Paul Colt's Blog - Posts Tagged "young-adult"
Publish or Perish at the Gate
You’ve completed your first book. Congratulations! You knew you could do it and you did. You’re proud of yourself and you’re proud of the book. You should be. Now comes the next gate: Publishing. As I reflect on everything it took to get through this gate, it occurs to me that you can’t do it justice in one post. Let’s start with the basics.
A good place to start is a current copy of Guide to Literary Agents, published by Writer’s Digest Books, Cincinnati Ohio. My 2005 edition (ouch!) profiles 600 literary agencies. It tells you what genre they consider, what their submission guidelines are and what you might expect in terms schedule etc. It also gives you good advice about properly preparing your query. These are all important guides to the process you need to follow whether you choose to query an agency or a publisher.
Which brings us to the next set of questions. Who are you going to query? Are you going focus on agencies or publishers, print, digital or audio? Do you plan to skip all that and self-publish? Answers to those questions have big implications for this gate and a couple more down the road. Let’s focus on the query process for the moment. It is similar whether you are soliciting an agent or a publisher.
Rule 1: Follow the submission guidelines! You can find them in the literary agents guide or a publisher’s website. They are all different. If you don’t follow them, your query is dead on arrival. They require things like a query letter, including author bio, target audience and marketing plan. That’s right, a marketing plan- more on that later. Remember the letter is a sales pitch. You are selling yourself and your book. Most require a synopsis of specified length and one or more sample chapters. Some want digital submission, others want snail mail paper with a SASE (self-addressed stamped envelope). The envelope is so they can easily return your submission with their rejection. That’s right, rejection. Get comfortable with the concept. Your work will be rejected. It can take six to nine months or more to get the bad news and they don’t often give you a reason for rejection. That part of the process is what makes self-publishing so seductive. We’ll get to that one next week.
Next week: Agents and publishers.
https://www.amazon.com/author/paulcolt
Ride easy,
Paul
A good place to start is a current copy of Guide to Literary Agents, published by Writer’s Digest Books, Cincinnati Ohio. My 2005 edition (ouch!) profiles 600 literary agencies. It tells you what genre they consider, what their submission guidelines are and what you might expect in terms schedule etc. It also gives you good advice about properly preparing your query. These are all important guides to the process you need to follow whether you choose to query an agency or a publisher.
Which brings us to the next set of questions. Who are you going to query? Are you going focus on agencies or publishers, print, digital or audio? Do you plan to skip all that and self-publish? Answers to those questions have big implications for this gate and a couple more down the road. Let’s focus on the query process for the moment. It is similar whether you are soliciting an agent or a publisher.
Rule 1: Follow the submission guidelines! You can find them in the literary agents guide or a publisher’s website. They are all different. If you don’t follow them, your query is dead on arrival. They require things like a query letter, including author bio, target audience and marketing plan. That’s right, a marketing plan- more on that later. Remember the letter is a sales pitch. You are selling yourself and your book. Most require a synopsis of specified length and one or more sample chapters. Some want digital submission, others want snail mail paper with a SASE (self-addressed stamped envelope). The envelope is so they can easily return your submission with their rejection. That’s right, rejection. Get comfortable with the concept. Your work will be rejected. It can take six to nine months or more to get the bad news and they don’t often give you a reason for rejection. That part of the process is what makes self-publishing so seductive. We’ll get to that one next week.
Next week: Agents and publishers.
https://www.amazon.com/author/paulcolt
Ride easy,
Paul
Agents, Publishers and You
Before you tackle questions about agents and publishers; you need to decide what you want to accomplish with your writing. Is your book a one-time tick on a bucket-list or is it something more? Do you plan on becoming a professional writer; or is writing an enjoyable hobby? Answers to those questions should influence the choices you make. If your book is a one-time thing, a self-publishing strategy might make the most sense. If you plan to pursue writing professionally, you will probably find value in an agency relationship at some point. If you are a serious hobbyist you may want to focus on a publisher relationship. There is no right answer to these questions. The only a right answer is the one that’s right for you. In my case, I said: If I can’t sell it, it’s not worth putting my pseudonym on it. You get experience, picking that gate.
Do you need an agent? You don’t need one; but if you have the opportunity to get a good one, they can open doors for you that help you sell your work. I don’t have an agent. I’d be open to considering it; but I’m not out soliciting one. I have a great relationship with a wonderful editor and publisher. It took a lot of at bats to get to first base; but it can be done.
Let’s talk about publishers. They come in all shapes and sizes- print, digital, audio and self-publishing services. Set the selfies aside for a moment. Publishers are businesses that sell products called books. They usually limit their consideration to specific types of work: fiction, non-fiction, a specific list of genre. Your work needs to match the publisher’s consideration. They produce books in print, digital or audio. My first three books came out in audio. Audio is a niche market so sales were modest. I pitched some digital publishers without much success. Digital is growing; but it is still a niche market. Royalty rates are higher. Price points are lower. Volume can be good if you are a good marketer. Print is still the big game. When I finished Boots and Saddles: A Call to Glory I knew I had a good one. One that would open the print gate for me. It did. It took three years.
Now a bit about selfies. The big advantage to self-publishing is that you skip a really nasty gate. Actually you run the risk of skipping two gates. Without having to get through that tough gate-keeper, you may not fully learn the lessons of craft. Like commercial publishers, self-publishing services come in a variety of shapes and sizes. Vanity press print and do-it-yourself digital are the two most common. Based on the horror stories I’ve seen and heard, I don’t recommend vanity print. It can be expensive, quality in some cases is poor and in the end, you wind up with boxes of books in the basement it is up to you to sell. If I was going to self-publish, I’d go do-it-yourself digital. That puts you into digital sales, marketing and distribution that is way better than humping boxes out of the basement. In general, it is also far less expensive.
Next week: Sales and Marketing- Really
https://www.amazon.com/author/paulcolt
Ride easy,
Paul
Do you need an agent? You don’t need one; but if you have the opportunity to get a good one, they can open doors for you that help you sell your work. I don’t have an agent. I’d be open to considering it; but I’m not out soliciting one. I have a great relationship with a wonderful editor and publisher. It took a lot of at bats to get to first base; but it can be done.
Let’s talk about publishers. They come in all shapes and sizes- print, digital, audio and self-publishing services. Set the selfies aside for a moment. Publishers are businesses that sell products called books. They usually limit their consideration to specific types of work: fiction, non-fiction, a specific list of genre. Your work needs to match the publisher’s consideration. They produce books in print, digital or audio. My first three books came out in audio. Audio is a niche market so sales were modest. I pitched some digital publishers without much success. Digital is growing; but it is still a niche market. Royalty rates are higher. Price points are lower. Volume can be good if you are a good marketer. Print is still the big game. When I finished Boots and Saddles: A Call to Glory I knew I had a good one. One that would open the print gate for me. It did. It took three years.
Now a bit about selfies. The big advantage to self-publishing is that you skip a really nasty gate. Actually you run the risk of skipping two gates. Without having to get through that tough gate-keeper, you may not fully learn the lessons of craft. Like commercial publishers, self-publishing services come in a variety of shapes and sizes. Vanity press print and do-it-yourself digital are the two most common. Based on the horror stories I’ve seen and heard, I don’t recommend vanity print. It can be expensive, quality in some cases is poor and in the end, you wind up with boxes of books in the basement it is up to you to sell. If I was going to self-publish, I’d go do-it-yourself digital. That puts you into digital sales, marketing and distribution that is way better than humping boxes out of the basement. In general, it is also far less expensive.
Next week: Sales and Marketing- Really
https://www.amazon.com/author/paulcolt
Ride easy,
Paul
Building a Brand
The writer’s journey continues. You write and promote. In the process you build a brand. Your brand builds reader expectation. When a reader picks up one of your books they come to know what to expect. You don’t think in those terms with your first book. It’s the second one that starts building a brand. It continues to define who you are as an author. When you pick up a Dusty Richards book you know you’re getting a solid traditional western. Pick up a Jeff Shaara title, you know you’re in for a first class historical dramatization. Building a brand is how you build a following. That’s what makes successful writers successful. There are some authors like Loren Estleman and Robert B. Parker who manage two genre. Both write westerns and mysteries. I love their westerns. I’ve never read one of their mysteries. Nothing is more risky than a small sample; but I suspect they have a brand in both audiences.
Building a brand is a bit of a dilemma for me. I love big historical dramatizations I call ‘Unexpected history’. It’s a story that involves some little known or over looked aspect of an otherwise familiar character or event. Boots and Saddles: A Call to Glory is unexpected history. Most people don’t know that chapter in George Patton’s career. The trouble with ‘I-had-no-idea’ stories like Grasshoppers in Summer; or A Question of Bounty is that they don’t come along every day. So what do I write when I don’t have my teeth into one of those? We’re about to find out.
A couple of years ago I thought about creating a short novel series for digital publication. I stumbled on an unexpected history premise for the series. Did you know the Pinkerton Detective Agency had a competitor? Most people don’t. I came across a compilation of case reports for something called the Rocky Mountain Detective Association. The group operated across the west in the latter decades of the nineteenth century. I chatted up the idea with my publisher who showed interest in doing them in print. The first release in the Great Western Detective League series will be out in January 2015. It’s a western with crossovers in crime/detective and a sprinkle of romance. The series introduces a colorful cast of Great Western Detective League and Pinkerton characters who pursue criminal cases while battling each other for the rewards and bounties that go with getting the bad guys. The idea is to create a light fun read. Will it muddy my brand? It could. We’ll try to give the series a brand of its own.
That brings us to the end of this guided tour of the writer’s journey. It’s not the end of the journey mind you, it’s only as far as I’ve come. The writing, publishing, promotion and brand building continue. It’s a long way to a best seller; but who knows? Maybe someday. Enjoy the journey wherever you are.
Next week: Saber Master
https://www.amazon.com/author/paulcolt
Ride easy,
Paul
Building a brand is a bit of a dilemma for me. I love big historical dramatizations I call ‘Unexpected history’. It’s a story that involves some little known or over looked aspect of an otherwise familiar character or event. Boots and Saddles: A Call to Glory is unexpected history. Most people don’t know that chapter in George Patton’s career. The trouble with ‘I-had-no-idea’ stories like Grasshoppers in Summer; or A Question of Bounty is that they don’t come along every day. So what do I write when I don’t have my teeth into one of those? We’re about to find out.
A couple of years ago I thought about creating a short novel series for digital publication. I stumbled on an unexpected history premise for the series. Did you know the Pinkerton Detective Agency had a competitor? Most people don’t. I came across a compilation of case reports for something called the Rocky Mountain Detective Association. The group operated across the west in the latter decades of the nineteenth century. I chatted up the idea with my publisher who showed interest in doing them in print. The first release in the Great Western Detective League series will be out in January 2015. It’s a western with crossovers in crime/detective and a sprinkle of romance. The series introduces a colorful cast of Great Western Detective League and Pinkerton characters who pursue criminal cases while battling each other for the rewards and bounties that go with getting the bad guys. The idea is to create a light fun read. Will it muddy my brand? It could. We’ll try to give the series a brand of its own.
That brings us to the end of this guided tour of the writer’s journey. It’s not the end of the journey mind you, it’s only as far as I’ve come. The writing, publishing, promotion and brand building continue. It’s a long way to a best seller; but who knows? Maybe someday. Enjoy the journey wherever you are.
Next week: Saber Master
https://www.amazon.com/author/paulcolt
Ride easy,
Paul
Dances With Wolves
Dances with Wolves produced, directed, and starred Kevin Costner. Overall critical reviews were favorable. They should be for a film that won seven Academy Awards including Best Picture, Best Director and Best Adapted Screenplay. The Screen play is based on a novel by Michael Blake. Blake originally wrote it as a screenplay. Hollywood panned it. Costner told him to write the novel to improve its film chances. Costner then optioned the book and made the film based on Blake’s screen play. As an author, that is unheard of! The film was a box office smash, earning $424.2 million on a $15 million budget.
In 1863 Union Army Lieutenant John J. Dunbar (Costner) is wounded in battle and sent to a deserted outpost on the western frontier. He begins the solitary work of restoring his fort, where he befriends a wolf, he names Two Socks. A series of encounters with Lakota neighbors leads to friendly relations. Dunbar finds Stands With Fist (Mary McDonnell), Medicine Man Kicking Bird’s (Graham Greene) adopted white daughter, near death in mourning for her husband. He returns her to the tribe and gains acceptance. As he spends time in the Lakota camp, friendships deepen including a romantic relationship with Stands With Fist.
When the tribe plans a move to winter camp, Dunbar, now known as Dances With Wolves for his friendship with Two Socks, determines to go with them. He returns to the Fort for his diary, to find it reoccupied. He is arrested for desertion and sent east for court martial under guard. Two Sock follows the convoy and is killed by the guards. Tribal brothers attack the convoy and free Dances With Wolves. In winter camp, Dunbar realizes his presence poses a threat to the people. He and Stands With Fist leave to the epilog, ending the old ways of the people.
Much of the dialog in the film is spoken in Lakota with subtitles. The authenticity is poignant, unless you are Lakota. The language has a male gendered voice and a female gendered voice. The consultant employed on the film was female. You can guess what happened. Some criticize the film for the heroic white pose struck by the Dunbar role. Others criticize the idyllic portrayal of the Sioux. The film is listed in the Library of Congress National Film Registry.
Next Week: Unforgiven
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Ride easy,
Paul
In 1863 Union Army Lieutenant John J. Dunbar (Costner) is wounded in battle and sent to a deserted outpost on the western frontier. He begins the solitary work of restoring his fort, where he befriends a wolf, he names Two Socks. A series of encounters with Lakota neighbors leads to friendly relations. Dunbar finds Stands With Fist (Mary McDonnell), Medicine Man Kicking Bird’s (Graham Greene) adopted white daughter, near death in mourning for her husband. He returns her to the tribe and gains acceptance. As he spends time in the Lakota camp, friendships deepen including a romantic relationship with Stands With Fist.
When the tribe plans a move to winter camp, Dunbar, now known as Dances With Wolves for his friendship with Two Socks, determines to go with them. He returns to the Fort for his diary, to find it reoccupied. He is arrested for desertion and sent east for court martial under guard. Two Sock follows the convoy and is killed by the guards. Tribal brothers attack the convoy and free Dances With Wolves. In winter camp, Dunbar realizes his presence poses a threat to the people. He and Stands With Fist leave to the epilog, ending the old ways of the people.
Much of the dialog in the film is spoken in Lakota with subtitles. The authenticity is poignant, unless you are Lakota. The language has a male gendered voice and a female gendered voice. The consultant employed on the film was female. You can guess what happened. Some criticize the film for the heroic white pose struck by the Dunbar role. Others criticize the idyllic portrayal of the Sioux. The film is listed in the Library of Congress National Film Registry.
Next Week: Unforgiven
Return to Facebook to comment
Ride easy,
Paul
Unforgiven
Clint Eastwood produced, directed and starred in the lead role as William Munny, retired gunfighter who takes one last job. Set in Big Whiskey Wyoming two cowboys, Davey-Boy and Quick Mike disfigure a prostitute who mocks Quick Mike. Sheriff Little Bill (Gene Hackman) gives the pair a slap on the wrist. Out raged prostitutes offer one-thousand-dollar reward to anyone who kills the pair.
Munny (Eastwood) has retired to farming. He is approached by a young gun, calling himself Schofield Kid to track down the cowboys and collect the reward. With his farm on hard times Munny goes along, recruiting retired gunman and friend Ned Logan (Morgan Freeman) to go along. They arrive in Big Whiskey and go to the saloon. Logan and the Kid meet with the prostitutes while Munny waits in the saloon. He is confronted by Little Bill for carrying a gun. The sheriff beats him brutally and throws him out of the saloon. The three escape.
Munny recovers from his injuries. They catch up with Davey-Boy and kill him. Logan decides he’s had enough of the old life and leaves to return home. Munny and the Kid catch-up with Little Mike. The Kid kills him, admitting he’d never killed anyone before. One of the prostitutes meets Munny and the Kid to pay the reward. She tells them Little Bill captured Logan and tortured him to death. The Kid heads out with his reward. Munny goes hunting for Little Bill.
Munny finds the sheriff in the saloon organizing a posse to go after him. He walks in facing sheriff and posse alone. In the shootout that follows Munny kills Little Bill and most of his deputies. Then calmly returns home.
Unforgiven played to critical acclaim. The film won four Academy Awards including Best Picture, Best Director (Eastwood) and Best Supporting Actor (Hackman). Unforgiven drew $159 million at the box office worldwide. It is listed in the Library of Congress National Film Registry.
Next Week: Tombstone
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Ride easy,
Paul
Munny (Eastwood) has retired to farming. He is approached by a young gun, calling himself Schofield Kid to track down the cowboys and collect the reward. With his farm on hard times Munny goes along, recruiting retired gunman and friend Ned Logan (Morgan Freeman) to go along. They arrive in Big Whiskey and go to the saloon. Logan and the Kid meet with the prostitutes while Munny waits in the saloon. He is confronted by Little Bill for carrying a gun. The sheriff beats him brutally and throws him out of the saloon. The three escape.
Munny recovers from his injuries. They catch up with Davey-Boy and kill him. Logan decides he’s had enough of the old life and leaves to return home. Munny and the Kid catch-up with Little Mike. The Kid kills him, admitting he’d never killed anyone before. One of the prostitutes meets Munny and the Kid to pay the reward. She tells them Little Bill captured Logan and tortured him to death. The Kid heads out with his reward. Munny goes hunting for Little Bill.
Munny finds the sheriff in the saloon organizing a posse to go after him. He walks in facing sheriff and posse alone. In the shootout that follows Munny kills Little Bill and most of his deputies. Then calmly returns home.
Unforgiven played to critical acclaim. The film won four Academy Awards including Best Picture, Best Director (Eastwood) and Best Supporting Actor (Hackman). Unforgiven drew $159 million at the box office worldwide. It is listed in the Library of Congress National Film Registry.
Next Week: Tombstone
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Ride easy,
Paul
Tombstone
Rather than replay a story so familiar to western fans, let’s take a look at why Tombstone belongs in the conversation for best western of all time. We know the 1879 feud between the Earp brothers and the outlaw gang known as The Cowboys. It led to the iconic Gunfight at the O.K. Corral, more accurately said ‘near’ the O.K. Corral. We know the ambush that left Virgil Earp crippled and the assassination that killed Morgan, leading to Wyatt Earp’s Vendetta Ride. The film starts with a good story. Next comes the director.
Director George P. Cosmatos is one of the reasons Tombstone ranks with the best westerns of all time. He wanted to portray the history accurately. He wanted to make it authentic. Take costumes for example, you don’t get the dramatic effect of four resolute men walking to a date with destiny without those long black coats. Props and costums were historically appropriate. Scenery shot on location. Even the mustaches were real. The gunfight itself, choreographed, timed and filmed exactly as it happened. The human element, loyalty and friendship between Wyatt and Doc Holiday, was genuine too.
Which brings us to the actors. Previously on these pages we’ve declared Val Kilmer best Doc Holiday ever. His quick-draw was a practiced skill. The buttery, aristocratic southern accent, sold the character. The light sheen of sweat, made sick believable. We put Kurt Russell in the conversation for the best Wyatt ever, too close for me to call with Kevin Costner; but many of you called it for Kurt. It didn’t stop there either. Sam Elliott is totally believable as Virgil Earp. I don’t know I could name one any better. Costner’s film didn’t have a Virgil character. Another ‘in character’ performance somewhat overlooked in my opinion is Dana Delany as Josephine. From what my research tells me about Josephine, Dana Delany nailed her look and demeanor.
Curiously the film received mixed critical reviews. I suspect that had more to do with a lack of appreciation for the historical accuracy of the film than anything else. To that point, True West Magazine, a publication with deep historical roots, rates Tombstone one of the five best westerns ever made. High praise from a knowledgeable source. Kilmer and Russell’s reviews were great. Folks liked it. The film grossed $56.5 million.
Next Week: The Quick and the Dead
Return to Facebook to comment
Ride easy,
Paul
Director George P. Cosmatos is one of the reasons Tombstone ranks with the best westerns of all time. He wanted to portray the history accurately. He wanted to make it authentic. Take costumes for example, you don’t get the dramatic effect of four resolute men walking to a date with destiny without those long black coats. Props and costums were historically appropriate. Scenery shot on location. Even the mustaches were real. The gunfight itself, choreographed, timed and filmed exactly as it happened. The human element, loyalty and friendship between Wyatt and Doc Holiday, was genuine too.
Which brings us to the actors. Previously on these pages we’ve declared Val Kilmer best Doc Holiday ever. His quick-draw was a practiced skill. The buttery, aristocratic southern accent, sold the character. The light sheen of sweat, made sick believable. We put Kurt Russell in the conversation for the best Wyatt ever, too close for me to call with Kevin Costner; but many of you called it for Kurt. It didn’t stop there either. Sam Elliott is totally believable as Virgil Earp. I don’t know I could name one any better. Costner’s film didn’t have a Virgil character. Another ‘in character’ performance somewhat overlooked in my opinion is Dana Delany as Josephine. From what my research tells me about Josephine, Dana Delany nailed her look and demeanor.
Curiously the film received mixed critical reviews. I suspect that had more to do with a lack of appreciation for the historical accuracy of the film than anything else. To that point, True West Magazine, a publication with deep historical roots, rates Tombstone one of the five best westerns ever made. High praise from a knowledgeable source. Kilmer and Russell’s reviews were great. Folks liked it. The film grossed $56.5 million.
Next Week: The Quick and the Dead
Return to Facebook to comment
Ride easy,
Paul
The Quick and the Dead
A Lady gunslinger (Sharon Stone) shows up in Redemption, a town run by the vicious outlaw John Herod (Gene Hackman). She’s just in time for a winner take all quick draw tournament. The tournament has attracted the badest gathering of gunnies in the west, including gunfighter turned preacher, Cort (Russell Crowe) who is forced to compete by Herod. Herod’s illegitimate son, The Kid (an unknown Leonardo DiCaprio) joins in, hoping to win his father’s approval.
Herod sets the rules. Anybody can challenge anybody. All challenges must be accepted. Everybody must fight once a day until one of the contestants yields or dies.
Not surprisingly The Lady, Herod, Cort and The Kid all best their first-round opponents. Herod goes into the second round facing a professional killer, hired by the townspeople to rid the town of Herod by his own game. Herod kills the town’s best hope and changes the rules. All duels will be to the death.
Between rounds, the town doctor recognizes The Lady. She is the daughter of the town marshal strung up by Herod in taking over the town. By flashback Herod gives her one shot at cutting the rope her father is hanging by. She misses and kills him. Doc pleads the cause she and Cort kill Herod and save the town.
Rounds progress until four remain. The Lady challenges Herod. He has already accepted The Kid’s challenge, leaving her to face Cort. Herod kills The Kid. So much for fatherly approval. Cort shoots The Lady. Cort and Herod face each other at the last. The proceedings are interrupted when Herod’s house blow up. Out of the smoke and debris steps The Lady, her death having been faked. Cort guns down Herod’s gang while The Lady throws her father’s badge at Herod’s feet and kills him.
Shot in Old Tucson, the film opened to mixed reviews and box office bust. In time it gathered greater critical appreciation. Unforgiven must have cured Hackman of his aversion to violence. The studio had reservations over co-producer Stone’s casting the unknown DiCaprio. Stone paid his salary out of her own pocket.
Next Week: The Horse Whisperer
Return to Facebook to comment
Ride easy,
Paul
Herod sets the rules. Anybody can challenge anybody. All challenges must be accepted. Everybody must fight once a day until one of the contestants yields or dies.
Not surprisingly The Lady, Herod, Cort and The Kid all best their first-round opponents. Herod goes into the second round facing a professional killer, hired by the townspeople to rid the town of Herod by his own game. Herod kills the town’s best hope and changes the rules. All duels will be to the death.
Between rounds, the town doctor recognizes The Lady. She is the daughter of the town marshal strung up by Herod in taking over the town. By flashback Herod gives her one shot at cutting the rope her father is hanging by. She misses and kills him. Doc pleads the cause she and Cort kill Herod and save the town.
Rounds progress until four remain. The Lady challenges Herod. He has already accepted The Kid’s challenge, leaving her to face Cort. Herod kills The Kid. So much for fatherly approval. Cort shoots The Lady. Cort and Herod face each other at the last. The proceedings are interrupted when Herod’s house blow up. Out of the smoke and debris steps The Lady, her death having been faked. Cort guns down Herod’s gang while The Lady throws her father’s badge at Herod’s feet and kills him.
Shot in Old Tucson, the film opened to mixed reviews and box office bust. In time it gathered greater critical appreciation. Unforgiven must have cured Hackman of his aversion to violence. The studio had reservations over co-producer Stone’s casting the unknown DiCaprio. Stone paid his salary out of her own pocket.
Next Week: The Horse Whisperer
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Ride easy,
Paul
The Horse Whisperer
The film opens to a tragic accident. Two best friend teenage girls out for a winter morning ride on their horses. One horse slips on an icy slope and falls knocking the other down. They slide down the hill onto a roadway where they are struck by a truck. One girl is killed. The other, Grace (Scarlett Johansson) is severely injured, requiring partial amputation of her leg. Her beautiful black horse Pilgrim is traumatized, becoming unmanageable to the point of euthanasia.
Grace’s mother Annie (Kristin Scott Thomas), a strong-minded magazine editor, refuses to see Pilgrim put down, believing her daughter’s recovery from traumatic distress is linked to the horse. She locates Tom Booker (Robert Redford), renowned horse whisperer and trainer to see if he can heal Pilgrim. He agrees on the condition Grace joins in the process. She reluctantly agrees. Mother daughter and horse journey to the Booker ranch in Montana.
Booker asks Grace to describe the accident so he can understand what Pilgrim is thinking. She is forced to relive the horror. Progress begins. Annie is attracted to Tom and he is to her. Both are reluctant. Annie is married. Tom's first wife, a city girl incapable of living ranch life, left him, breaking his heart. The plot thickens when Annie’s husband shows up unexpectedly at the ranch. He tells her he knows her feelings for him aren’t the same as his feeling for her. He wants her to make a choice before she comes home. Tom concludes the healing with Grace once again riding Pilgrim. Annie faces her choice. She is a city girl. Tom watches her drive away with daughter and horse.
Robert Redford directed the film to mixed critical reviews. The story is based on Nicholas Evans’ novel of the same name. Evans based Tom Booker on three actual horse whisperers, one of whom, Buck Brannon, consulted on the film and doubled for Redford. Despite that, the film has some flaws, starting with the premise. A well-trained horse, suffering a trauma, would not go completely rogue. It might, for example, become afraid of trucks or crossing a road; but not the behavior as presented. Scenes in the film, edited for length, cut steps in the training process that fail to show accurate or correct methodology. Hollywood is after all, Hollywood.
Next Week: Open Range
Return to Facebook to comment
Ride easy,
Paul
Grace’s mother Annie (Kristin Scott Thomas), a strong-minded magazine editor, refuses to see Pilgrim put down, believing her daughter’s recovery from traumatic distress is linked to the horse. She locates Tom Booker (Robert Redford), renowned horse whisperer and trainer to see if he can heal Pilgrim. He agrees on the condition Grace joins in the process. She reluctantly agrees. Mother daughter and horse journey to the Booker ranch in Montana.
Booker asks Grace to describe the accident so he can understand what Pilgrim is thinking. She is forced to relive the horror. Progress begins. Annie is attracted to Tom and he is to her. Both are reluctant. Annie is married. Tom's first wife, a city girl incapable of living ranch life, left him, breaking his heart. The plot thickens when Annie’s husband shows up unexpectedly at the ranch. He tells her he knows her feelings for him aren’t the same as his feeling for her. He wants her to make a choice before she comes home. Tom concludes the healing with Grace once again riding Pilgrim. Annie faces her choice. She is a city girl. Tom watches her drive away with daughter and horse.
Robert Redford directed the film to mixed critical reviews. The story is based on Nicholas Evans’ novel of the same name. Evans based Tom Booker on three actual horse whisperers, one of whom, Buck Brannon, consulted on the film and doubled for Redford. Despite that, the film has some flaws, starting with the premise. A well-trained horse, suffering a trauma, would not go completely rogue. It might, for example, become afraid of trucks or crossing a road; but not the behavior as presented. Scenes in the film, edited for length, cut steps in the training process that fail to show accurate or correct methodology. Hollywood is after all, Hollywood.
Next Week: Open Range
Return to Facebook to comment
Ride easy,
Paul
Open Range
In 1882 open range cattleman Boss Spearman (Robert Duvall) is driving a herd through Montana assisted by cowhands Charley (Kevin Costner), Mose and Button. They stop for supplies near Harmonville, a town run by land baron, Denton Baxter. Baxter despises the practice of open range grazing. Sent to town for supplies, Mose is assaulted and jailed by the town marshal.
When Mose fails to return, Boss and Charlie go to town and retrieve him from jail; but not before being told to take their cattle and clear out. They seek out the local Doctor to have Mose’ injuries treated. There Charlie meets and is instantly attracted to Sue (Annette Bening), who he believes to be the Doctor’s wife.
Baxter men are seen watching the herd. Boss and Charley surprise them in their camp for the night. While they are away from the herd other men raid their camp. Mose is killed and Button is badly injured. Boss and Charley take Button to the doctor, where Charley learns Sue is the doc’s sister. Romance flowers.
Bent on vengeance Boss and Charley face off against Baxter’s men. Charley kills the man responsible for killing Mose and wounding Button. Hopelessly outnumbered in a fierce gun battle, the situation looks grim, until town’s people join the fight to rid themselves of Baxter. When the tide turns, a wounded Baxter takes cover in the jail. Boss shoots his way in and finishes him.
Charley and Boss decide to give up the cattle business and settle in Harmonville. They buy the saloon and Charley gets the girl.
The film hit it big at the box office earning $68.3 million on a $22 million budget. Production wasn’t easy or cheap. Costner spent a million dollars constructing ‘Harmonville’; because none of the existing western town sets suited him. He spent another $40 thousand to build a road to the remote location. The film drew critical acclaim for cinematography and gunfight realism.
Next Week: The Assassination of Jesse James by the Coward Robert Ford
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Ride easy,
Paul
When Mose fails to return, Boss and Charlie go to town and retrieve him from jail; but not before being told to take their cattle and clear out. They seek out the local Doctor to have Mose’ injuries treated. There Charlie meets and is instantly attracted to Sue (Annette Bening), who he believes to be the Doctor’s wife.
Baxter men are seen watching the herd. Boss and Charley surprise them in their camp for the night. While they are away from the herd other men raid their camp. Mose is killed and Button is badly injured. Boss and Charley take Button to the doctor, where Charley learns Sue is the doc’s sister. Romance flowers.
Bent on vengeance Boss and Charley face off against Baxter’s men. Charley kills the man responsible for killing Mose and wounding Button. Hopelessly outnumbered in a fierce gun battle, the situation looks grim, until town’s people join the fight to rid themselves of Baxter. When the tide turns, a wounded Baxter takes cover in the jail. Boss shoots his way in and finishes him.
Charley and Boss decide to give up the cattle business and settle in Harmonville. They buy the saloon and Charley gets the girl.
The film hit it big at the box office earning $68.3 million on a $22 million budget. Production wasn’t easy or cheap. Costner spent a million dollars constructing ‘Harmonville’; because none of the existing western town sets suited him. He spent another $40 thousand to build a road to the remote location. The film drew critical acclaim for cinematography and gunfight realism.
Next Week: The Assassination of Jesse James by the Coward Robert Ford
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Ride easy,
Paul
The Assassination of Jesse James by the Coward Robert Ford
Written and directed by Andrew Dominik, The Assassination of Jesse James by the Coward Robert Ford (2007) is adapted from a 1983 novel by Ron Hansen. The film weaves a complex relationship between outlaw legend Jesse James and young Bob Ford. The film offers striking parallels and contrasts in the lives of these principal characters.
Young Bob Ford (Casey Affleck) idolizes Jesse James (Brad Pitt) and envy’s his older brother Charley who is a member of the James gang. Bob hopes to join the gang. In a similar way young Jesse once aspired to join his older brother Frank as a member of Bloody Bill Anderson’s Bushwhacker guerilla band. Both Bob and Jesse are initially rejected. Jesse comes of age and turns to robbing trains. The war of northern aggression may be over; but Yankee debts to the south remain to be settled. A Noble cause to inspire Bob’s Hero worship.
Trouble starts when the bounty on Jesse’s head exceeds the amounts that can be taken robbing trains. Gang members conspire to turn Jesse in and collect the reward. Jesse gets wind of the plot, kills one conspirator, and goes on a hunt for the other. In Jesse’s effort to track down his betrayer he severely beats Bob and Charley Ford’s young cousin. Meanwhile in another sub-plot Bob intervenes in a dispute over a woman. Bob kills one of Jesse’s men and hides the body.
Given the men he has lost, Jesse relents, letting Bob join the gang. Bob is angered over Jesse beating his cousin and tempted by the size of the reward. Vengeance and betrayal overtake hero worship as Bob cuts a deal with the Kansas City Chief of Police and the Governor to kill Jesse James. Jesse asks Bob to help him move to a new home. With Bob in the James' home, he finds opportunity to shoot an unarmed Jesse in the back.
When the governor reneges on the promised reward, Bob and Charley take their assassination act to the stage, reckoning fame will reward them. They soon discover there is fame in legend and infamy in treachery and betrayal. Charley commits suicide. Bob lives a life of remorse until he is murdered.
The film won Oscar’s for cinematography and Best Supporting Actor (Affleck).
Next Week: Appaloosa
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Ride easy,
Paul
Young Bob Ford (Casey Affleck) idolizes Jesse James (Brad Pitt) and envy’s his older brother Charley who is a member of the James gang. Bob hopes to join the gang. In a similar way young Jesse once aspired to join his older brother Frank as a member of Bloody Bill Anderson’s Bushwhacker guerilla band. Both Bob and Jesse are initially rejected. Jesse comes of age and turns to robbing trains. The war of northern aggression may be over; but Yankee debts to the south remain to be settled. A Noble cause to inspire Bob’s Hero worship.
Trouble starts when the bounty on Jesse’s head exceeds the amounts that can be taken robbing trains. Gang members conspire to turn Jesse in and collect the reward. Jesse gets wind of the plot, kills one conspirator, and goes on a hunt for the other. In Jesse’s effort to track down his betrayer he severely beats Bob and Charley Ford’s young cousin. Meanwhile in another sub-plot Bob intervenes in a dispute over a woman. Bob kills one of Jesse’s men and hides the body.
Given the men he has lost, Jesse relents, letting Bob join the gang. Bob is angered over Jesse beating his cousin and tempted by the size of the reward. Vengeance and betrayal overtake hero worship as Bob cuts a deal with the Kansas City Chief of Police and the Governor to kill Jesse James. Jesse asks Bob to help him move to a new home. With Bob in the James' home, he finds opportunity to shoot an unarmed Jesse in the back.
When the governor reneges on the promised reward, Bob and Charley take their assassination act to the stage, reckoning fame will reward them. They soon discover there is fame in legend and infamy in treachery and betrayal. Charley commits suicide. Bob lives a life of remorse until he is murdered.
The film won Oscar’s for cinematography and Best Supporting Actor (Affleck).
Next Week: Appaloosa
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Ride easy,
Paul
