Western Writer Profile: Louis L’Amour

louis-lamour-9372242-1-402Name: Louis L’Amour (1908-1988)

Pseudonyms: Tex Burns, Jim Mayo

Notable Works: Hondo, Flint, Education of a Wandering Man: A Memoir



Westward the Tide (1950)
Crossfire Trail (1953)
Hondo (1953)
Guns of the Timberlands (1955)
Heller with a Gun (1955)
To Tame a Land (1955)
The Burning Hills (1956)
Silver Canyon (1956)
Last Stand at Papago Wells (1957)
Sitka (1957)
Radigan (1958)
The First Fast Draw (1959)
Taggart (1959)
Flint (1960)
High Lonesome (1962)
Killoe (1962)
Shalako (1962)
Catlow (1963)
Dark Canyon (1963)
Fallon (1963)
How the West Was Won (1963)
Hanging Woman Creek (1964)
Kiowa Trail (1964)
The High Graders (1965)
The Key-lock Man (1965)
The Broken Gun (1966)
Kid Rodelo (1966)
Kilrone (1966)
Matagorda (1967)
Brionne (1968)
Chancy (1968)
Down the Long Hills (1968)
Conagher (1969)
The Empty Land (1969)
The Tall Stranger (1969)
The Man Called Noon (1970)
Reilly’s Luck (1970)
Under the Sweetwater Rim (1971)
Tucker (1972)
Callaghen (1972)
The Man from Skibbereen (1973)
The Quick and the Dead (1974)
The Californios (1974)
Where the Long Grass Blows (1976)
Bendigo Shafter (1978)
The Proving Trail (1979)
The Iron Marshal (1979)
Comstock Lode (1981)
The Cherokee Trail (1982)
The Shadow Riders (1982)
The Lonesome Gods (1983)
Son of a Wanted Man (1984)
The Walking Drum (1984)
Passin’ Through (1985)
Last of the Breed (1986)
The Marshall of Sentinel (1995)
The Sixth Shotgun (2003)
Home in the Valley (2005)
Showdown on the Hogback (2005)
No Traveller Returns (2018) (with Beau L’Amour)
Bannon (2019)


Sackett’s Land (1973)
To the Far Blue Mountains (1976)
The Warriors Path (1980)
Jubal Sackett (1985)
Ride the River (1983)
The Daybreakers (1964)
The Courting of Griselda (in End of the Drive)
Lando (1962)
Sackett (1964)
Booty for a Badman (in War Party)
Mojave Crossing (1964)
The Sackett Brand (1965)
The Sky-Liners (1967)
The Lonely Men (1969)
Mustang Man (1970)
Galloway (1970)
Treasure Mountain (1973)
Ride the Dark Trail (1972)
Lonely on the Mountain (1980)


The Rider of Lost Creek (1976)
The Mountain Valley War (1978)
Kilkenny (1954)
A Gun for Kilkenny (1997)

Hopalong Cassidy books written as Tex Burns

The Riders of High Rock (1951)
The Rustlers of West Fork (1951)
The Trail to Seven Pines (1951)
Trouble Shooter (1952)

Talon and Chantry

Borden Chantry (1977)
Fair Blows the Wind (1978)
The Ferguson Rifle (1973)
The Man from the Broken Hills (1975)
Milo Talon (1981)
North to the Rails (1971)
Over On the Dry Side (1975)
Rivers West (1975)

Chick Bowdrie

Bowdrie (1983)
Bowdrie’s Law (1984)

Written as Jim Mayo

Showdown at Yellow Butte (1953) (as by Jim Mayo)
Utah Blaine (1954) (as by Jim Mayo)


Spur Award

1968 Down the Long Hills

1981 Owen Wister Award for lifetime achievement

WWA Survey

One of the 24 best western authors

Hondo is one of the 21 best western novels

In the author’s own words

-The essence and appeal of a Louis L’Amour novel might be summed up with his own words: ‘Ah, it’s a grand feeling to be young and tough, with a heart full of hell, strong muscles, and quick hands!’

-I like them all. There’s bits and pieces of books that I think are good. I never rework a book. I’d rather use what I’ve learned on the next one, and make it a little bit better. The worst of it is that I’m no longer a kid and I’m just now getting to be a good writer. Just now.

-My intention had always been to tell stories of the frontier, the sort of stories I heard when growing up.

-As for myself, whatever else I may be I am a storyteller. I see myself as carrying on the story of my people just as the shanachies in Ireland and the Druids before them, and as Homer did in Greece.

-I am writing about men and women who were settling a new country, finding their way through a maze of difficulties, and learning to survive despite them.

-My stories are…concerned with…entering, passing through, or settling wild country. I am concerned with people building a nation, learning to live together, with establishing towns, homes, and bridges to the future.

-Usually I am characterized as a western writer. I do not mind the term, but it us not strictly correct. To me, and to many others, I am a writer of the frontier, not only in the West but elsewhere. Wherever there is a frontier, I am interested; wherever there is a frontier, I am concerned. Much of my writing has to do with men on the western frontier, even when the frontier was east of the Appalachians.


What the critics said

-“L’Amour’s main subjects are male-dominated pioneering and pioneer-family life, frontier women often traditionally obedient but sometimes fiercely courageous, American Indians neither noble nor bestial, and praise of old-fashioned American love of the land, self-reliance, stoicism, realistic but not sentimental racial tolerance, and never-say-die patriotism. L’Amour’s stylistic weaknesses include grammatical and syntactical errors, careless handling of details, narrative point-of-view violations, occasional jerry-built structures, and shallow characterization of minor figures. His strengths, however, outweigh his lapses, and include an oral-narration sort of unrehearsed excitement, breathless action, and devotion to America’s Western past in all its goriness and glory”

-“L’Amour’s early Western fiction constitutes his best work, albeit limited by the formulary conventions which he adopted at the very beginning and never abandoned.”

-“Hondo is most often cited by critics as perhaps L’Amour’s most noteworthy effort and it is entertaining reading, with its self-sufficient, taciturn, capable protagonist, its evocation of the desert lands of Arizona, and its dramatic, if unsympathetic, use of Apaches.”

-“…he always told a fast-paced story with carefully verified details about firearms and geography.”

-“His prose is clean and sometimes witty, but bare bones.”

-“I have no argument that L’Amour’s total sales have probably surpassed every other author of Western fiction in the history of the genre. Indeed, at the time of his death his sales had topped 200,000,000. What I would question is the degree and extent of his effect “upon the American Imagination”. His Western fiction is strictly formulary and frequently, although not always, features the ranch romance plot where the hero and the heroine are to marry at the end once the villains have been defeated. Not only is there nothing really new in the basic structure of his stories, even L’Amour’s social Darwinism, which came to characterize his later fiction, was scarcely original and was never dramatized in other media the way it was in works based on Zane Grey’s fiction.”

-“At his best, L’Amour was a master of spectacular action and stories with a vivid, propulsive forward motion.”

-“While it is true that L’Amour’s novels are structured so that a new action sequence or story element is introduced every eight hundred words or so, the technique does make for fast-pacing, and, for some readers, this is more than enough justification to overlook inconsistencies in characters or plotting.”

-“Last Stand at Papago Wells provides an equally powerful evocation of the desert, but already this early, L’Amour’s prolificacy and his refusal to revise his first draft led to one of the characters counting six dead after an Indian attack when there were only five characters killed. Over the years this tendency worsened so that in The Iron Marshal, L’Amour called a character Bert on one page and Hank a few pages later; another character is introduced as a “lean, wiry old man” only to have him turn out to be 29; and still another character breaks into a Swedish accent for one bit of dialogue.”

-In L’Amour’s Guns of the Timberlands a distinction is made between two kinds of men, “them that come to build, and them that come to get rich quick and get out.” L’Amour’s villains are usually hybrids of this latter variety. In the same novel the reader is informed that one of the sympathetic characters “was a disciple of the belief that evil always gets what it deserves, and he enjoyed seeing his philosophy borne out.” In L’Amour’s West the builders are the winners. This is the historical fantasy which informs nearly all of his fiction. “They were tough, strong people, people with a vision and nerve,” Scott R McMillan wrote concerning L’Amours Westerners in his Introduction to the reissue of L’Amour’s Showdown at Yellow Butte. “They did what they had to do when they had to do it, without compunction. They survived and they built. L’Amour knows this, loves that about them, and tells us this in all his stories.” L’Amour’s many Westerns celebrate the middle-class values of one-settlement culture in the United States and the stories with their super-heroes are so written that it would almost seem that Nature itself endorses this view.”

-“L’Amour takes great pains to achieve accuracy in such details as clothing, weapons, and locale. But his characters belong in the same mythic land with those of Brand’s. His outlaws are likeable rogues of the “good badman” type, while his lawmen are the traditional lantern-jawed paragons of dedication and durability.”

-“Louis L’Amour’s novels demonstrate the continued power of the fantasy West that has for so long attracted a popular audience.”

-“L’Amour clearly believes in a responsible and responsive West populated by the restrained and civilized. He has a considerable talent for perceiving the needs and interests of his audience and, after three decades of writing Western novels, has been able to establish his own genre against which the works of other popular Western writers are judged.”

-“L’Amour’s fiction can be used as a touchstone for the modern popular literary Western because of its universal appeal and continuing success in the marketplace.”

-“In addition to providing his audience with enjoyable stories, he also provides them with a popular history of the settlement of America by focusing on family dynasties, vernacular, architecture, the cultural history of the American Indian, women’s roles on the American frontier, cowboy customs, and myriad other details of nineteenth-century American life.”

-“Louis L’amour’s works remain convincing examples of the viability of the mainstream popular Western story, presenting the historical West in something like an oral tradition.”

-“His more routine plots, especially early in his career, typically cast a tough, solitary hero, often with a troubled past, riding into a dispute over turf and herds, challenged by an entrenched villain or two, gaining success by any weapon at hand, rescuing a brave but jeopardized female or two, and then (sometimes) moving on.”

-“Borrow Shane’s recipe: A saddle-wise loner with a scarlet past, a homesteading family with a small boy, a threat from without. Remove one of the moral obstacles by making the father a lowlife and absenting him from much of the story, but replace it with a bigger one by forcing the hero to kill him in self-defense, so that dead he endangers the hero’s relationship with the mother more that he could ha e alive. Deposit this disturbing psychological triangle in a desert crawling with hostile Apaches, call it Hondo, and make room for another figure in the brisk pantheon of fine western storytellers.”

-“Within the confines of a formula often scorned for its simplicity, L’Amour manipulates with sure hands the traces of the greater plot and of the hero’s moral dilemma regarding the woman he has made a widow. The result is a rich, fast moving Chronicle of men and women caught in a collision of conflicting values.” (Hondo)

-“…Indians are relegated to little better than plot devises cropping up to explain and motivate the sequence of events, a fate shared by many of L’amour’s men and women. With the exception of Hondo, LAamour stories tend to be standard fare containing superior heroes, spunky heroines, simple plots emphasizing action, and the moral reiteration of Good victorious Evil, all wrapped in a veneer of informational details and historical authenticity. His recipe worked…”

-“(L’Amour) was both an asset and liability to the Western story. At one point in the early 80’s, he was virtually the only author of single title Westerns being published, and he kept the category alive at a time when publishers had largely abandoned it….But if he was the rescuer of the category, he was also unwittingly responsible for leaving it in a straitjacket. His very success at writing the mythic, romantic Western ensured that the mass market houses would rarely deviate from his formula stories about a frontier West that never really existed.”


“During the height of his popularity, his books sold at the rate of 15,000-20,000 copies a day, seven days a week, for years on end.”

L’Amour is the biggest selling western author of all-time. According to Wikipedia, he has sold between 230 million and 330 million copies of his books. All of which remain in print.














The Diamond of Jeru 2001 Dual Audio DVDRip 750mb


Sources for this article:

A Literary History of the American West

Updating the Literary West

The Wister Trace

Twentieth Century Western Writers

Read the High Country: A Guide to Western Books and Films

Encyclopedia of Frontier and Western Fiction


Education of a Wandering Man: A Memoir 

The Western: Parables of the American Dream

Western Writer Profile: Elmer Kelton

elmer kelton

Name: Elmer Kelton (1926-2009)

Pseudonyms: Tom Early; Alex Hawk; Lee McElroy

Notable Works: 

The Time It Never Rained, The Day the Cowboys Quit, The Wolf and the Buffalo, The Good Old Boys, and The Man Who Rode Midnight.



  • Hot Iron (1956)
  • Barbed Wire (1957)
  • Buffalo Wagons (1957)
  • Shadow of a Star (1959)
  • Texas Rifles (1960)
  • Donovan (1961)
  • Bitter Trail (1962)
  • Pecos Crossing (Horsehead Crossing) (1963)
  • Massacre at Goliad (1965)
  • Llano River (1966)
  • After the Bugles (1967)
  • Captain’s Rangers (1968)
  • Hanging Judge (1969)
  • Shotgun (1969) Originally published as Shotgun Settlement under pseudonym Alex Hawk
    Bowie’s Mine (1971)
  • The Day the Cowboys Quit (1971)
  • Wagontongue (1972)
  • The Time it Never Rained (1973)
  • Manhunters (1974)
  • Joe Pepper (1975)
  • Long Way To Texas (1976)
  • The Good Old Boys (1978) HEWEY CALLOWAY
  • Eyes of the Hawk (1981)
  • The Wolf and the Buffalo (1980)
  • Stand Proud (1984)
  • Dark Thicket (1985)
  • The Man Who Rode Midnight (1987)
  • Sons of Texas (1989) Originally published under the pseudonym Tom Early
  • The Raiders: Sons of Texas (1989) Originally published under the pseudonym Tom Early
  • The Rebels: Sons of Texas (1990) Originally published under the pseudonym Tom Early
  • Honor at Daybreak (1991)
  • Slaughter (1992)
  • The Far Canyon (1994)
  • The Pumpkin Rollers (1996)
  • Cloudy in the West (1997)
  • The Smiling Country (1998) HEWEY CALLOWAY
  • The Buckskin Line (1999) TEXAS RANGERS
  • Badger Boy (2001) TEXAS RANGERS
  • The Way of the Coyote (2001) TEXAS RANGERS
  • Ranger’s Trail (2002) TEXAS RANGERS
  • Lone Star Rising: Texas Ranger Trilogy (2003) Includes first three novels of the Texas Rangers series
  • Texas Vendetta (2004) TEXAS RANGERS
  • Jericho’s Road (2004) TEXAS RANGERS
  • Six Bits a Day (2005) HEWEY CALLOWAY
  • Ranger’s Law: A Lone Star Saga (2006)
  • The Rebels: Sons of Texas (2007)
  • Sand Hills Boy: The Winding Trail Of A Texas Writer (2007) Memoir
  • Hard Trail to Follow (2007) TEXAS RANGERS
  • Texas Sunrise (2008)
  • Many A River (2008)
  • Other Men’s Horses (2009) TEXAS RANGERS
  • Texas Standoff (2010) TEXAS RANGERS
  • Long Way To Texas: Three Texas Novels (2011) Joe Pepper, Long Way To Texas, and Eyes of the Hawk
  • Wild West (2018)


Spur Award

1957 Buffalo Wagons
1971 The Day the Cowboys Quit
1973 The Time It Never Rained
1981 Eyes of the Hawk
1992 Slaughter
1994 The Far Canyon
2002 The Way of the Coyote
2009 Many a River

Western Heritage Award

1974 The Time It Never Rained
1979 The Good Old Boys
1988 The Man Who Rode Midnight

1977 Owen Wister Award for lifetime achievement

2010 (posthumously) American Cowboy Culture Association Fictional works for Lifetime achievement

WWA Survey (2000)

Greatest Western writer of all time

In the author’s own words:

-A majority of my fictional works are based strongly in history, mostly Texas history, my own personal niche. I have chosen various periods of change or of stress in which an old order is being pushed aside by the new, and through the fictional characters try to give the reader some understanding of the human reasons for and effects of these changes. The challenge of meeting changing times is one thing each generation faces in common with all those which have gone before and all those yet to come. I strongly believe history remains highly relevant to us today, for what we are -our customs, our attitudes, our reactions to events at home and around the world -is the sum product of all that has gone before us. The better we understand history the more likely we are to understand the present and to be able to cope with the future.

-I’ve often been asked how my characters differ from the traditional, larger-than-life heroes of the mythical West. ‘Those,’ I reply, ‘are seven feet tall and invincible. My characters are five-eight and nervous.’

-As a fiction writer I have always tried to use fiction to illuminate history, to illuminate truth, at least as I see the history and truth. A fiction writer can often fire a reader’s interest enough to make him want to dig into the true story and make him search out the real history to find out for himself what happened.

-As a livestock reporter, I am in everyday contact with the kinds of people I write my stories about, the spiritual sons and grandsons of the characters in my historical works and, in many cases, the actual characters in my more contemporary stories.


The Good Old Boys was a made for TV movie in 1995.

What the critics said:

-“Kelton’s works have recurrent themes which center on the courage and integrity of the cow rancher, cowboy, and settler; the ordeals, losses, and successes of his people; the authenticity of his locales; the effect of change upon people and how they meet the challenge of change.”

-“All of his work is realistic and filled with action. The strength of his fiction lies in the historical background, the folklore, and the development of his characters. He is especially good with dialogue and he certainly knows Texas history”

-“…his western novels are realistic studies of the land, animals, and men and women who gradually settled the Llano Estacado and other parts of Texas.”

-“…Kelton passes comment on the culture whose dissolution he is tracing. Although it seems inappropriate to label him a master of the novel of manners, his life-earned knowledge of the cattleman’s existence shines brightest in his commentary on range etiquette.”

-“The most knowledgeable and perceptive contemporary novelist to write of both historical and present-day cowpunchers is Texan Elmer Kelton. He grew up on a ranch around story-telling old cowhands, so Kelton acquired first-hand much of the knowledge of cowboy life he depicts in his fiction.”

-“Kelton explores here with a sure pen the complexities of the kind of human spirit that can never alight in one place long.”

-“Kelton’s fiction is of two sorts: the shorter, simpler novels, which were often early in his career, and the longer, more complex ones, which tend to explore the consequences of the western myth.”

-“A Kelton hero does not vanquish his enemies, win the hand of the heroine, or find serenity in general. More often then not, he must stoically accept what his sometimes harsh, unforgiving environment metes out. Most of Kelton’s characters simply endure, rather than triumph. Yet the novels are not bleak; in fact, there is much humor in them.”

-“Kelton…broke away from Western stereotypes in his fiction and instead wrote sbout simple people–the working cowboy, the working rancher, and the working lawman.”

-“The conflict quite often in Kelton’s Westerns is not supplied by the formulary  hero vs. villain convention, but rather by confrontations between opposing beliefs or viewpoints.”

-“Perhaps what makes Kelton one of the most important contemporary Western authors is the tremendous respect he had for the people he wrote about. His men and women are sensitively drawn people of integrity who suffer great hardships in building their homes and working the land.”

-“Elmer Kelton has come to be seen as a priceless literary commodity, hitting all the notes with essential American archetypes, and leavening his work with a dry wit.”


Sources for this article:

A Literary History of the American West

Updating the Literary West

The Wister Trace

Twentieth Century Western Writers

Read the High Country: A Guide to Western Books and Films

Encyclopedia of Frontier and Western Fiction




Click to access 417a60_5fc54b1f283b4c4da5f8d10aa1dc2e6a.pdf

Five Fingers For Marseilles – trailer

Five Fingers for Marseilles is a South African neo-western thriller that is worth keeping an eye on. I hope this is as amazing as it looks.

Here is the synopsis:

Twenty years ago, the young ‘Five Fingers’ fought against brutal police oppression for the safe-keeping of the rural town of Marseilles. 

Now, after fleeing in disgrace, freedom-fighter-turned-‘outlaw’ Tau returns to Marseilles, seeking only a peaceful pastoral life. When he finds the town under new threat, he must reluctantly fight to free it. Will the Five Fingers ride again?

The noir songs of…Porter Wagoner

Otto Penzler famously said:

“Look, noir is about losers. The characters in these existential, nihilistic tales are doomed. They may not die, but they probably should, as the life that awaits them is certain to be so ugly, so lost and lonely, that they’d be better off just curling up and getting it over with.”

Thereby providing as close to a true definition out there as possible. Or at least the one that people refer to the most.

If you think of Porter Wagoner do you think of noir? Probably not. First, I’m not convinced that he ever really fully crossed over into popular culture consciousnesses and stayed. To the extent he has, people think of his blonde pompadour, his nudie suits, his TV show, and, of course, his partnership with Dolly Parton.

What if I told you that that Porter Wagoner was one of the most classically noir musicians of all time.

There have been many posts online over the years, from the writing and music communities, about murder ballads and crime fiction songs, yet Porter Wagoner name hardly comes up.

From 1966 to 1970 Porter Wagoner released six albums: Confessions of a Broken Man (1966); Soul of a Convict (1967); The Cold Hard Facts of Life (1967); The Bottom of the Bottle (1968); The Carroll County Accident (1969); Down in the Alley (1970).

They were considered kind of concept albums, in many cases he would be inhabiting the character Skid Row Joe.


Bear Family Records collected these six albums in a three disc collection, The Cold Hard Facts of Life.

When taken as a whole these songs connect in surprising ways. The man who commits murder in one song may be the man in jail in another song. The wino bumming a dime in one song might be the man dying alone in another song. There are some songs that are of a type we have all heard before. But when placed in the context of this broader pattern, a new tragedy can emerge.

This is an outstanding collection of songs and worth seeking out. In the meantime check out a couple of the songs.

This darker aspect of his work would continue on in individual songs on oater albums but wouldn’t again be spread over an entire album. Here’s two songs not on this collection but worth remembering.



Announcement: New series of profiles on western writers

I know they aren’t for everyone but I like westerns. Recently on Facebook I wrote the following:

Norman Fox was a western writer who wrote 33 novels and more that 400 short stories (and novelettes). As far as I know, only 11 of the stories were collected in book form.

There’s a ton of western short stories out there that just feels lost.

I’d like to try and do something about it. I plan on writing a series of profiles on western writers that will gather together good information on western writers both remembered and forgotten. I will be relying heavily on the books in the picture above. These books are a great study of the western genre in the 20th century. There is a ton of great information contained in these books. I hope to free some of it.

I will start with my favorite western writers before expanding out to cover others. I hope that these posts will be informative and will encourage readers to try some of their works.

The first post will be on Elmer Kelton. Future posts will be on Luke Short, Ernest Haycox, Lewis Patton, Jack Schaefer, Brian Garfield, TV Olsen, Wayne Overholser.

Interview with Eric Red

This interview originally appeared at Spinetingler on October 26, 2016.

On July 31st Eric Red’s new western novel, Noose, first in a series, was published. To celebrate, I am reprinting my interview with him about westerns.


Today I’m talking to Eric Red. Eric Red is known for writing films like The Hitcher and Near Dark. He’s also written a fun western/horror book called The Guns of Santa Sangre.

Brian Lindenmuth: Why westerns?

Eric Red: The mythology of hero and villain cowboys with guns on horses in a hard landscape where problems are settled in definitive physical terms resonates for everyone on a subconscious level. It’s remained a popular storytelling form for over a century for a reason.

Why did The Guns of Santa Sangre have to be a western?

Guns is a western novel so maybe the better question is why it had to be a horror novel as well. Since the book is a spin on the classic oater tale about anti-hero gunfighters who regain their honor by protecting a defenseless village from bad guys, I made the bad guys werewolves because I hadn’t seen that before. The western and horror genres mash up organically, because the elements of both are so iconic for readers.

What is your favorite type of western?

The old west was a tough, violent place. I like westerns that portray that dangerous world accurately, but have bigger-than-life good guys and bad guys.

What is your favorite western movie?

The Wild Bunch

What is your favorite western novel?

I have four. The Searchers by Alan LeMay, The Shootist by Glendon Swartout, The Cowboy and the Cossack by Clair Huffaker, and Blood Meridian by Cormac McCarthy.

Who is your favorite western writer?

Sam Peckinpah, as a screenwriter.

What do you most value in the fiction you love?

A propulsive narrative that pulls me in and keeps me turning the page, with characters I care about. Doesn’t matter the genre.

Who is your favorite violent western character?

The Judge in Blood Meridian.

Is the western genre dead, dying, in a state of disrepair, or doing just fine?

Readers and audiences love westerns, always have and always will, all over the world. Western movies, TV shows, and books continue to be successful because people always have an appetite for them. Just count the amount of western movies, shows, and books that have come out over the last few years.

Then/Now/Next: what book did you read last, what book are you reading now, and what book will you read next?

Just finished The Girls by Emma Cline, am reading Breakhart Pass by Alistair MacLean now, and am going to read The Fireman by Joe Hill next.

What was the last great western that you consumed (watched or read)?

The Hateful Eight.


Eric is a Los Angeles based motion picture novelist, screenwriter, and film director.

His first novel, a dark coming-of-age tale about teenagers called DON’T STAND SO CLOSE, is available from SST Publications. His other three novels, a werewolf western called THE GUNS OF SANTA SANGRE, a science fiction monster undersea adventure called IT WAITS BELOW, and a serial killer thriller WHITE KNUCKLE, are available from Samhain Publishing.

He created and wrote the comic series and graphic novel CONTAINMENT for IDW Publishing, recently reprinted in hardcover by SST Publications, and the comic series WILD WORK for Antarctic Press.

His original screenplays include THE HITCHER for Tri Star, NEAR DARK for DeLaurentiis Entertainment Group, BLUE STEEL for MGM and the western THE LAST OUTLAW for HBO. He directed and wrote the crime film COHEN AND TATE for Hemdale, BODY PARTS for Paramount, UNDERTOW for Showtime, BAD MOON for Warner Bros. and the ghost story 100 FEET for Grand Illusions Entertainment.

Network 77

I don’t really know how to describe Network 77. A sketch comedy show designed to look like you were flipping through the channels in the 70s & early 80s. There are commercials, advertisements, parts of TV shows, newscasts, bumpers, station identifiers. All done with period appropriate graphics and special effects and a great attention to detail.

The frequency for this is so specific I’m not sure who the intended audience is (if there is one). If you are tuned in to it, you’ll love it. Give it a shot if you have some free time (it’s a bout 40 minutes long but easily breaks up into smaller viewing segments due to the sketch nature).