Ignore me. I’m sick.

What is this art form? This theatre of words moving across a page? The trade of building images out of symbols? Carving literary statues with grammatical chisels? Writing is so much and so little. A bad sentence is almost indistinguishable from a good one. It takes a person with a degree to know what is good and what is not. They will tell you Dan Brown paints his words with turds and shake their fists at the pages of The Bookseller magazine which dares to print sales figures that contradict their assessment.

The average reader has no idea. Nor do they care.

You can have a novel, 120,000 words long, and find nothing of meaning within its pages. Heroes running the same course as many before them. A save-the-cat journey of write-by-numbers plots designed to move and thrill. The same story sold bought and read again and again and again.

Another book. Which follows no particular pattern. Does not follow the rules of grammar exactly. And does not dance around a story circle. Filled with depth and aphorisms and wit. Is never read.

If a genre book is considered literary is it no longer genre? If a literary book is blandly written is it still art? Is storytelling itself art, regardless of the prominence or not of adjectives in its prose?

I always wanted to write whatever the British equivalent of The Great American Novel is. In wanting to learn how to do this I have become more and more interested in turning a collection of words on a page into a continuous moving image in the reader’s mind. I write westerns now. The goal of the books is not to blow you away with a skilful display of my vocabulary and the wrangling of obscure and rarefied words, but to put the words out of your mind entirely. I want my stories to grab you by the hair and drag you through the dirt. I want you to read them in one sitting and turn that last page with your heart racing and your eyes raw with fatigue and belly hungry. But instead of eating, or sleeping, I want you to turn right back to the start and read it again. Is that art?

To do that, maybe I have not created art. I have created entertainment.
Will that do? Is that enough?
I still want to write The Great British Novel, but writing pulp is too much fun.

Right now I am sick. I’m sat on the couch amidst a snowstorm of crumpled tissue. My nose is red. I’m sniffling. I have a tickle at the back of my throat that I have been refusing to turn into a cough since I started writing this incoherent nonsense. I should be writing the next chapter in my book but instead I am rambling about, what? Whether or not writing is art? I have no idea. I have lost the thread of my original thought. The cold that has turned my brain into a red hot storm of snot has forced my imagination into some kind of fevered spasm of bollocks.

I have the urge to write but not the clarity to do so usefully. So now I have done this. I started writing with no plan and have ended up here, and you’re right here with me, wondering what the point of any of this is.
We are conjoined in an existential crises of blog gibberish. I will set you free so I can go and sneeze.

Let me leave you then. I am going to drink coffee, cough up some lung-butter (as Rachel so juicily calls it), take some Sudafed, and try again to write what I opened my laptop to write in the first place. Some good old fashioned gun-slinging pulp fiction.

His Name Was Shane

I’ve been going back and reading the classics of the western genre. The cornerstones of gunslinging pulp.

(The following contains spoilers. So if you just want my reaction, I loved it. I recommend you read it).

Shane by Jack Schaefer was first published in three parts in Argosy magazine in 1946. Pulp to the core. It came out as a novel in 1949 and has never been out of print. Literature with a capital W.

It’s a small book that takes its time. A slow burn. Told from the viewpoint of a boy, Bob Starrett, who watches this mythic rider come into town. The man on the horse stops at his farm house and asks for water for him and his horse. His name is Shane. The boy becomes infatuated with him. His father, Joe Starrett, offers the stranger a bed for the night and he ends up staying for much longer.

They spend time on the land. Shane helps Joe remove a tree stump. It takes a long time and Schaefer keeps with it. Showing each swing of the axe.

Shane doesn’t talk about his past and much speculation is made of him.

Soon that past, or knowledge of who he is, catches up to him. A man flees town upon merely setting eyes on Shane.

Bob and his parents are being run out of town by a rancher who needs their land back. They are homesteaders who staked their land on Luke Fletcher’s ranch. Land Fletcher had never claimed himself.

Shane stands up and defends his new home.

At first I wasn’t sure about the book. You’re spending time with these characters without a lot happening. But the writing won me over. There is something about the farm and the people that pulls you in. I liked spending time with Shane, and Bob, and Joe.

It rewards you for your patience with a great final act.

I would read it again. If you love westerns and haven’t read this one yet it’s well worth it.

The Wild West Is Coming Back…

Who loves westerns? Everybody? Great. Come and join the Elwood Flynn group. I will be releasing four westerns next year and if you want an early insight into the world of Robin Castle, as he travels a path of vengeance and violence, this is the place to be. Get in early.

I will be releasing a short story soon. A taster of what is to come.

All my stories come with Elwood Flynn’s Solemn Promise – This book will contain scenes of extreme violence and themes of loss and vengeance.

Be warned. Be thrilled.

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5am Writing Blues

Getting up at 5am to write stopped being fun this week. It was hard. The words came out like stone toothpaste.

Next week will be different. I will get up with that same verve that I started with. The excitement of being amongst gunslingers while the house slept.

This week was difficult because the story stopped being a western. It was always meant to start in New York and wind its way west. I’m halfway through and can’t find my way out of the city. Gritting a 6’9″ pissed off lawman and a percheron horse halfway across a country is harder than it sounds, especially when you’re trying to maintain a certain level of pulp action.

I should have picked a city closer the the lawless frontier.

This is Robin Castle’s origin story. He’s a marshal in New York. Something terrible happens to his family and the guy who did it flees. Castle gives up his badge and the rule of the law to take after him.

He finds himself in a dry unforgiving land with vengeance in his heart and a gun on his hip.

Sounded simple when I came up with it.

Author Interview with Elwood Flynn

It is no secret that Elwood Flynn and I are the same person, which makes interviewing him slightly tricky. I write literary horror and he writes pulp westerns. He is my penname, but our styles are different. I wanted to sit down and talk with him about his process.

I met him on set of his first novel, Hell’s Ridge. A small frontier town near the Colorado River. It was 1875. I found him in a dark corner of the saloon. He had a typewriter on the table with a page loaded. He had stopped mid-sentence. Loose tobacco littered a short stack of typed pages.

He was fishing a tooth out of his whiskey. I took the seat opposite him. He didn’t look up or acknowledge me. He let out a sigh. His shoulders sagged. He stared at the elusive molar.

I knew his temperament. I waited for him to initiate the conversation. I looked around at my surroundings. I felt out of place in my t-shirt. A piano played by the bar. I thought maybe I’d go and get a drink. Then Elwood came to a decision. He put the glass to his lips and drank, tooth and all. He put his fingers back to the keys on the typewriter and noticed me.

“What do you want?”

“It’s time we talked.”

INTERVIEW TRANSCRIPT

ELWOOD: No.

ANDREW: It won’t take long.

ELWOOD. No.

He started to type.

I waited.

ANDREW: What are you writing?

ELWOOD: You know what I’m writing.

I decided to get a drink. When I came back he was smoking a badly rolled cigarette.

ELWOOD: I don’t like your books.

ANDREW: Why not?

ELWOOD: You try too hard.

ANDREW: What do you mean?

ELWOOD: You write “literary” horror. That’s how you describe it.

ANDREW: Yes.

ELWOOD: Do you know how pretentious it is that you feel the need to include the word “literary”? Carpenters don’t describe a table as being “wooderary”.

ANDREW: We write in different styles. I write long form horror that adheres to literary convention, you write pulp fiction. I spend hours labouring over the language, ensuring there’s no repetition or-

ELWOOD: Repetition? If your “literary sensibilities” are shaken because you had to read the word “gun” twice on the same page you don’t deserve to be entertained by me. I don’t care if you read it three times. All I care about is the story, which, if I’ve done it right, will be dragging you along by the hair so fast you won’t have time to count the words.

ANDREW: So you don’t care about good writing?

He ignored the question.

ELWOOD: You want long descriptive passages? Tough luck. Use your imagination. All you need to know is Robin Castle has a gun and a bad guy is about to die. And I do care about the writing. I just have different opinions about it to you.

ANDREW: Robin Castle is a great character, how did you come up with-

ELWOOD: Don’t brown-nose me. I’ve read that horror book you wrote, Jack’s Game, is that what it was called? You know you don’t need to describe the curtains, right?

ANDREW: I’m sure I didn’t describe the curtains.

ELWOOD: Nobody ever read a Jack Reacher book and said, “Do you remember the curtains in that one scene? They were great curtains.”

ANDREW: I don’t describe curtains in my books.

ELWOOD: You’re stopping me from writing.

ANDREW: Can I ask one more question?
He didn’t answer.

ANDREW: Is this where you normally write.

ELWOOD: No. I normally get up at 5am. I write for two hours. And then I go to work.

ANDREW: I write in the evenings, when I get the chance.

ELWOOD: You’re lazy.

ANDREW: I’m you. I guess I’m just grumpier in the mornings. That might explain your attitude.

He pulled a gun on me. It was an old six-shooter.

ELWOOD: I will shoot you if you keep speaking.

ANDREW: This is ridiculous. We’re the same person. I just thought it would be good to get inside your head a bit. Try and understand how you think. Why you write the way you do? What made you decide to pair the language down? To write novellas instead of proper boo-

ELWOOD: Proper books? There’s no such thing as a proper book. Long novels are just indulgent. All I did was get rid of all the boring bits. Rip the curtains down. It’s all about movement and dialogue.

ANDREW: I’m not trying to offend you.

Elwood pulled the hammer back.

ANDREW: You can’t kill me.

He pulled the trigger. I felt the bullet smash through my ribcage and lodge in my lung.

He fired again.

Everything went dark.

END OF INTERVIEW

Join the Elwood Flynn Facebook group for news about his upcoming series of Westerns starring Robin Castle, the 6’9″ lawman turned feared bounty hunter.

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Researching the Wild West – Black Elk

Black Elk

It always surprises me how recent events in American history are. In my imagination, fighting between Native Americans and the settlers ended hundreds of years ago.

Black Elk witnessed the Battle of Little Bighorn. He toured with Buffalo Bill’s Wild West Show. He was around when 200 Sioux were massacred at Wounded Knee, putting an end to Native American military resistance in the West.

In 1930 he told his story to writer, John Neihardt. Black Elk Speaks was published in 1932.

He died in 1950.

When Black Elk was a twelve year-old boy he and a small band of Sioux set off to meet Crazy Horse and Sitting Bull on the Rosebud River. This is his account of a run-in with some white men.

“We were a small band, and we started in the night and traveled fast. Before we got to War Bonnet Creek, some Shyelas (Cheyenne) joined us, because their hearts were bad like ours and they were going to the same place. Later I learned that many small bands were doing the same thing and coming together from everywhere.

Just after we camped on the War Bonnet, our scouts saw a wagon train of the Wasichus ( white men ) coming up the old road that caused the trouble before. They had oxen hitched to their wagons and they were part of the river of Wasichus that was running into the Black Hills. They shot at our scouts, and we decided we would attack them. When the war party was getting ready, I made up my mind that, small as I was, I might as well die there, and if I did, maybe I’d be known. I told Jumping Horse, a boy about my age, that I was going along to die, and he said he would too. So we went, and so did Crab and some other boys.

When the Wasichus saw us coming, they put their wagons in a circle and got inside with their oxen. We rode around and around them in a wide circle that kept getting narrower. That is the best way to fight, because it is hard to hit ponies running fast in a circle. And sometimes there would be two circles, one inside the other, going fast in opposite directions, which made us still harder to hit. The cavalry of the Wasichus did not know how to fight. They kept together, and when they came on, you could hardly miss them. We kept apart in the circle. While we were riding around the wagons, we were hanging low on the outside of the ponies and shooting under their necks. This was not easy to do, even when your legs were long, and mine were not yet very long. But I stuck tight and shot with the six-shooter my aunt gave me. Before we started the attack I was afraid, but Big Man told us we were brave boys, and I soon got over being frightened. The Wasichus shot fast at us from behind the wagons, and I could hear bullets whizzing, but they did not hit any of us.

I do not know whether we killed any Wasichus or not. We rode around several times, and once we got close, but there were not many of us and we could not get at the Wasichus behind their wagons; so we went away. This was my first fight. When we were going back to camp, some Shyela warriors told us we were very brave boys, and that we were going to have plenty of fighting.”