Harder.

A rope and a gun
Guns were tools of the trade for 1880s cowboys and vaqueros. These are some who argue that many cowhands didn’t carry guns, that Western movies and novels overplayed the common use of the gun. They claim too that this is based on period photographic evidence. Many photographs of the Old West are from its later years and guns were indeed not as frequently carried owing to the spread of law and order. Most towns had laws on the books prohibiting guns within the incorporated limits or at least within saloons and certain other establishments, not unlike today. In many towns, respectable citizen, even cowhands known to be steady and trustworthy, carried guns openly. They were known and trusted by the marshal, mayor, judges, etc.
It may surprise some that in 1871 the Republican Texas Legislature passed a law stating: “If any person in this state shall carry on or about his person, saddle, or in his saddle-bags, any pistol he shall be punished by a fine of not less than twenty-five nor more than one hundred dollars. That’s about $2,000 today. The law didn’t apply to travelers and those in “frontier county liable to incursions by hostile Indians.” The primary motivation of the law was to allow the Reconstruction government to disarm Confederate sympathizers and those interfering with the rights of freed slaves. Later, it allowed the Democratic Legislature to disarm Black sharecroppers. Rifles and shotguns could be openly carried.
Pistols or revolvers? While there’s a distinction between the two, the terms were used interchangeably by the cowboy. What’s the difference between the two terms? Well, a pistol is any handgun, whether single-shot or a self-loading semi-automatic, that’s not a revolver.
Guns though were important to the cowboy and widely carried, especially on the 1880s Texas-Mexican border. By then there were few Indian troubles, but Mexican banditos, rustlers, highwaymen, robbers, and plain old troublemakers were still plentiful. As a tool, the cowboy viewed the gun as essential. The borderlands were perpetually simmering and it didn’t take much for serious trouble to boil over. There were even county “election wars” that saw their share of gunplay. Guns were carried through for self-defense from the occasional bad man or outlaw, but more commonly used for ranching “chores.” This included, but was not limited to putting down injured or sick cattle and horses, killing snakes, eradicating destructive javelina and wild hogs, shooting coyotes, skunks, and wild dogs—feared because of hydrophobia—rabies, and bagging game when the opportunity presented itself. Wolves and pumas, a threat to cattle and sheep, were rapidly being eradicated from many areas.
True, many cowboys didn’t routinely carry a revolver, but they often owned one, even if only a small-caliber cheapo model. Some didn’t carry one openly, but in their saddlebag or coat pocket. More commonly carried was the rifle, or more often, the shorter barreled carbine for its handiness. Even out in the wide open spaces there was not a lot of use for longer barreled rifles, unless one was a serious hunter…and a darn good shot. Depending on where one was, the most common game was mule deer, white-tail deer, and pronghorn antelope.
Before we talk about specific guns, let’s discuss an important factor. Realistically, at how far can targets be hit?

Realistic shooting ranges
For the cowboy, most rifle shooting took place at relatively close ranges, typically under a hundred feet, usually much less. Most cowboys were not all that good a shot and were hard-pressed to hit anything near a hundred feet much less a hundred yards. The chances of hitting a moving target at such ranges were almost impossible. In the opening of The Hardest Ride Bud’s first-round hit on an airtight with a rifle at a hundred paces, maybe ninety yards, was actually a very good rifle shot. They didn’t have the funds to spend on a lot of ammunition.
More widely used than seen in movies and novels was the plain old double-barrel shotgun. A shotgun plays an important role in The Hardest Ride, a metaphor for a young woman’s unconventionality and independence. Shooting was at generally close ranges and the shooter was not always that good of a shot. Shotguns were good for small game and bird hunting, and eradicating varmints. It was a lot easier to hit a rattlesnake, or a man for that matter, at twenty feet with a scattergun than a revolver. They were also cheaper than a mechanically sophisticated carbine. A shotgun gave a man only two shots though. Scatterguns only scattered so much. At thirty yards they only had about a three-foot spread. At forty yards they began to spread more, but by then only a small number of pellets hit the target and they had lost much of their potency. In room-size shooting situations their spread might only be a foot, certainly not room-clearing blasts as is often assumed. More often than not, shotguns retained their long barrels. Swan-off shotguns (under 18 inches) and short-barreled (20-22 inches) coach guns were relatively uncommon. We’ll talk more about shotguns in a future installment.
Most handguns, or rather the shooters themselves, were not very accurate at over twenty yards, and that’s really pushing it. It takes a crack shot to hit airtights at fifteen, even twenty yards. More realistically, 10 yards—just 30 feet, was a difficult shot for an airtight or bottle. By the way, I don’t think they shot to pieces a lot of bottles. They were too useful for other things. Beer bottles, emerging in the 1880s by the way, could be sold back to brewers. Most gunfights, not that many cowboys were even involved in one, were at ranges of ten to twenty-five feet. There is an account of the shootout between James Butler Hickok—“Wild Bill” Hickok—and Davis Tutt in Springfield, Missouri. They opened fire on one another on first sight at 150 feet. While the actual range is disputed, many eyewitnesses claim it is so. Tutt bit the dust by the way. If true, that is certainly an extreme range for a revolver fight.
And then there’s the silliness. There are numerous Western movies in which a gunman braces himself, takes careful aim, elevates his pistol based on I don’t know what, and hits a moving target at extreme range. It didn’t happen. Handguns had short 4-6-inch barrels. Even with a “long” barreled revolver with a small powder load, a heavy bullet, and simple sights, it was difficult to hit a stationary man-sized target at even thirty yards. Keep in mind that all guns of this period were still firing black powder. Black powder loads offered more variance in ballistics than the smokeless powder loads appearing in the 1890s. Bullets were solid lead, no semi-jacketed hollow-points or anything fancy. With short barrels, heavy blunt bullets, and light black powder loads, any degree of long-range accuracy with a handgun was unobtainable, with the exception of the rare lucky shot.
Keep in mind too that when shooting from a galloping horse or from a jolting stagecoach, especially if the target too is on a galloping horse, is a virtually impossible shot. A fraction of an inch alignment of the barrel with the target can mean a miss by a foot or more at even a close target. Additionally there’s no way one can allow for windage and the irregularity of a gallop on even an open level ground.
About the silliest shooting sequence I’ve seen in a Western movie was so far beyond reality to be laughable. Unfortunately I don’t recall its title. If this rings a bell with someone, please let me know. The scene saw the hero duck behind a water trough as I recall and it just so happened that there was a 16-inch long 1 x 4-inch board laying there. He picked it up and there just so happened to be a knot near the end of the board that just do happened to be loose enough that he was able to knock it out with the butt of his Colt and it just so happened to be just the right size to insert the butt into the hole that just so happened to be the right distance from the board’s end to clear the trigger guard. With the revolver wedged into the knothole, he used it as a cumbersome shoulder stock to take aim and just so happened to hit the bad guy at a range difficult for a carbine.
I have tried to give an idea on the cowboys’ outlook and use of guns in The Hardest Ride as well as include some interesting and sometimes little known firearms that were somewhat more common than often acknowledged. There were a large number of firearms around other than Winchesters, Colts, and Smith & Wessons. They may not have been as common as these staple firearms, but they were widely used in their own right. We’ll take a look at Bud Eugen’s firearms in the next installment.

Tuesday, March 15, 2016

STORYTELLERS-7: SCOTT GESE, Author/Editor


When Scott Gese began writing western short stories, he recognized the need for a venue where he and other western authors could promote their work.


ROPE AND WIRE WEBSITE

Scott—who collects old western novels including a first-edition "The Virginian" by Owen Wister—came up with the idea of ROPE AND WIRE a website for "Promoting the West & Those Who Write About It." 

The site, says Scott, has enjoyed steady growth since it came online in 2007. He adds that ROPE AND WIRE  had "consistently been the number one western short story website on most major search engines and is currently seen in over fifty countries around the world." 

Scott writes shorts stories under the pen name of Christopher Scott. He also writes articles for newspapers and magazines and is involved in various copywriting projects. His first full-length novel—"Bitter is the Dust"—will be published by Black Horse Westerns in October. 

Scott, an accomplished woodworker and carpenter, makes his home in the "quaint pioneer town of Brownsville" in the heart of Oregon's Willamette Valley.

StoryTeller-s Logo


1. Your website, Rope and Wire, is an excellent promotional site for Western writers. Why did you create it and what are you trying to accomplish with the site.


The site was originally created as a way to supplement my eventual retirement income. A western themed website was at the top of my list. It's what I like to read and it's what I loved to watch on television and at the theater as I grew up. 
Over the past nine years, my objectives have changed immensely. My objective now is simply to promote the west and the authors who write about it and also to make enough money through Google ad revenue and affiliate links to pay the cost of running the site.What I'm trying to accomplish with this site has also changed—right alongside my outlook on life. 
Over the years, I've come to realize that the way to achieve success in life is to not be me focused, but to help others achieve their own success. So I guess you could say I've crossed over from a me mentality to a you mentality. What I really want this site to be about is helping others succeed. 
Those who are serious about successfully selling their books understand the concept of ROPE AND WIRE and they take full advantage of it, which is what I really enjoying seeing. The inexpensive “price of admission”—one short story—is well within reach of any published western author. 
The amount of author publicity generated from one short story is well worth every word. It's these stories that bring thousands of readers to the site each month. These are targeted readers who buy western books. 
Rope and WIre

2. You have three main sections: (1) Western Short Stories, (2) Postcards, and (3) the Bullpen. How about a brief overview of each?


The "Western Short Stories" section is just that. In order for published authors to become a  member of ROPE AND WIRE and receive all the free publicity it offers is to submit one western short story. The new addition of "Ranch Romances" should bring many more western romance novel readers to the site. Right now there is only one author in this section and he's reaping big rewards. 
The "Postcards" section is what I call one of the Bright and Shiny items that also attracts people to the website. This section is evolving. I started out with nine western states, but most were sitting empty and I didn't like the negative image of a half-empty site. I removed most and linked the section to another site I have, called Day Tripping in Oregon, which is linked back to ROPE AND WIRE.
The "Bullpen" section is an avenue that gives new writers who are developing their writing skills an opportunity to show their work. Hopefully, we'll be getting some up and coming talent posted in this section shortly.

3. What’s the primary appeal of Rope and Wire for readers? How do they benefit?


The main appeal and benefit to ROPE ANDE WIRE readers: they get to sample the work of some really great authors whom they may have never heard of. 
If they like what they read, they have the opportunity to find out more about the author through their bio and links to their social pages as well as a link to where they can buy one of their books.  
Rope and WIre

4. You write a lot of short stories that appear in Rope and Wire e-pulps. What draws you to the short story format?


I cut my teeth on the short story format. I didn't write more than a grocery list before I started this site. I was 51 years old at the time. When I started the site I needed to add content. Most authors were hesitant to submit their work to an unproven new site. 
Out of desperation, I researched how to write a short story. Once I had this figured out, I started writing my own stories to add to the site. It didn't take me long to figure out I not only liked to write, but that, for a beginner, I wasn't that bad at it. 
I would say it was desperation that drew me to the short story format. That's changing. I'm working on longer material these days.

5. From reading various authors and from your writing experience, pinpoint the key elements of a good Western.


I think the key elements to a good western are the same as for any genre. Among other things, you need to have strong characters, a protagonist, an antagonist, and conflict. There's a lot more that goes into a story, but these are key. Being able to carry at least three story lines simultaneously is also important. 
Also, you need to write well, and by that I mean, you need to be able to take your readers by the hand and show them the things you want them to see by involving as many of their senses as possible.  
They need to become one with the story, so to speak, you can't stand at a virtual podium and just tell your story. It will bore your readers to death. As the saying goes, “Show Them, Don't Tell Them.” 
Rope and WIre

6. What about younger readers. Is there any way of jump-starting interest in the Western—or have wizards, zombies, and vampires cornered the market?


Unfortunately, zombies have cornered the market right now. Even more unfortunate are the western writers who are playing along and creating Zombie Westerns. I'm a traditionalist, what can I say. 
The statistics I'm getting from ROPE AND WIRE show middle aged females as the most popular readers of the site. Which is why I think authors are missing an opportunity by not submitting stories to the "Ranch Romance" section of the site.

7. If there was one Western writer—alive or deceased—that you could meet, who would it be and what would you like to ask him or her?


How about alive and deceased. 
Deceased, I would have to say Andy Adams. I have some of his work posted on the site. I would love to pick his brain about the everyday life of a cowboy. The stuff we don't normally read about, but would definitely add value and dimension to any western character. 
Alive, there are several others producing excellent work. Dave P. Fisher, Kit Prate and Malcolm Davey (Cody Wells). I've asked these three so many questions it's almost embarrassing. All three have helped me out immensely with my writing. I owe them more than I'll ever be able to repay.

Connect with Scott:
_______

Friday, March 11, 2016

Cost of Living in the Old West, Part 1

I've recently discovered a couple of fascinating texts about life in the late 1800s, and thought I'd share some of the facts with my fellow authors. First, let's talk wages. Labor in Europe and America, by E. Young, not only surveyed a huge variety of workers, but lists the average wage for each job by state for 1860, 1870 and 1874.

For this time period, here's the breakdown of states. New England and the Middle Atlantic states were what we think of today. However, at that time, the Western states consisted of Ohio, Indiana, Illinois, Michigan, Wisconsin, Minnesota, Iowa, Kansas, Nebraska, Missouri and Kentucky. The Southern states were Virginia, North and South Carolina, Georgia, Florida, Alabama, Mississippi, Louisiana, Texas, Arkansas and Tennessee. Pacific states included California, Nevada and Oregon, while the Territories were Washington, Colorado, Dakota, Idaho, Arizona, Montana and New Mexico.



Here are some average daily wages you can use in your books:

Farm Labor:
Experienced Hands in Summer
            New England: $0.75-1.75 with board, $1.00-2.25 without
            Middle Atlantic: $0.38-1.63 with board, $0.63-2.14 without
            Western: $0.77-1.63 with board, $1.08-2.50 without
            Southern: $0.53-1.07 with board, $0.63-1.54 without
            Pacific: $1.00-3.50 with board, $1.60-5.60 without
            Territories: $0.75-5.00 with board, $1.13-6.00 without
Experienced Hands in Winter:
            New England: $0.42-1.25 with board, $0.75-1.75 without
            Middle Atlantic: $0.25-1.00 with board, $0.50-1.50 without
            Western: $0.60-1.17 with board, $0.92-1.75 without
            Southern: $0.36-1.00 with board, $0.52-1.34 without
            Pacific: $1.00-3.50 with board, $1.69-5.00 without
            Territories: $0.50-3.00 with board, $1.00-4.00 without
Ordinary Hands in Summer:
            New England: $50-1.58 with board, $0.83-2.08 without
            Middle Atlantic: $0.38-1.23 with board, $0.62-1.72 without
            Western: $0.64-1.39 with board, $0.90-1.88 without
            Southern: $0.33-0.84 with board, $0.47-1.50 without
            Pacific: $1.00-3.00 with board, $1.60-4.00 without
            Territories: $0.60-4.00 with board, $1.00-5.00 without
Ordinary Hands in Winter:
            New England: $0.40-1.17 with board, $0.67-1.50 without
            Middle Atlantic: $0.25-0.90 with board, $0.50-1.37 without
            Western: $0.55-1.03 with board, $0.75-1.49 without
            Southern: $0.28-0.75 with board, $0.40-1.00 without
            Pacific: $0.75-3.00 with board, $1.43-4.00 without
            Territories: $0.50-2.50 with board, $1.00-3.25 without



Common Laborers (non farm-work):
            New England: $0.50-1.67 with board, $0.83-2.17 without
            Middle Atlantic: $0.38-1.38 with board, $0.50-1.67 without
            Western: $0.72-1.50 with board, $0.99-2.13 without
            Southern: $0.44-1.25 with board, $0.67-1.70 without
            Pacific: $1.66-3.50 with board, $1.96-4.23 without
            Territories: $0.50-5.00 with board, $1.00-6.00 without
Female Servants (with board):
            New England: $0.25-0.50
            Middle Atlantic: $0.24-0.75
            Western: $0.26-0.60
            Southern: $0.16-0.50
            Pacific: $1.00-4.00
            Territories: $0.25-2.75


Mechanical Labor:



Blacksmiths:
            New England: $1.50-3.44
            Middle Atlantic:  $1.47-3.00
            Western: $1.75-3.50
            Southern: $1.40-4.00
            Pacific: $3.00-6.80
            Territories: $2.25-8.50
Bricklayers or Masons:
            New England: $1.75-3.90
            Middle Atlantic: $1.56-4.00
            Western: $2.18-4.25
            Southern: $1.71-4.50
            Pacific: $4.61-6.80
            Territories: $3.00-9.00
Cabinet Makers:
            New England: $1.63-3.25
            Middle Atlantic: $1.32-3.00
            Western: $1.84-3.18
            Southern: $1.50-3.25
            Pacific: $3.75-6.88
            Territories: $2.50-7.00
Coopers:        
            New England: $1.59-3.19
            Middle Atlantic: $1.31-3.00
            Western: $1.58-3.62
            Southern: $1.00-3.58
            Pacific: $3.63-5.84
            Territories: $3.00-6.00
Carpenters:
            New England: $1.50-3.25
            Middle Atlantic: $1.50-2.75
            Western: $1.78-3.88
            Southern: $1.50-3.75
            Pacific: $3.95-6.00
            Territories: $3.00-7.50
Painters:
            New England: $1.50-3.00
            Middle Atlantic: $1.50-3.01
            Western: $1.93-4.00
            Southern: $1.50-3.11
            Pacific: $4.06-7.80
            Territories: $2.50-7.50
Plasterers:
            New England: $1.75-3.69
            Middle Atlantic: $1.76-3.75
            Western: $2.08-4.13
            Southern: $1.67-4.11
            Pacific: $4.75-7.80
            Territories: $3.00-11.00



Shoemakers:
            New England: $1.37-2.69
            Middle Atlantic: $1.35-2.62
            Western: $1.54-3.00
            Southern: $1.06-3.00
            Pacific: $3.82-5.88
            Territories: $3.25-7.00
Stone Cutters:
            New England: $2.00-4.05
            Middle Atlantic: $1.50-4.50
            Western: $2.25-4.00
            Southern: $1.50-5.00
            Pacific: $4.68-7.00
            Territories: $4.00-11.00
Tailors:
            New England: $1.37-3.75
            Middle Atlantic: $1.34-2.72
            Western: $1.59-2.95
            Southern: $1.25-3.50
            Pacific: $3.00-6.00
            Territories: $3.00-8.00
Tanners:
            New England: $1.50-3.25
            Middle Atlantic: $1.40-2.74
            Western: $1.61-2.88
            Southern: $1.17-3.25
            Pacific: $3.31-5.60
            Territories: $3.00-8.00
Tinsmiths:
            New England: $1.50-3.19
            Middle Atlantic: $1.33-2.78
            Western: $1.54-2.81
            Southern: $1.65-4.00
            Pacific: $3.00-6.00
            Territories: $2.50-7.50



Wheelwrights:
            New England: $1.50-3.12
            Middle Atlantic: $1.35-2.95
            Western: $1.78-3.88
            Southern: $1.58-3.61
            Pacific: $4.00-8.75
            Territories: $3.00-8.00


J.E.S. Hays
www.jeshays.com
www.facebook.com/JESHaysBooks


For more details, and other types of work, visit https://archive.org/stream/laborineuropeame00younuoft#page/754/mode/2up

Tuesday, March 8, 2016

LIVING WITHIN HISTORY: INTRODUCTION OF AN AUTHOR By Shayna Matthews




"LIVING WITHIN HISTORY: INTRODUCTION OF AN AUTHOR"
By Shayna Matthews


     The center within oneself does not begin with birth, but rather with the histories of those who have trod before us. To fully understand—to appreciate—who we are, we must examine their stories. Reflect on them, for they are the breath of past lives. Of our lives, yours and mine.

     This is my first blog for you, Western Fictioneers reader, and I thought to introduce myself. A feat easier said than done, for to understand who I am, one must be willing to glimpse within the memories of childhood. I was three years old in 1983 – the year I started living within history.

     My parents, with attire and camp accurate for the 18th Century, began taking me to reenactments throughout the east coast. We would camp, up to ten days at a time, in fields sometimes over a mile long. Imagine, as a child, a mile’s worth of valley nestled between mountain ranges, littered with white canvas tents. Our meals were cooked (and smoked) over a campfire, and we dressed in clothing accurate for the era. No modern conveniences, no matter what the weather. Those were the days of perfection.  I recall the days at Schroon Lake, with sandy beaches and broad lake, running and canoeing with my small band of Patriots, chasing Lobsterbacks through the fields and woods. Our play was imaginary, recreating forts from firewood, aided by sticks serving as muskets. A few of the lucky ones had replica wooden rifles with which to keep the enemy at bay. I wrote specifically about these memories, life-changing adventures, and impenetrable bonds in a story entitled “A Spot in the Woods” from the Memories From Maple Street: Leaving Childhood Behind” anthology.

     When we weren’t playing Patriots and Lobsterbacks, (the period edition of Cowboys and Indians), my dearest friend and I would catch grasshoppers in tin lanterns, or weave daisy chains for my hair. By day it was play, but when night fell across the campsite, and the soft glow of a thousand candle-lanterns and campfires illuminated the tee-pees and lodges scattered throughout the valley, magic happened. Friends gathered around the fireside, passing jugs, playing music, and telling stories. History came to life…I could hear the whispers of our ancestors on the wind, and in the crackling of another log fed into the fire. This feeling that settles over a camp after nightfall is the embodiment of everything I am made of. The adults would tell stories, and I would huddle in a wool blanket, nearly burning the soles of my moccasins in effort to keep warm, and sustain a comfortable silence…listening. The quieter I was, the better chance I had at staying up late. When my mother remembered to put me in bed, I would lie against the wall of the tent, ears trained to the stories told by adults when children were “asleep”. This is, coincidentally, where I gained the most valuable education of my life. Ahh, blessed be for the grown-ups forgot how thin the walls of a canvas tent truly are!
                                     
     In the modern world, I went to public school and suffered in silence. It was not so much an education for me as it was day to day survival. I was quiet, far-removed from aspects of childish peers and their relenting bullying. I survived, day to day, at best. Only at the reenactments did I dare to breathe...save for one thing. My grandfather, an avid western reader, began sharing his full collection of hardbound Zane Grey novels with me. Zane reeled me in from page one of Riders of the Purple Sage. The die was cast--my grandfather and I forged a tighter bond through the love of the Western. Zane was my daily escape; together we rode horseback through the desert sage. I latched onto the western classic films, novels and lifestyles.

     Over the years people commented about my quiet manner, little did they know I was building entire worlds within my mind, fed a little at a time, by their stories. Our tight knit group of friends raised me, educated me, made me who I am today. Who I am, is a writer. A storyteller, an author, photographer, weaver of period straps and sashes, a mother, an explorer, and a historian…of sorts. I weave history into fictional tales of the past. Westerns are my passion, and I strive to build characters who jump off the page, unconsciously teaching the reader a thing or two as they story progresses. Historical accuracy paired with a well-told story is a must, and the constant research to undertake such a strict point of view—what a ride! You never know what you will uncover beyond the veils of the past, what nugget of history will inspire you to write with the whisperings of your ancestors over your shoulder.

      I am driven by the sounds of spring peepers at dusk, and of wooden tent stakes being hammered into the ground. The scent of leather, horse sweat and campfire smoke sends me into a tailspin of memories, both sweet and bitter. The sight of a thousand lanterns, glowing faces in the firelight, it all reminds me that we are but one grand chapter woven into the coverlet of life. May we live with the grit, love and endurance of those who came before us, and keep the sparks of their stories alive. May we be known for the tracks we leave behind.

This is who I am. Who are you?

Written by Shayna Matthews, author of “The Legend of Venture Canyon” and “A Spot in the Woods”.




Friday, March 4, 2016

Inspiration? by Sara Barnard

As writers, inspiration comes in many forms. When I was writing my Everlasting Heart series, which is due to be released from Prairie Rose Publications in April of this year, my inspiration was rich. A husband in Afghanistan, emergency surgery which predicted cancer in my thyroid, and home alone with three young children and an overactive creative mind. All of this filled the pages of the four books which comprise the Everlasting Heart series, A Heart on Hold, A Heart Broken, A Heart at Home, and A Heart Forever Wild -- all so aptly titled.

In this series, Charlotte Adamsland is left behind when her love, Captain Sanderson Redding, leaves to fight for the south in the American Civil War. After a series of adventures and trials (and battle scenes straight from the fields of Afghanistan), When word reaches Charlotte of Sanderson's death in battle, she refuses to believe it and heads north with only her faith in God, trusty horse, and belief in Sanderson's promise to return to her no matter what to drive her on. And that's just the first book.

When I completed all four books of the Everlasting Heart series, I felt as though I'd shared all of my deepest darkest secrets -- and dirty laundry -- in the pages. Do all writers feel that way?

I find much in my family life, between four kids and a mess of rescue animals and an Army veteran husband. Maybe that's why I am working on my 23rd book right now.

What is your inspiration when you write?