Welcome, Pardners — Well, fall is just around the corner. You can tell in Phoenix because the temperature today was only 106! Can winter be far behind? Ah, well, January is really nice here in the Sonoran Desert. Thanks to all who contributed.

COMMENTARY

There is something wrong in this publishing business. Does it really pay to plagiarize? I suppose Janet Dailey can best answer that question. I am not acquainted with Dailey so it would be difficult, if not impossible, to do anything but speculate on how she really feels about her plagiarism of Nora Roberts' work. According to PW Daily for Booksellers ON-LINE (Sept. 2, 1999) Dailey said that "personal problems and family stresses prompted her plagiarism."

But that is not the point.

What is disturbing is that after Dailey settled the plagiarism lawsuit filed by Roberts, Harper/Collins published another of her books. The publishing house decided to give Dailey a second chance.

I expect to many this is an admirable attitude on the part of Harper/Collins. However, it raises several questions about how this will influence the publishing business and, for that matter, society's view toward dishonesty. Does this send the message that it is fine and dandy to commit plagiarism, because your books will continue to be published regardless of such indiscretions? During these days where heroes are few and far between we hear a lot about role modeling. Do plagiarists make good role models? What will this signal do to of the attitudes of young writers? Will publishers find it necessary in the future to hire plagiarism editors or will they really care?

As if having another book published isn't enough reward for her plagiarism, Dailey gets an invitation to appear with her new book, Calder Pride on CBS' "This Morning." So we have another branch of society handing a plagiarist a best seller.

Somehow this all seems like a bad dream. Are there not enough discouragements to writing without piling on this latest boondoggle?

John Duncklee
P.O. Box 336
Alpine, Arizona 85920
(520) 339-4648
E-mail zopilotee@theriver.com

ONLINE FIRST

As you may know, American Western Ezine (formerly ReadTheWest.com Ezine) was the first Western magazine to be offered in its entirety, exclusively online. The online magazine may now be breaking into cyberspace with yet another Internet first when a new feature column, On The Author's Trail, is launched this month.

On The Author's Trail is a column that follows an author while on book tour. Patti Dickinson, who will begin her book tour this month for Hollywood The Hard Way, A Cowboy's Journey, will be the first author to participate in the feature . . . ahem, or should we say experiment?

The plans are to update the column "semi-live" and on a near daily basis, depending on the author's schedule. Dickinson will be supplying the online magazine with short reports from the road, telling of the latest events and impressions of her tour—this is Dickinson's first time out pounding the pavement. No five-star hotels, limousines, or champagne and gourmet meals here. We’re talking compact car, three-star motels, the blue plate special with iced tea, maybe a cold beer. Through November, Dickinson will travel to 16 cities in eight states: Oklahoma, Texas, New Mexico, Arizona, Idaho, Montana, California, and finally, Washington.

The resulting trail reports will initially appear within the magazine, then later transferred to the author's website. The element of the unexpected is being approached with optimism. We think aspiring writers and readers will appreciate this inside look at a "back country" book tour. Additionally, those who meet Dickinson at the book signings might go home and see if they were mentioned in the magazine feature that day, and maybe even mention it to their friends. (Word of mouth, don't you love it?) Anyway, it should be fun and interesting, but most of all, we think it will help introduce this new author and spur additional interest in the book.

Would there be any other authors interested in trying this? Feel free to contact me: Tsfogarty@aol.com, or visit the website: www.ReadTheWest.com

THE WRITING LIFE

A good "presentation" editor is the most valuable person a writer can have.

And, I might add, you should not overlook a good friend who has strong English or literature credentials even though he or she does not belong to a writers group.

A presentation editor in my vernacular means one who is helping you get your book ready to go to a major publishing house. Once on board, the publisher — Harper, for example — will supply a professional copy editor, but you'll need a very clean manuscript to get to that point. In my experience, most writers who have been published don't have the time to devote to the early stages of your book that it will need, as they are usually off working on their next book.

A close friend who gets involved in your work can become almost as obsessed with it as you are. Your best editor will usually stay away from the content if it is nonfiction and stick to their grammar and presentation. He or she often will help with research, however.

On a novel, a good editor can get more involved with the content. For a love scene or a romance I definitely seek a woman's advice. It is key, however, that you remain in control, otherwise when you get involved with a dominant "helper," you lose control of your book and you become an artist of a huge mural that soon turns kaleidoscopic. One part is yours and the other part illustrates the works of another artist with a different "feel" or "stroke."

I have had this experience with several self-proclaimed "writing experts" from two writing groups. Neither had a published book, yet were regarded as "experts" since they were longtime club members and both were rather domineering and know-it-all types. I initially succumbed to their authority and my first book suffered horribly. I eventually realized how disruptive this person was becoming and had to get away from her and her influence. I'm a slow learner and let another "expert" get too dominant on another book and again was fortunate enough to realize my error and pulled away. I was also very fortunate in going out and finding some excellent copy editors afterward and all of them became immersed and performed a credible contribution to the success of the books. I, however, maintained control.

Finally, I would like to recommend that you use illustrations from a competent artist who knows his or her subject — the one you are writing about. I think this is extremely important for a writer seeking to be published. A great artist can make a difference as to your becoming published — especially for the first time. My books are highly illustrated because I write on a subject that most Americans know little about-the Plains Indian. My last novel has more than 30 illustrations by two highly competent artists. Do not employ your niece, nephew or relative because some relative wants you to or because your neighbor recommends one of his or her relatives! This is almost idiotic when you consider the work you have put into your own creation. Many published writers will usually have the same symbol or drawing at the beginning of a chapter. As a new writer, be unique. Have differing symbols for at least some of your chapters, especially if your subject is the West where most Easterners don't know a hackamore from a quirt or a tail bustle from a shoulder bustle. Take a serious look at the artists who come to WWA. Quit drinking, womanizing, gambling or smoking if you have to — to pay them for the cover and illustrations of your next book. It will make a big difference.

Ed McGaa is an enrolled Oglala Sioux, born on the Pine Ridge Reservation and is published by Harper/Collins: "Mother Earth Spirituality-Healing Ourselves and our World," 22nd printing, and "Rainbow Tribe," eighth printing. "Native Wisdom -Perceptions of the Natural Way" is in fourth printing and now he has written a novel, "Eagle Vision-Return of the Hoop." The first six chapters of Eagle Vision are at http://members.aol.com/eagleman4.

REVIEW

LOST RIVER
By Paxton Riddle
(Berkley: $6.50)

With "Lost River," Paxton Riddle makes a significant contribution to the literature of this country's native peoples. His clear voice resonates as he tells the story of a little-known and tragic episode in our nation's history. The story is based on historical events surrounding the Modoc Wars. It is a story of war, retribution, and the price that is paid when cultures collide. It is also an intimate story of the people who fought, loved, and survived the devastation of the 1860s in the Oregon Territory.

It is easy to overlook new authors when they are published in paperback. Yet, I've found many of these works far superior to the slick, too often celebrity driven, hardback books on the store shelves. "Lost River" is just such a find. Riddle, of American Indian descent, relates his story in a vernacular close to the heart of his people. Frank and Winema Riddle, ancestors of the author are the principal characters and their true life adventures are not only interesting, but revealing of the truths too often hidden in revisionist history. Research for this work includes anecdotal material from surviving members of the Modoc tribe as well as primary source material and published histories of the period.

I found the quotes from the Yreka Journal of particular value as the articles and the advertisements brought great credibility to the story. Riddle also gives thanks to Chief Bill Follis and the Modoc Tribe of Oklahoma for allowing him to peruse their records and photographs. Readers will also find the glossary of Modoc and Chinook words at the end of the book helpful.

In Riddle's dedication, he states that virtually all the characters in his story lived, fought, cried, loved and died. For many of them, we will never know their innermost thoughts and desires. We can only surmise. However, Riddle in his captivating novel has breathed new life into those long ago warriors and even those who would rob them of their ancestral lands. In doing so, he has opened a doorway to the past that we of the 20th and 21st centuries might step through and recapture the drama of days gone but must never be forgotten.

"Near the gentle confluence of Lost River and Tulle Lake, less than half a day's pony ride from the Oregon-California border, tall shade trees and swampy wetlands embraced the village of Kalelk. Game, medicine herbs, clear placid lakes, and the Tule reeds needed for basket-making were abundant. It was Mowatoc, the land of the Modokni, the people the whites called Modocs."

It is here in the land of the Lost River that tension runs high between the Modoc tribe and the white settlers seeking their fortune. Years of hostility and distrust now inflame the countryside in a torrent of violence and unending reprisals. War is inevitable.

As the leaders strive for peace, there are those on both sides who will settle only for blood. Warriors of the tribe seek revenge on an enemy they will never forgive. In turn, the barbarism of the white men shows what inhumanity "civilized" people are capable of. In this deadly landscape two lovers — a white man and an Indian princess — are caught between loyalty and love. Two tribes, two races, two ways of life — but only one will survive.

"Lost River" is a story for all readers, and a lesson in humanity we have yet to learn. Bravo to Paxton Riddle for having the dedication and courage to write his story in the way it should be written and for entertaining and informing in the process.

HUMOR

A tough old cowboy once counseled his grandson that if he wanted to live a long life, the secret was to sprinkle a little gunpowder on his oatmeal every morning.

The grandson did this religiously and he lived to the age of 93. When he died, he left 14 children, 28 grandchildren, 35 great grandchildren and a 15-foot hole in the wall of the crematorium!

WESTERN INFO

There's nothing better than sitting a horse. It's like a fine tuned clock right under you. Cut out a steer . . . the horse is on a sharp turn taking the rider where he insists on going. Brand a cow and the horse is all the help the rider needs.

In the sixteenth century, the Spanish Conquistadors brought with them a fine line of Arabian horses. Hernando Cortez admired the wonders of the horse. He contributed his victories and conquest of Mexico to the animal the Conquistadors rode.

The United States at this time was a raw territory and no horses existed. Often the Spaniards didn't want to take the animals back to Spain and would turn the horses loose. The horses roamed the territories freely, multiplied and soon became the mustang. They were wild, unruly, yet a challenge for a friendly, patient hand to give them needed guidance.

The Plains Indians became fascinated with the horse and soon found they could ride them. The Indians became expert horsemen and realized the horse was like a brother. The Indians bred the horses and developed some interesting animals with unusual colorings and markings. They called their two tones the painted pony. The Nez Perce bred the Appaloosa horse. A well-marked animal with white patches and spots on the rump.

Mexicans, too, became excellent horsemen on their way to fame as the gallant and admired vaqueros. They managed wild cattle on many of the Mexican estates.

Out of the sagebrush came the admired mustang and the Texas cowboy. His cowhorse was wiry, hardy and with an "inherent" cow sense. He was surefooted over rough ground and had plenty of endurance, making a prime work pony.

A cowboy took pride in his "cutting" horse's abilities. He took a lot of patience to train such a horse. His horse could cut out any weird acting cow from the herd without bothering the tails of the other cows. The cowboy's horse was like a finely tuned machine under a the guidance of a cowboy who was a good trainer.

The horse was so much a part of the Old West that if anyone stole somebody's horse . . . they strung 'um up high!

WESTERN INFO

A typical old western wagon was a rectangular box about 10 feet long and 4 feet wide with sides 2 feet high. The canvas material that covered it was treated with linseed oil to make it waterproof. The canvas was stretched over an arched framework with heavy rope threaded through at each end to close them off.

The four wheels were made of hard wood with several points strengthened with iron. The front wheels were smaller than the rear wheels to create easier movement. Most wagons did not have brakes or springs and the ride was not very smooth.

Inside these "prairie schooners," there was room for the family furniture, food supplies, cooking utensils, extra water barrels and other important items needed for a long trip. There was usually no room for any of the family members, who slept outside under the wagon. The only ones who could ride were the sick or ones too young to walk. The pioneer people walked beside the slow, rolling wagons, averaging two miles an hour. They stopped at noon to eat a light lunch and rest themselves and the animals before they resumed travel. They stopped only when it became too dark to continue. They generally covered 10 to 20 miles per day, depending on the weather or trail conditions.

The Conestoga wagon manufactured in Pennsylvania was considered a smaller and lighter wagon. It was developed to maneuver the rough terrain and sharp mountain trails.

Oxen were favored to pull the wagons. They were stronger and cheaper to buy than the horse or mule. The ox was hitched directly to the wagon with no guide reins. The owner walked beside the oxen and called out instructions punctuated with a sharp crack of a whip over their heads to push them along.

The pioneers traveled in organized units with one trail boss who was in the lead wagon and was the more experienced traveler. It was rare that a big wagon outfit was attacked by Indians. There were usually one or two scouts with them. The scouts skirted around the territory looking for grass or water. Sometimes they found only hard ground, little water and a treeless country with no wood for their cooking fires. They kept an eye out for animals to be used for food and if a large herd of buffalo was near, the men from different wagon outfits would join to go on the hunt.

If cattle were being herded, the animals were kept to the back of the wagons so their smells and lumbering ways would not distress the wagons. When the wagons stopped for the day or night they arranged them into an end on end circle or in a square, leaving a center compound for the weary pulling animals to be corralled in. It also served as a protection against any roaming animals or possible Indian attacks.

The pioneers would cook their meals, mend their wagons or tend to their team of animals. If they couldn't cook because of the lack of wood they would eat whatever food they brought in tins. The trip was not easy.

It was thought that a trip from Missouri to California or Oregon was estimated to be a 4-5 month journey. In a wet year it would take another month longer.

The overland trail was littered with dumped furniture, to make room for the sick or to lighten the load. The trails collected dead oxen, livestock and the heart wrenching graves of fallen pioneers. Graves that would never be seen again. No grave could be visited, to place a wreath or flower on, as the trail would possibly never be traveled again.

Still, they came by the multitudes — the trudging white line of the wagons heading west. The ruts of their wagon wheels are still evident today, like a wounded scar of achievement over the grounds of this nation. Wagons Ho!

That's all for this edition, folks. Remember the Monday meetings, and remember to help out your fellow authors by buying their books whenever possible. We could also use market-type news. Someone mentioned in the chat this past Monday that some of the publishers were opening to traditional Westerns again. That's great information to have — and to share — so let's pass it around: where it came from (reliable source?), who's doing the books, what they're looking for, if you know. Every little bit helps us all.

Happy trails!

Jack and Marge