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 June-August 2007
 
 
 | BLACK
HORSE EXTRA 
 David Whitehead's Fifty Notches    Hoofprints
 A Primer in Realistic Ballistics
 Let's Do the Twist!    New Black Horse Westerns
 
 
 A sentence in our top feature below notes that Black Horse Extra has gone from strength
to strength. This is in the sense that the March edition attracted more
visitors than any before it. At the two-month point in its term, the edition
had received more hits than each of its predecessors over a full three months.
 The improving results since the venture was launched are due to the effort
 and support of a small, dedicated group. Our core interest is the Black
Horse Western novels published by Robert Hale Ltd, of London. These  books
are written by a team of perhaps two dozen freelance writers. An accurate
 tally isn't easy because of a tendency for the writers to come and go and
 for some to work under several different pen-names simultaneously. Of the
 active writers, only a minority are known to bother with spreading via the
 Net the message about the continuing availability of what is broadly known
 as the traditional western.
 
 Everyone associated with Black Horse Extra would welcome participation
by  their silent colleagues . . . their revelations, their fresh ideas, their
 news. And readers' views are equally important to us. You can reach us without
obligation and promptly at feedback@blackhorsewesterns.com
 
 Elsewhere, debate continues about the state of the western genre and the
 need for it to be saved. In particular, US editor and book packager Russell Davis has been
making a commendable effort at his new blog Westerns for Today, with tentative
suggestions for a publishing venture and an education drive, plus an appeal
for more email activity, websites and blogs. It's a cause already dear to
hearts at Black Horse Extra and we hope to be able to lend a voice to Russell's
campaign. A good starting point is encouraging wider interest in the ten
new Black Horse Westerns published every month.
 
 The gather on this range today includes an interview with genre stalwart
 David Whitehead, a follow-up on western weaponry by Greg Mitchell, whose
 article on the Walker Colt last time produced a unanimously complimentary
response, and the always popular gallop that produces Hoofprints.
 
 Happy reading!
 
 
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 | The Extra interviews 'Ben Bridges' 
 DAVID WHITEHEAD'S FIFTY NOTCHES
 
 
 
            
     Knowing that if George wasn’t already dead, he very soon would be, O’Brien 
  turned his attention back to Pistol-Whipper, expecting -- hoping -- to see
  the man turning tail and lighting a shuck.Instead, he found himself staring right down the barrel of his 
 opponent’s   Cavalry Colt.
 He thought, Damn!, which was pretty mild considering
that   he’d  just used up his fifth and final shot on George, and the Lightning 
 in his  fist was now empty.
 Hard on the heels of that, he thought about the Winchester .45/.60 
   in the scabbard under his right leg, although he knew he’d never be able 
  to draw, aim, lever and fire the rifle before Pistol-Whipper blew him out 
  of this life and into the next.
 All of which left him with only one other weapon to which he 
had   immediate  access -- a weapon he used without further ado.
 He bawled, “Yee-haah!” again, and the blood-bay beneath 
 him   powered forward into a flat-out gallop, all thousand pounds-plus of 
 it headed   straight for his adversary.
 Draw
    Down the LightningBen Bridges
 
 PEOPLE on the western fiction scene are far more familiar with David
  Whitehead talking about other writers' work than his own. David has been 
 promoting the genre, championing the genre and recording the genre's history 
 for -- gasp! -- more than 25 years.
 
 To general applause, David has been a real friend of  Black Horse Extra
  from its outset, contributing several major articles. This has been more
important than can be imagined by those  not in a position  to know what
goes on behind the scenes. At a pre-existing  Net  forum, a couple of BHW
authors, who shall remain nameless, had the odd  notion  that anyone expressing
views not suiting themselves or their friends  should  be denied an audience and fellowship. "I will not allow
any emails regarding   another version of  [BH newsletter] to be passed through
this group," said the man in  charge. "Anyone doing so will be automatically
removed."
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    For a writer of David's stature -- among others -- the attempted  ostracizing
 cut no ice, and the Extra has gone from strength to strength,  enabled to
do so with thanks from the books' publishers and by the unselfish  donation
of authoritative material like David's fine features on Lauran Paine  and
Marshall Grover.
 The occasion of the publication of David Whitehead's fiftieth book -- a list that began with The Silver Trail in 1986 -- was
 scarcely needed to prod us into turning the tables and demanding an interview.
 
 BHE: First, congratulations on notching up fifty books! That’s
   quite an accomplishment.
 
 DW: Well, not if you compare me to the likes of Lauran Paine
  or  Geoffrey  John Barratt, but I know what you mean, and I have to confess 
  that  reaching  this milestone has given me a great sense of achievement.
 
 |   
 |  
            |   J. T. Edson
 
 |  BHE: What can you tell us about your new book -- your first 
 in  something  like five years?
 DW: Draw Down the Lightning is my fourteenth
 Carter    O’Brien yarn and I think it recreates the spirit of the earlier
 O’Brien  stories  pretty well, in that he gets hired to solve or otherwise
 deal with  a seemingly  insoluble problem and somehow, against all the odds,
 manages  to work everything  out. The idea came from a TV show I happened
 to chance  upon one afternoon  about fifteen years ago. It was all about
adopted children  trying to find  their birth parents. That in itself didn’t
provide the plot,  though -- it  was the occupation of one of the missing
fathers that really  got me thinking.  I won’t say too much, because I don’t
want to spoil the  surprise, but it does go to show just where ideas can
come from.
 
 BHE: Over the last few years you’ve become a regular commentator
    on the western genre. Is it fair to say that you’ve always been a western
    fan?
 
 DW: Very much so. I was first introduced to the genre by
my  father,   who was a big western fan himself, so I was more or less born 
all  fired-up   by the enormity of the land, the fortitude and optimism of 
the  pioneers,  the code of honour the good guys were supposed to stick to 
and  the neighbourliness    of those folks whose only hope for survival was 
to  stick together. I started    reading westerns when I was about nine or 
ten  years old, beginning with  J.  T. Edson and Marshall Grover, both of 
whom  I eventually got to know pretty    well. I started writing my own westerns 
 around the same time -- my first   continuing character was “Clint Jones, 
 Railroad Detective”.
 
 BHE: It has been reported that you wrote about twenty books 
 before   you scored your first acceptance back in 1986.
 
 | 
 
 |  
            |   Peter Watts
 
 |  DW: That’s right. In 1974, at the tender age of sixteen,
I  decided    to stop writing just for my own amusement and to start producing
 books of   a more publishable standard. I wrote horror novels, westerns,
romances,  non-fiction,  all sorts, but all I got back from publishers was
rejection  slips. I even  embarked upon a massive project called Who’s
Who in Western Fiction,  which I never did complete. Eventually I
decided to give it all up as a bad  job, but then I injured my back, and
whilst recovering  decided to dust off  an old manuscript and revise it according
to comments  and suggestions I had  received from Peter Watts, better-known
as Matt Chisholm  and Cy James. London publisher John Hale, of Robert Hale
Ltd, liked the end result and said that if I could cut out about 40 pages,
 he would consider  it “sympathetically”. I did, he did, and the rest is
history!
 
 | 
 |  
            |   Terry Harknett
 
 | 
             BHE: And along the way, of course, you started the Edge fan 
 club.
 DW: Yes, that was in 1976. And I must say, the great privilege
   and  absolute pleasure of meeting Edge books author Terry Harknett turned
   out to be one of those life-changing moments for me, because as soon as
 I  discovered  that Terry wasn’t just George G. Gilman, but also Charles
R. Pike, William  M. James, Joseph Hedges and Lord knows who else, I realized
  that this was  what I wanted to do as well -- to write westerns and masquerade
   as different  people.
 
 BHE: How do you go about writing a book?
 
 DW: For me, a new book always begins with one basic, I hope 
 “different”   idea. The idea has to be new and original, otherwise it’s hard
 to get excited   about it. I want to appeal to both the traditional and
modern  western reader,   but not give him that dreaded sense of déjà vu
where  he thinks, "Here   we go again. Another range war. Another band of
renegade  Indians. Another   outlaw gang trying to recover lost loot."
 
 Once I have the idea, it’s just a matter of getting it all down
in  roughly    the right order, throwing in a few set-pieces, some surprises 
and an interesting    supporting cast. All this may sound rather clinical, 
of course, but it's   just the planning. If there is any “art” involved, that
comes with the writing,    of maintaining an original, interesting style that
keeps the reader turning    the pages, of solving any problems the plot may
throw up along the way,  of  keeping things moving at just the right pace,
of building the characters   layer by layer and finally tying the whole thing
up neatly within the required   length. I haven’t always succeeded, but I
do care very deeply about the story  and the characters, and would rather
have my teeth drawn than insult the reader by producing a second-rate piece
of work.
 
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 | 
         Ideas -- as you know -- come from anywhere and everywhere.
  Squaw   Man owes everything to one throw-away sentence I
read   elsewhere.  Coffin Creek had its beginnings in one boring
Saturday  afternoon  when I sat down and watched a kung fu movie called The
New  One-Armed  Swordsman. The Spurlock Gun was a westernized
  retelling  of an earlier, unpublished action-adventure novel I wrote called
  City  Combat.
 BHE: What do you see as the major themes of the western?
 
 DW: That good can triumph over evil. That with enough courage,
   determination  and grit, mankind can overcome any obstacle. That sometimes
   a man or woman  has no choice but to make a stand, and that by making
that    stand they can  actually change things for the better. Essentially,
the  western  is and always  will be a morality play. We read them to affirm
to  ourselves  the validity  of these ethics.
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  BHE: Clearly, you believe that the western has endless  possibilities
   and permutations.
 DW: Without doubt. If you are creatively minded, and you
really    care about your chosen genre, you can sit down and dream up a new
slant  on  practically  any theme. All it takes is time and a little serious
thinking.    But you’ve  got to really want to create something original
to begin with.
 
 BHE: Who are your favourite writers?
 
 DW: It’s difficult to pick favourites. Some writers I enjoy 
 more   than others, but overall what appeals to me is the basic sincerity 
 that every  western writer brings to his work, that very genuine desire to
 tell a good  story the best way he or she knows how. I don’t get that feeling
 with any  other genre. There’s definitely something sincere about western
 writers that  I really like.
 
 BHE: Then why do you think the genre is often maligned?
 
 DW: If we’re going to be really honest about it, there have 
 been   an awful lot of lousy westerns written over the years, so you can’t 
 blame   readers for turning their attention elsewhere. In the past, characters
  have   remained one-dimensional or stereotypical, or the writers themselves
  have   continued to give the reader violence when what he really wants
is   action.
 
 BHE: What would you say have been the most important advances 
  in  western fiction?
 
 DW: The single biggest development has been the awareness 
of  just   how important character is in a story. In the early days, characters
  were   clear-cut -- with one or two exceptions -- and cardboard in the
extreme.    But in the early 1950s a new breed of western writer came along,
and decided    to mix a little of the good and the bad into their characters.
Suddenly,   the hero didn’t have all the answers. He was frequently as troubled
and uncertain    as the folks he set out to help. The villains, too, have
undergone a positive    metamorphosis. They have become villainous for a
reason -- a less-than-perfect    upbringing, maybe, or a catastrophic experience
which soured them to life    and what life had to offer. They became victims
of fate -- they all became    victims of fate. And that has made the whole
genre much more interesting.
 
 
 |   
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            |   
 |  BHE: So what do you think makes a good western?
 DW: Above all, a good western should make the reader share
 all   the  emotions of the hero, with whom he or she instinctively identifies,
  anyway.  You want to make the reader feel the heat of the desert, the chill
  of a mountain  pass in winter, the smell of pine needles, the cool freshness
  of the water  in a secluded stream. You want to make him feel everything
 the hero feels  -- pain, joy, love, hate, even the savage satisfaction,
or  stomach-turning  revulsion, of finally settling things with the bad guy.
Make them feel exhausted,  saddle-sore or determined. In short, you have
to make the experience as real  for the reader as you can, write with authority,
and make sure they keep turning the pages.
 
 BHE: After fifty books, do you still have plenty to say?
 
 DW: I wouldn’t really claim to have anything to say, as such. 
  I  have no message, no agenda, no ego. I see myself simply as an entertainer. 
   When you sit down with one of my books, my job is simply to entertain you.
   If, along the way, I can also enlighten you, educate you, fascinate you
 or  fire you up, well, that’s a bonus! But I wouldn't kid myself on that
any of my books are particularly "important" in that way. Their job is solely
  to help you forget about your lousy job, your demanding partner, your unpayable
   mortgage.
 
 BHE: What do you have lined up for the future?
 
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            |   
 |  DW: By a twist of fate, my 51st book, a romance called Winterhaven,
    came out two months before my 50th. Three other romances as by "Janet
Whitehead"   are all backed up  and awaiting reissue in large print. I’ve
just completed   a new script for  the Commando war comic series,
which brings  my total up  to around thirty or so. And I’m writing a new
BHW called All  Guns Blazing,  which  is a collaboration with
the German western writer Alfred Wallon. My  next solo BHW will be Send
for Morgan Starr  which I’m really  looking forward to. I’ve been
plotting this one for a while  now, and I think  it’s going to be a good
one.
 BHE: I’m sure it will, David! Thank you.
 
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            |  Bryson's reality. 
 | A set of fresh impressions 
 HOOFPRINTS
 In Made in America, US-born, English-resident writer Bill
    Bryson described the history of the English language in the United
 States and the evolution of American culture. Naturally, he had a word
or two for the western. The genre's classic writers included Zane Grey, a dentist from New York City, who
knew about as much  of the Old West as the average "city slicker" would, and Clarence
J. Mulford, who created in Hopalong Cassidy a cowpoke as fictional
 as any has been. Neither  author let  ignorance of the subject matter stop him telling a
captivatingly romantic   and, more essentially, saleable   story. Real cowboys
mostly had boring lives that consisted largely of driving cows across
lonely, near endless  American plains. Bryson said, "They certainly
didn't spend a lot  of  time   shooting  each other.  In the ten years that
Dodge City was the  biggest,   rowdiest cow  town in the world, only thirty-four
 people were buried in the  infamous Boot  Hill Cemetery.  Incidents like
the shootout at the OK Corral  or the murder  of Wild Bill Hickok
became famous by dint of their being so unusual."
 
  
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            | 
 | Between 1887 and 1900, Karl Friedrich May  (1842-1912), 
 fifth of fourteen offspring of an impoverished Saxony weaver, and a former 
 convict, wrote  more than twenty adventure novels set in the American West, 
 including Winnetou    and Old Surehand , giving 
 rise to the  claim that the western was a German creation. May worked with 
 the aid of encyclopaedias, atlases, ethnological studies -- and an inexhaustible
  imagination. He didn't visit the US till 1908 and didn't go farther west
 than Buffalo, New York. Between 1912 and 1968, German film makers produced
 23 movies based on his novels. In 13 of them, American actor Lex Barker 
  starred, sometimes as Old Shatterhand , "strong as a bear and invincible".
  Three movies cast Briton Stewart Granger  in the lead as Old Surehand .
  Every summer, thousands of Karl May admirers attend an open-air Karl May
 Festival  in Bad Segeberg, Schleswig-Holstein, which has been held since
1952. Though largely unknown in the US, May has fans around the world, including
 China, Japan, and Indonesia where a Karl May Society has its own website.
            
            
            
            
             |  Father of western?
 
 |  
            |  Joe the cynic.
 
 | 
            Terry Harknett (aka George G. Gilman ,
    author of the famous 1970s Edge  series) told his    Piccadilly
Cowboys    forum, "The book I am currently reading is The Devil’s 
Guide  to  Hollywood by Joe Eszterhas , probably the most
successful screenwriter     in the world. He is a bit of a cynic but I think
he tells it as it is for    most of the time, based upon his experience of
movie work. Relevant to members of this message board is the following snippet
from   his book: ‘Don’t write a western. The odds are overwhelming that it
won’t be made and that if it is it  will   fail. Almost every year or so
there is a failed attempt to do a western  –  some, like Larry Kasdan’s
Wyatt Earp , have been especially good, but  the  public doesn’t
seem interested. A producer said to me, "A western in space, yes, a hip-hop
western,  yes,   but a western with horses, absolutely not." ’ Depressing,
isn’t it," Terry said, "coming from the man who wrote Basic Instinct ,
Jagged  Edge , Flashdance  and Showgirls 
amongst others and so obviously knows of what he speaks."
But Eszterhas's reputation meant less than nothing to Terry's fellow Piccadilly
Cowboy Mike Linaker,  aka BHWs' John C. Danner , Richard Wyler  
 and Neil Hunter : "There are screenwriters out there who could
outshine Eszterhas with their eyes shut."
 
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 |  Chap O'Keefe describes his BHW heroine Misfit Lil 
  as  dark-haired and grey-eyed.   Reader Jo Neville , of Torquay,
England,    comments that this is a fairly unusual   combination. By way
of response,    O'Keefe supplies a quote from Carl W. Breihan's   
book Great    Gunfighters of the West , in which the young Bat
Masterson    is described  thus: "Bat looked as harum-scarum as he behaved.
 He had a  mop of black hair  with oddly contrasting light grey eyes that
danced with  devilry and merriment.  He was of medium height, slender but
wiry, strong,  and resilient.  In store  clothes and with his hair slicked
down, he was described as one  of the handsomest  men on the frontier. But
it was his slate-grey eyes that  attracted attention.  Gunfighters came in
all shapes, sizes and temperaments,  but almost invariably  they had blue
eyes."  Misfit Lil's unusual eyes will sparkle next in Misfit Lil Fights
Back , out in July. For new readers, more about Lil  can be found in
our Backtrails article "The Images of Inspiration" (BHE September edition).
            
            
             |  To Bat for Lil. |  
            |  From tall ships to tall tales. 
 | Award-winning maritime-history writer Joan Druett  tells us, "I
love westerns,   a heritage of putting myself through  university by ushering
at a B-grade   movie theatre in Palmerston North, New Zealand. . . . I enjoyed
 [the March] Black Horse   Extra  very much, especially the dissertation on the Colt. 
I have to research   arms occasionally, and used to drive to the Waiouru
Army Museum where there   was a helpful sergeant. Once, I had to research
the Henry rifle, and the  sergeant told a peculiar story about Abraham
Lincoln  visiting both  the Henry and Winchester workshops, and choosing
the Winchester for the Union  army. Henry went bankrupt and killed himself. 
The sergeant went on thoughtfully   to say the ironic part of the tale was
that Lincoln was assassinated with   a Henry rifle, not a pistol as the pictures
show. I think he was having me  on." Our expert, Paddy Gallagher  (aka
BHWs' Greg Mitchell )  agrees. "Lincoln could not have visited the
Winchester and Henry factories.  The  first Winchester came out in 1866,
long after he was dead, when Oliver    Winchester  bought the Henry
company and improved on the Henry to make   it  the first Winchester. Lincoln
was shot with a Deringer, single-shot,   muzzle-loading pistol. Later, when 
 variations of these weapons were made   by a variety of companies, they
 were called 'derringers' with an extra 'r'.  The Winchester was never adopted
by the American army although some  officers  asked for them after General
Custer's  defeat in 1876."
            
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            | 
 | Keith Hetherington (aka Clayton Nash) tells Hoofprints he
    had some doubts about his new book, Kid Lobo, in which
the    hero, the best horsebreaker in West Texas, sets out to find the father
he   never knew, the man who had run out on his mother, leaving her to work
herself   to death in her efforts to raise him. Says the cover blurb, "He
wanted only   one thing now: to find  that man -- and kill him."  Keith 
says, "I wondered    about this particular yarn, whether it would appeal
to publisher John   Hale or not." But Mr Hale wrote, "I enjoyed Kid
Lobo, which  is very tough stuff indeed. It all makes for a splendid
story which I am delighted to accept." Keith says he "allowed the characters
to kind of dictate  what should happen next. It worked really well. I rarely
feel satisfied with  my stories but this one seemed to hit the spot." We're
sure the book will  be much enjoyed by BHW readers everywhere.
 
 |  Splendid cover, too. 
 |  
            |  Homeric Jimmy. 
 |    From the 1920s to the 1950s, the Hollywood studio system transformed
the violent, unruly facts of frontier adventurism into a body of myth, legend
and "moral clarity" to edify the most patriotic of Americans. But western
movies have been made all over the world. Everywhere, in fact, from China
and India to Russia and Czechoslovakia. In his recent book, The Rough Guide
to Westerns, entertainment writer Paul Simpson  gives the reason as the universal
allure of sweeping historical sagas. Italian director Sergio Leone considered
western characters to be latter-day avatars of the ancient Homeric heroes,
and Argentine writer Jorge Luis Borges praised westerns for keeping epic
forms alive in the modern era. Simpson's style is informal and his verdicts
sometimes surprising in a generously illustrated and hugely wide-ranging
book. As a DVD-top companion, the work should please movie buffs and western
fans alike.
 
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            | 
 | A title should be vivid and have rhythm, the advice goes -- never be weak, vague or old-hat. Vengeance/Hell/Lawless Valley permutations have had their day. Come See Me Hang is an arresting title for a western and 
   one which evidently appeals to BHW author Paul Wheelahan. In 1975, 
   he used it when penning a Cleveland paperback under the pen-name Brett 
   McKinley. The book told the story of young attorney Shell Tregarno, 
 who  received via telegraph the brief, callous "come see me hang" message
from his  n'er-do-well  father, and a little later learned it was too late,
because pa had been lynched  by a mob. In July, the title will be appearing
again, on a BHW under Paul's  Chad Hammer byline. The new story features 
as a central character a gunfighter  called Ryan Bodie -- a name with 
 which Paul's readers will also be  familiar, since he has previously used 
 it as a BHW pen-name. The blurb says,  "Bodie would survive. He always did. 
 He was that kind of man." Well, he surely has survived, albeit in a changed 
 rôle!  
   |  First time around. 
 |  
            |  New gateway. 
 |  Black Horse Westerns continue to enhance their presence on the Net. The 
  previous edition of this quarterly online magazine attracted more visitors
 in two months  than any previous edition in a full three. And on April 20,
 publishers Robert  Hale  launched a much improved company website.
The bright new pages at www.halebooks.com   offer secure, online
 shopping facilities and competitive prices. BHWs are well represented, 
with  cover images and details for more than 200 titles, shrugging off the
 "poor  cousin" status afforded them in the print catalogues of bygone times.
Specialist site designers Ehaus say, "We believe that a publisher's website
should be more than a pale imitation of its print catalogue. It should serve
as the definitive source of authoritative and enhanced information on the
company's products."
            
            
 
 | 
 |  
|   | Greg Mitchell puts us on targetA PRIMER IN REALISTIC BALLISTICS 
 
 
            "See how you like this you sheep-herding sonsofbitches."He fired both barrels [of a sawn-off shotgun] into the approaching
riders. Eighteen large slugs tore into horses or men. Corbett's horse reared
straight over backwards. Tom Casey dropped his rifle as he was hit in the
right upper arm. Grazed by a slug, Mike Casey's horse started to buck and
collided with that of Perez. Suddenly all was confusion with plunging horses
and startled riders milling about.
 Had Norris waited until his targets were closer, the shots would have
 been more devastating but round balls fired from smooth bores lost power
rapidly after thirty yards and wounded rather than killed.
 
 Warbonnet
 CreekGreg Mitchell
 T
 HE average nineteenth-century westerner was not a quick-draw  artist.
He  wouldn't compromise safety in carrying his gun by using a specially 
made,   loose holster likely to lose the gun while mounting or dismounting
 from  a horse or struggling with big calves at branding time.
     
    Myth and reality exist side by side in many a western, in print or on 
screen.  But the tied-down holsters worn by fictional heroes and villains 
were   unknown  until the US Army started tying down their automatic pistols 
long  after the Wild West was gone.
     
    The working cowboy wore his gun fairly high  on his hip where it would
 not  get in his way when riding or working on foot.  The holsters were deep,
 and  in some cases tight-fitting, and the loop over the hammer spur that
crept  into 1950s television westerns was not necessary.
   
  The many photos of lawmen  and cowhands taken in frontier times never show
 a tied-down holster or a hammer thong.
         
        The Texas Rangers, favoured by western pulp magazine writers and
readers   of later times, had more than their share of gunfights. My own next
BHW,  Red Rock Crossing , will tell of two Texas  Rangers held
up by a flood. They have with them a prisoner -- a man fleeing a range war
and a  sinister hired killer called Missouri Sam. And an important twist
in the  story involves a gun.
    
   For now, what I can reveal is that Texas Rangers didn't rely on quick
draws.  They had a practice of always drawing their weapons before   going
into dangerous  situations. Survival was not a sporting event. Speedy   draws 
were no good  without accuracy. In many documented gunfights, the first  
shots were hasty  and usually missed.
         
        Intentionally shooting guns out of opponents' hands was virtually 
impossible    because shooter and target were both moving and there was no 
time to aim,   let alone calculate the correct amount of muzzle elevation 
for the range.  A revolver sighted to hit the point of aim at 50 yards would 
place its bullets    a little higher inside that range. It would make little 
difference on a  man-sized  target but something as small as a man's hand 
or a gun would most  likely be missed. In life-and-death situations men usually 
shot for the largest  part of  their adversary. A wound that slowed or disabled 
an opponent was  better than a clean miss because fancy shooting went wrong.
     
    Revolvers are not easy to shoot because of the short sight radius and 
the  tendency to pull the weapon sideways if the trigger is not squeezed carefully.
 Under favourable  conditions, a trained revolver shot with a good weapon
can hit a man at 50 yards but the average shooter in a gunfight is more
likely to miss. Firing from horseback it would be good shooting to hit a
man anywhere at 10 yards'  range.
     
    A man holding back the trigger and fanning the hammer of a gun would
not   be able to shoot accurately past a couple of yards. Nor can a man fire
two   guns simultaneously and hit two different targets.
     
        Revolver shots do not disembowel people or blow heads off. The study
  of  ballistics was only in its infancy in the nineteenth century and many
 revolver  bullets actually were under-powered.
     
    The derringer, the pocket-sized gun featured by so many western writers 
 was a very poor weapon.  The famous Remington over-and-under derringer fired
  the .41 rimfire cartridge.  Across a card table it was capable of killing,
  but the cartridge was very  low-powered and had been known to bounce off
  trees at 15 yards. Most small  revolvers and derringers were made of inferior
  metal for lightness and their  cartridges were low-powered to avoid blowing
  up the guns. Because of the small grips and inadequate sights, derringers
  were not accurate except at very close range.
     
    Some writers like to introduce exotic weapons into their stories, but 
ammunition    for some of these would not be readily available on the frontier. 
The Colt    .45 and the Winchester repeating rifle were very popular, reliable 
weapons  so authors  do not lack originality by using them in their stories 
as long  as they are  used within the right time frames -- from 1866 with 
the first  model Winchester  and from 1873 with the Colt .45.
         
 The Wild West era was virtually over before high-powered rifles
   became available to civilians. A high-power cartridge was one that travelled
   at 2,000 feet per second or faster. The powerful rifles of the black-powder 
   era pushed their heavy bullets along somewhere between 1,400 and 1,600 
feet   per second and used much heavier bullets. They could throw bullets 
up to  a mile but because of their high trajectories accurate shooting was 
only possible when the range was correctly calculated and the sights set accordingly.
     
        Rifle shots at people more than 300 yards away were very difficult
 with   the  Winchester repeaters and other carbines that were so popular
in the  Old West. At that range the front sight almost completely covers
a man. A  good shot using a rifle he knows, can still hit him, but cannot
guarantee  where the bullet will strike. Different shooters hold their rifles
differently  and not all are sighted exactly the same. A good shot using
a strange weapon  could still miss. Telescopic sights were available as were
long-range target  sights but these were not carried by the usual westerner.
They saw some use  though among buffalo shooters and other professional hunters.
         
    The killing range of a shotgun using shot cartridges is normally  about 
 40 yards. If the weapon is sawn off, the lethal range would be about  30 
yards as the shot is less concentrated. Heavy shot, like buckshot had a greater
  killing power than light bird shot. But because the pellets are round and
  not spinning like rifle bullets, all lose their velocity very quickly.
 The  main killing area of a shotgun is about a 30 inch area where most of
the shot is concentrated. A blast from a shotgun in not going to mow down
three or four men at 40 yards although it might seriously damage two.
     
        Close-range shotgun blasts do not cut people in halves but they can 
 inflict   terrible wounds. Shot spreads roughly 1 inch per yard that it travels.
 The  greater the distance, the less concentrated is the impact of the shot.
 Heavy  buckshot balls were around .30 calibre and at close range hit with
 a lot of power, so sometimes one pellet in the right place could be fatal.
     
    The advantage  of a shotgun was that the spread of the shot gave the
shooter   a good chance  of hitting his target even if most of the load missed.
A shotgun  is not likely  to be destructive over a wide area because by the 
time it has spread widely,  the pellets are losing their power. But at 30 
yards it will cover an area  that could be three feet wide and still deliver 
killing velocities. 
     
    The western writer who finds a hazy knowledge of firearms daunting cannot
  take easy refuge in other weapons.
     
    Knives were used occasionally in the Old West, especially in the days 
of  slow-loading percussion  firearms, but it is doubtful that too many people
  were seriously hurt by thrown knives.  A knife, thrown over any distance,
  turns end over end and unless the distance  between target and thrower
is   carefully measured, there are long odds against  it hitting point first.
 Even if it does, the knifepoint is likely to be deflected  by clothing or
 even ribs. A  thrown knife point should strike vertically in relation to
the ground and is unlikely to penetrate a person's rib cage.
   
  The Indians were aware of this and fitted the heads on their war arrows 
horizontally  to the ground so that they slipped between ribs. An arrow would 
have more  power than a thrown knife. A fatal wound from a thrown knife could 
happen  but the chances of the victim being killed by lightning would be considerably
 higher!
       
         Westerners were familiar with all kinds of whips, from light riding
  whips  up to heavy bull whips, and would know that whips were very poor
weapons.  With  a conventional whip the real damage is inflicted by the soft
cracker  on the  end that moves at supersonic speed if the whip is used correctly, 
  but even  that is unlikely to do serious damage. Whips cannot be used indoors,
  nor can they be brought into action quickly. A whip with a plaited thong
 more than seven feet long is slow and awkward to use. The length of a whip
 has little effect on its impact but whips do not break bones or kill people.
 Given the time and space to use it, a real expert with a whip might do some
 very minor damage . . . but a man with a whip who goes against someone with
 a gun  is confusing his ambitions with his capability.
   
             
     
-- Paddy Gallagher, aka Greg Mitchell, whose next BHW,out in July, is Red Rock Crossing.
 
 
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  Derringer 
         
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 | Steps to put writers on the right trailLET'S DO THE TWIST! 
 Candice Proctor is not a western writer. Her sister is! But
of more immediate importance is that she has an excellent blog, csharris.blogspot.com, 
where she comments from time to time on aspects of fiction of interest to 
writers and readers in all genres. Past entries have covered plotting, characterization
and writing a synopsis.  Candice describes herself as a former university
professor with an incurable case of wanderlust, who writes historical mysteries
under the name C.S. Harris and thrillers as one half of Steven
Graham. She has also written historical romances.Here is a short sample of  her writing about writing that could be followed
to put extra zing into most anybody's next BHW. . . .
 
 
            
 
            
            
            I’VE been giving some thought lately to twists. You know, those places
 in a book or movie where the story takes off in a (hopefully) unanticipated
 direction, where the reader/audience says, “Wow! I didn’t see that coming.”
 It seems to me that twists ought to be quantifiable. I guess it’s the academic 
 in me, always analysing and trying to compartmentalize things. But what is
 a twist, at its most basic, except a bit of information the protagonist (and
 reader) has that turns out to be wrong? Some of the most common twists are:
 
              
 Someone the protagonist thinks is a friend turns out to be an enemy.Someone the protagonist thinks is an enemy turns out to be a friend.
 Someone we think is dead turns out to be alive.
 Someone we think is alive turns out really to be dead.
 Something believed lost is not really lost.
 A character’s supposed motive is seen to be impossible.
 A character has a motive that was never suspected. (This doesn’t apply
  only to mysteries; think of romantic comedies where the hero woos a woman
 on a  bet.)
 A family relationship turns out to be different from what was believed
 (an “aunt” turns out to be a mother, a child discovers he’s adopted, etc).
   
 A character we think is a man turns out to be a woman, and vice versa. 
  
   
             
  I’m sure there are many, many more variations on the theme. So how about
 it? What can you add to the list? |   
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 | NEW
BLACK HORSE
WESTERN NOVELS
(Published by Robert Hale Ltd, London) 
             
                     
                     
                     
                     
      978
             
              
                
                  | Incident at Coyote Wells | Logan Winters | 0 7090 8285 9 |  
                  | Tombstone Lullaby 
 | Walt Masterson 
 | 0
7090 8253 8 
 |  
                  | Carson’s Revenge 
 | Jim Wilson 
 | 0
7090 8353 5 
 |  
                  | Savage Rides West 
 | Sydney J. Bounds | 0
7090 8347 4 
 |  
                  | The Gold Mine at Pueblo Pequeno 
 | Will Keen 
 | 0
7090 8359 7 
 |  
                  | Shootout at Big King 
 | Lee Lejeune | 0
7090 8366 5 
 |  
                  | The Iron Roads 
 | Caleb Rand 
 | 0
7090 8360 3 
 |  
                  | Too Fast to Die 
 | Dempsey Clay 
 | 0
7090 8374 0 
 |  
                  | Catfoot 
 | J. William Allen 
 | 0
7090 8375 7 
 |  
                  | Vengeance Unbound 
 | Henry Christopher 
 | 0
7090 8376 4 
 |  
                  | Come See Me Hang 
 | Chad Hammer 
 | 0
7090 8265 1 
 |  
                  | Stampede at Rattlesnake Pass 
 | Clay More | 0
7090 8383 2 |  
                  | Bluegrass Bounty 
 | Jack Reason 
 | 0
7090 8384 9 
 |  
                  | Christmas at Horseshoe Bend 
 | J. D. Kincaid | 0
7090 8381 8 
 |  
                  | Rolling Thunder 
 | Owen G. Irons 
 | 0
7090 8382 5 
 |  
                  | Bitter Blood 
 | Clint Ryker 
 | 0
7090 8387 0 
 |  
                  | Morgan's War 
 | Henry Remington 
 | 0
7090 8391 7 
 |  
                  | Trouble at Brodie Creek 
 | Ben Coady 
 | 0
7090 8399 3 
 |  
                  | Mayhem in Hoosegow 
 | M. Duggan | 0
7090 8401 3 
 |  
                  | Massacre at Empire Fastness 
 | P. McCormac 
 | 0
7090 8400 6 
 |  
                  | Misfit Lil Fights Back 
 | Chap O'Keefe 
 | 0 7090 8176 0 
 |  
                  | Shootout at Owl Creek 
 | Corba Sunman 
 | 0 7090 8341 2 
 |  
                  | Brannigan | Bill Williams 
 | 0 7090 8378 8 
 |  
                  | Red Rock Crossing 
 | Greg Mitchell | 0 7090 8419 8 
 |  
                  | Knife Edge 
 | Tyler Hatch | 0 7090 8416 7 |  
                  | Winter Kill 
 | Frank Roderus 
 | 0 7090 8430 3 
 |  
                  | Massacre at Bluff Point 
 | I. J. Parnham 
 | 0 7090 8424 2 
 |  
                  | Warwick's Battle 
 | Terrell L. Bowers 
 | 0 7090 8423 5 
 |  
                  | Man on the Border 
 | Dave Austin 
 | 0 7090 8435 8 
 |  
                  | Death at Bethesda Falls 
 | Ross Morton 
 | 0 7090 8432 7 
 |  |       
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            | 
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            Black 
Horse Westerns can be requested at public libraries, ordered at bookstores,
and bought online through the publisher's website, www.halebooks.com, or retailers including Blackwells, Amazon UK, WH Smith and VinersUK Books.Ten new titles are
issued every month as BHWs -- tough, traditional or,
sometimes, off-trail. The brand caters for all tastes. 
 
 Trade inquiries
to: Combined Book Services,
 Units I/K, Paddock Wood Distribution
Centre,
 Paddock Wood, Tonbridge, Kent TN12 6UU.
 Tel: (+44) 01892 837 171 Fax: (+44)
01892 837 272
 Email: orders@combook.co.uk
 
 
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