Equus caballus

Equine artist Tom Chapman . . .

2009-07-28T13:50:00.004-04:00

There’s so much I love about writing, but an unexpected bonus has been that writing has allowed me to meet a bunch of wonderful people whom I never would have met otherwise.

One person I’m privileged to have met (via e-mail) is ex-jockey and marvelously talented artist Tom Chapman. I was looking for a unique way to celebrate the release of TRIPLE CROSS, my Kentucky Derby mystery, when I found these wonderful Christmas cards by Tom titled “Christmas at Churchill.” I purchased a box or two and e-mailed Tom to thank him for the cards. We’ve corresponded ever since. What follows is Tom’s fascinating story and some of his wonderful artwork.

Kit: How did you get started with horses?
Tom: I was a senior in high school and getting ready to go to college or the army. I wasn't really excited to go to school though. It was 1972 and the army probably wasn't the best place to be at that time. My father suggested that I try to be a jockey. He had a friend who trained quarter horses where we lived in Montana. I thought to myself “Why not give it a try? I can always go to school if I don't like it.” I worked around the fairs that summer and later moved to Southern Cal to work on a horse farm. There I learned from the bottom up. I first started hot walking and cleaning stalls. Later I broke babies and eventually got to the track where I exercised horses. After about four years from the time I left Montana, I finally rode my first race on a filly named Zulla Road at Santa Anita Feb. 17th, 1977.

Rachel Alexandra

Kit: What’s it like to ride a half-ton Thoroughbred at 40mph in a race?
Tom: It's about the most awesome feeling you can imagine. The wind in your face, the sounds of the horses and jockeys all around you, the mane slapping your cheeks, and the dirt clods pounding your body just bring such a sensory overload. The power of the horse underneath you is something only another jockey can relate to. On top of all, this there is the competitiveness and the adrenaline coursing through your body.

Kit: How did you prepare before each race?
Tom: I would read the Racing Form and try to figure out who the major competition was, where I most likely would be laying in the race, and try to figure out how the race would be run depending on what riders were on which horses.

Secretariat

Kit: What did you dislike most about being a jockey?
Tom: I didn't like fighting my weight all the time. I also didn't like having to work on weekends and missing things my sons were involved in like baseball and soccer. I also hated it when a horse was catastrophically injured.

Kit: Is there a horse that has a special place in your heart, and why?
Tom: Moment to Buy was a three-year-old filly back in 1984. I won my only grade 1 win on her--the Hollywood Oaks. She beat the best three-year-old fillies that year. She also ran second to two older mares in two different races that year. Royal Heroine was one of them, and she went on to win the BC Mile against colts and horses. The other was Princess Rooney who won the BC Distaff that year. I have several others, but I don't think you have all week to hear about them.

Kit: What can you tell us about a jockey’s life that we might not know about? Some behind-the-scenes tradition or nuance that we might not ever consider?
Tom: The track is like a world all to itself. It's kind of like a big dysfunctional family that sticks together. Once a person is accepted into the family, they are always in. Sounds a little like the Mafia doesn't it? Anyway, I could go to every racetrack in the nation and run into someone that I know or at least a friend of someone I know.

The Look of a Champion, Barbara

Kit: Besides winning, what did you love best about race riding?
Tom: I loved the competitiveness of it all. I just loved the adrenaline to the point that I was addicted to it. That is one of the reasons I eventually got into painting. On my days off, I would try to replace that adrenaline rush by skiing, paint balling and stuff like that. I would come home more tired than days when I was racing.

Kit: Who influenced you the most in your racing career?
Tom: I learned a lot riding against Bill Shoemaker and Fernando Toro. Everyone knows “The Shoe.” He was a real horseman. I was always amazed at the way horses ran for him without him even moving on them. Fernando Toro was the "King of the Turf" down in So Cal when I started. He rode the turf better than anyone. I also eventually excelled in turf races and a lot of it had to do with learning from him. People would call me the “Toro of Northern California” and I would say, “No, Fernando is the Chapman of So Cal.”

Kit: That's great. Tom, you’ve made a spectacular career change from race riding to painting gorgeous portraits of all kinds. I know you took art in high school, but your talent is spectacular. Is it mostly self-taught?
Tom: I have a God-given talent and I've been able to develop it. I did take some art lessons starting in 1993, but within a year I had outgrown the teacher. She did teach me a lot about color mixing and light and shadow but the rest I just picked up on my own. I also read every book I could find on art and I would try everything that was suggested.

Kit: Do you think your artistic skills and mindset had an effect on the kind of jockey you were, or are they totally unrelated?
Tom: I'm not sure about that. I know I was more involved with other things in life than most jockeys. Don't get me wrong, I loved raceriding and the track, but my life wasn't all racetrack. Maybe that is one of the reasons I got into art. I've always wanted to learn about different things like the stock market, real estate, politics, art, etc.

Kit: Do you usually paint from photographs, or do you sometimes go onsite to paint?
Tom: I usually paint from photographs. I may use reference photos, from 5 to 10 photos for one painting. I rarely just copy a photo. I also go on location to paint at times. That is usually just for a landscape though. I've always said, “If I can see it, I can paint it, and horses won't stand still long enough.”

Kit: How true. Do you use oils? Other mediums?
Tom: I mostly paint with oils on canvas but will do pencil sketches. I've also done a few murals with acrylics.

The Walk Home After the Last

Kit: What else would you like to tell us?
Tom: I've been married to my best friend, Kathy, for thirty-four years. Our lives together haven't always been easy. but we are closer now than ever. We both know and love the Lord and He has blessed us so much. We have three boys. Matt is 33, Luke is 23, and Daniel is 10. When people hear that they are so far apart, I know that they are thinking that I must have been married 3 different times. I'll jokingly tell them they are all out of the same broodmare.

Thank you, Tom!
Thank you, Kit.

Tom's Giclee prints are very reasonably priced.
Tom's website

Happy reading and riding,
Kit
www.kitehrman.com

Going Home . . .

2009-07-14T10:04:00.000-04:00

As we deal with our horses, both as caretakers and trainers, I think it’s important that we not lose sight of equine emotions. They may run deeper than we suspect. A case in point:

Many years ago, when my boys were small, my good friend and neighbor asked if I would like to borrow her elderly, medium-sized pony so that my children would have the opportunity to ride something more size appropriate than being led around on my old, rather overweight gelding. I agreed, and soon Star, a chestnut mare with a coarse head, joined my barn.

Star settled in, but looking back, I believe she was never truly happy with the forced change. She could see and smell and hear her old home where she had once been the matriarch. On my farm, she had my six-year-old, rambunctious, Thoroughbred mare to contend with. Although Flare was mostly well behaved, every now and then, she tried to play with her new pasturemate. At age thirty, Star was in no mood for shenanigans of any sorts. She wanted to eat and rest and be left in peace. She did, however, bond quite nicely with my boarder, a sixteen-year-old large pony.

Admittedly, Star was a bit of a grouch. As I considered her, I didn’t think she was pining for home, but she never seemed truly happy, either. Was this her innate personality or was she missing home? I couldn’t tell.

Three years passed. As with all my horses, Star enjoyed a roomy, immaculately-cleaned stall; daily turnout in a lush pasture; supplemental hay and grain; excellent veterinary and farrier care; candy and treats; fly spray and baths when it was hot; a blanket when it was cold; and a strict routine she could rely on. She had companionship and did very little work. As it turned out, she was not a willing tutor for my boys, but that was okay. They preferred bumping their go-carts across the fields and daredevil races down the lane.

Then, when Star was thirty-three, my pony boarder and Star’s buddy left the barn. Star missed her; that much was clear, and as the days passed, she seemed more and more depressed. The only companion that she’d had on my farm was gone.

I noticed Star looking across the pasture toward her old home more and more. I called Star’s owner and told her that she seemed unhappy and I thought she wanted to come home. A couple weeks passed. I can’t remember, now, what the holdup had been. Maybe my neighbor didn’t have an open stall, or maybe she simply didn’t think the situation was urgent. In any case, Star went downhill quickly. She seemed distressed. I made another call, and my neighbor didn’t delay this time in taking her home.

The next day, my friend called and told me Star had died that night. The old mare had lifted her head and pranced down “her” barn aisle, whinnying, and no one who saw her could have mistaken her joy at returning home.

We are both convinced that she wanted to go home to die.

When it comes to your horse’s emotions, be observant and trust your instincts. I should have reacted faster, and I’m sure if Star could have talked, we would have never moved her from home.

Kit
www.kitehrman.com

Two Great Horses . . .

2009-06-03T08:15:00.002-04:00

It’s no surprise that most people readily assume that I love horseracing. After all, my last mystery, TRIPLE CROSS, took place at the Kentucky Derby.

I do love watching horses run, but I don’t love horseracing. I love horses, and there’s the difference. In my opinion, any equine sport, whether it be the Olympic disciplines, barrel racing, endurance riding, etc., becomes less horse friendly at the upper levels where considerable prize money, reputations, and ego come into play. So, it was nice to see Rachel Alexandra’s connections (she won the 2009 Kentucky Oaks and Preakness) withdraw her from the Belmont Stakes scheduled this Saturday because they were thinking of her longtime health.

clipped from www.nyra.com

“We know the media and many fans would have liked to see her run in the Belmont Stakes -- we feel the same. But all of us sincerely interested in the horse must agree that we only want to see her run when it is best for her. While she is in great shape, having strong works, and recovering well from her amazing performances, we feel Rachel deserves a well-earned vacation. Since March 14, Rachel has won four graded races with just two weeks rest between her last two victories. We will always put her long-term well-being first. And, of course, we want to run her when she is fresh.”

I applaud them. They put the horse first.

Now, if you haven’t seen this year’s Kentucky Derby or Oaks, you’ve missed two outstanding performances by two special horses.

In the 2009 Kentucky Derby, Calvin Borel (a.k.a. Calvin Bo-Rail for his penchant of sneaking horses through gaps that open up along the rail) guided Mine That Bird from dead last to a stunning victory that made the rest of the field look like it was running in slow-mo. An amazing performance. In fact, the announcer was so focused on the horses that had comprised the race most of the way around the oval, he didn’t even notice Mine That Bird until the horse had pulled into a comfortable lead. After watching the video, back it up just a bit and watch Borel and Mine that Bird fly over to the rail in three strides and explode down the rail.

If you were impressed with the Derby, the Kentucky Oaks will blow you away. Rachel Alexandra, who went on to win the Preakness, proves she can run with the boys, no problem. What a special horse.

Here’s to Saturday and the Belmont Stakes. I’m hoping Mine That Bird continues his winning ways.

Kit Ehrman
www.kitehrman.com

Scattered . . .

2009-05-20T00:01:00.001-04:00

Sadly, I’ve been offblog for a while. My husband and I are trying to sell our house, and it’s been frustrating and hectic and time consuming. I believe this will be our twelfth move. Except for the townhouse we rented when we first got married (and our current house) we’ve always lived on horse farms, and to my mind, there’s no better place to be. I love living in the country. I love looking out the windows and seeing pastured horses or, at times, horses in the backyard, putting my birdfeeder at risk. I especially loved having the horses close at hand where I could check on them day and night.

And like the humans in our family, my horses were accomplished at relocating. My worst move was one where I wasn’t personally involved in transporting them. I had three horses at the time, plus my sister’s horse. Four horses to move six-hundred miles, and I wasn’t going to be there when they were loaded into the trailer. Instead, I would be flying with my six-week old son, lugging his baby bag and car seat through Chicago’s O’Hare airport with mere minutes to catch my connecting flight.

Meanwhile, strangers were loading the horses onto a trailer. I figured my horses would load okay. After all, I’d loaded them singlehandedly numerous times. But still, you never know what unforeseen circumstance might make a horse balk. Then, the hauler would have to find my parents’ farm to pick up my sister’s horse, and he could be a bear to load. But he was in the barn alone, and I hoped the desire to be with other horses would come into play. Apparently, it did because the horses arrived in Indiana twenty-four hours later, none the worse for wear. It was such a relief to get them off the trailer and into their stalls.

This move, if we succeed in selling the house, will be a short one, as we’re only moving a couple of miles away. Too bad I don’t have any horses to move this time.

For an interesting article on the ultimate in horse transport, visit:

clipped from www.nytimes.com

First-Class Treatment for U.S. Team’s Horses

Tim Dutta has learned that satisfying his well-heeled clientele means attending to the smallest of details. One of his frequent fliers loves orange Gatorade, for example, but turns up his nose at lime. Another drinks water only if it has been sweetened with a touch of apple juice. Some ease their nerves by nibbling on wet hay, while others take it dry.

His clients, of course, are not human but equine — Dutta is a shipping agent for the United States equestrian team, responsible for flying the team’s horses to Europe for the first leg of their trip to the 2008 Summer Olympics.

Kit Ehrman
www.kitehrman.com

Michael Barisone, con't. . . .

2009-04-07T10:46:00.001-04:00

The following text consists of the rest of my notes taken during a clinic given by Michael Barisone in 1995. I had the privilege of not only listening to Michael teach but of watching him ride his beloved horse, Comanche, during the lunch break.

From HorseDaily.com:

Michael Barisone has been a part of the American Dressage scene from the USDF Junior/Young Rider ranks winning his USDF Bronze, Silver, and Gold Medals. But it was with Comanche the white faced KWPN Dutch Warmblood gelding by Naturel, that he rose to true prominence and became international team material. Since 1991 when they finished six overall and qualified as second alternate for the Pan American Games, Barisone and "Chuck" never missed the USET top 12. As a member of the 1998 USET Developing Rider Tour, they were the "clinch" ride that won the Team Gold Medal at the Nations Cup in Hickstead, England. Sadly "Chuck", who had developed serious health problems shortly after he returned to America, did not survive, despite a valiant effort to save him.

Michael and Comanche

Watching Michael and Comanche go through their paces was an eye-opener. The horse was magnificent and performed beautifully, listening to aids that were mostly invisible. The key point I came away with was that, through consistent aids, repetition, and skilled riding, you can teach the horse to respond to the lightest aid.

More Fine Points from the clinic:
When the horse acts up or backs off, stretch up and put the leg on more. When in trouble always use the leg. When the horse lifts his head up and hits the bit, slide the bit left, right, left, right, but don’t move the horse’s head left, right, just the bit. When a horse won’t take the contact on one rein, take on both reins and go forward, then it should take care of itself. Take/give, always give. Do lots of transitions within the gait to get the horse’s attention and focus. Do a little shoulder-in and counter bending to get soft. An open hand is a hard hand. A closed hand is a soft hand. Leave your hands’ connection with the reins firm, but when you soften, you soften with the wrists, elbows, and shoulders. Set up everything you do so that it will work. Ride the short side as a straight line. Take time to plot your path, and make the horse stick to it. This is good practice and training for the horse. Keep thumbs up, look up. Keep arms soft and elastic, with constant contact, like draw reins. In the trot, ride forward from the leg. In the canter, ride forward from the leg and seat.

Barisone & Neruda
HorseDaily.com

Canter/Trot Transitions
Close the inside leg, sponge inside rein, sit down, stop with the outer rein. Feel when your seat goes down, down, down, in each canter stride; then when your seat goes down, that is the time to use the outer rein to ask for the transition to trot.

Leg Yielding
When leg yielding, the inside leg pushes the horse out to the rail, keep both hands to the inside to slow the forehand. The forehand usually speeds up and gets ahead of the haunches in the leg yield, which you don’t want. Sponge the inside rein to keep the horse soft.

Ten-Meter Circle
In the ten-meter circle, or any circle, the hands move to the inside to guide the forehand around, while the inside leg is on. Sponge the inside rein.

Shoulder In
Ride deep into the corner, then straight out of the corner, then ask for the shoulder-in. Inside leg on, move both reins to the inside to move shoulders to the inside. Sponge the inside rein, steady outside rein. Look up to the end of the ring. Keep the inside leg on. Straighten the horse before riding into the corner, keeping your inside leg on so he doesn’t swing haunches in instead of moving forehand back to the rail. Ride deep into the corner. The inside rein should be very soft during the shoulder in. Test him by giving the inside rein, if he falls out he’s not listening to the inside leg.

Half halts
Half halts are a crock. You teach a green horse to go forward from the leg and to stop from the hand, then all of the sudden, in a half halt, you try to tell him to stop and go at the same time. What is that? When you use the leg, you must allow him to go somewhere.

The Double Bridle
The curb rein goes where snaffle rein usually goes, and snaffle rein goes between next fingers towards the thumb. When you want to flex longitudinally, use the leg first, then the curb (both reins always) by rotating the hands so that the curb comes into effect. Then give. Leg, curb, give, leg, curb, give, leg, curb, give. Eventually the horse will give in his jaw and pole when you apply the leg because he knows what’s coming next, so he “gives from the leg” and you don’t even need to touch the curb.

Canter Pirouette
From the diagonal, aim for the corner, keep inner leg ahead (at girth), outer leg back, reins to inside. In the pirouette ride the neck down with a soft inner rein. Approach in shoulder fore so horse is already bent, outside leg touches with the spur on every stride in pirouette. Move outside rein out to slow pirouette, move outside rein against neck to speed up the pirouette.

Tempi Changes
If you’re doing four tempies, count 1,2,3,change, 1,2,3,change, 1,2,3,change. If doing three tempies, count 1,2,change, 1,2,change, 1,2,change. Be quick in using the leg.

High Tense Horse
If you’re riding a high horse who lacks focus, never stay in one thing too long. Always keep them guessing. Do lots of transitions within the gait. Don’t stretch too low with reins too long because you can’t trust the horse. If the neck comes up, use your inner leg, vibrate inner rein, flex rein, but always give. Don’t hold the horse’s mouth. Do lots of figures. When the horse is tense, do everything you can to loosen the back. Move the horse in and out like an accordion to loosen back.

Flying Changes
Don’t do flying changes in the corner, because the horse will learn to do it on the balance change rather than listening to the aids. When introducing the flying change, ask for a change then don’t ask for a change. When they think you aren’t going to ask for a change, ask for a change. Ask for counter canter; then on the long side, ask for a change to true lead.

Sitting the Trot
Don’t worry about more trot when you’re trying to learn to sit the trot. Build the trot a little at a time as you become more comfortable.

Another video of Michael riding Neruda.

Visit Michael's website

One last note that is not horse-related, but if you like reading mysteries, Bouchercon, the World Mystery Convention is coming to Indianapolis this October.

Happy reading and riding!
Kit Ehrman
www.kitehrman.com

Michael Barisone . . .

2009-03-25T00:40:00.001-04:00

I have to admit, the day kind of got away from me. I’d think about what I might write in the blog and never came up with a topic I liked, so I’m turning to the past. After I stopped riding my horses over fences, I switched to dressage and loved it. I used to smile to myself when acquaintances, generally non-horsey folks, would ask me why I was “still” taking riding lessons when I had horses and knew how to ride. What I love about riding, and dressage in particular, is that you never stop learning.

I had the privilege of watching Michael Barisone give a dressage clinic near my home many years ago and thought you might find my notes interesting, especially those of you who ride dressage.

Michael and Neruda
Chronicle of the Horse

On the Bit . . . Basic Softening
Keep the inside leg on, steady outside rein, sponge the inside rein. If sponging the inside rein is not effective, flex to the inside and give, flex to the inside and give, flex to the inside and give, all the while keeping the inside leg on and a steady outside rein.

If they are leaning 10 pounds in the mouth, you have to use at least 10 pounds of pressure in the leg to get over the resistance in the jaw. If they think you’ll hold them, they’ll lean on you. If they lean, sit, use the inside leg, and vibrate the inside rein. Or sit, use inside leg, flex a little to inside, then give. You can also try moving the bit left, right, left, right, with inside leg on. If they get behind the bit, take the contact the push with leg. When the horse is soft, it is his bit. When the horse leans, say “Hey, it’s my bit.” and get it back with a steady outside rein and a vibrating inside rein, or a left, right, left, right movement of the bit (not the head). The minute they get heavy, use your inside leg and slide the bit, or flex left, then right. The outside rein helps control the shoulder. Keep a straight line from the elbow to the bit. As soon as the head comes up, correct immediately. Don’t be slow to correct. Let your shoulders be soft and keep elbows close to the body.

Half Pass/Trot
Do the diagonal. At X, start half pass by aiming at the letter. Aim front of the horse at the letter and push haunches to the outside (like haunches in), always keeping the front of the horse straight.

Canter Work
To be straight in the canter, always ride a slight shoulder fore, then the horse will be straight. Canter depart--count down to the canter, 10, 9, 8, 7, . . . 1, canter, all the while building the trot but keeping on-the-bit frame with the horse soft in his mouth with as much self carriage as possible. At canter depart, put inside leg on at the girth, sponge inside rein, steady outside rein, deep seat, slide outside leg back, squeeze with inner leg at the girth also. If the canter is too fast, hold with both reins, then give, hold with both reins, then give, hold with both reins, then give until you get the pace you want, always keeping the inner leg on. When cantering, don’t let him quit. He must know that he has to canter until you ask him to change gaits. “You should be able to get off and get a cup of coffee and come back, and he will still be cantering.” If he breaks, push him into the canter immediately. Don’t worry about how nice the transition is because you are teaching him not to change gaits unless you ask. In the canter, sit heavier on the outside seat bone. To slow the canter, as you feel your seat drop with each stride, close outside rein.

Fine Points
Always ride deep into the corners. Look ahead, not down. When you take with the reins, always give, even if you don’t get what you want, then repeat. Do not hold the mouth with pressure. They can’t lean if you don’t give them anything to lean against. Always think soft. When riding a circle, corner, or figure, both reins should be slightly to the inside, guiding the horse’s forehand around the circle. The inside leg keeps the horse out on the circle. The inside rein is a slight open rein. Do a little flexion, then give, little, flexion, then give . . . Keep the outer rein against the neck. The inside rein points towards your inside hip. Teach the horse to go from release, not from the push. If you ask him to go forward, and he doesn’t, use the spur. If he still doesn’t go forward, remove leg and boot him with it. Eventually he will respond to the release because he knows what’s coming. Ask nice, if you don’t get a result, ask again. If he still doesn’t go forward, clobber him with the aid--but let him go forward by softening the reins.

Here's a 2008 ride by Michael. The horse is Pasop, and it's his first Grand Prix:

to be continued . . .

Happy riding and reading,
Kit
www.kitehrman.com

The Slaughter Issue, Con't. . . .

2009-02-24T12:24:00.001-05:00

After the last equine slaughter plant in the United States was closed down, the plight of unwanted horses actually became worse, not better. Unwanted animals were hauled even greater distances under appalling conditions to slaughter houses in Canada and Mexico where the process is not as well regulated as it had been in the U.S. The method used in Mexican plants is particularly grisly. As it turned out, a bill that, on the surface, appeared to help horses actually had the unexpected effect of making the end of their lives more brutal.

So, a new bill was introduced that would make the transport of horses for slaughter illegal in the United States. HR 503, the federal Conyers-Burton Prevention of Equine Cruelty Act, would eliminate horse slaughter nationwide and prohibit the export of horses for slaughter. Seemed like a great idea.

The bill stalled.

Meanwhile, with the economy in a downward spiral, poor hay yields, and grain costs escalating along with everything else, the plight of unwanted horses grows more precarious with each passing day. More horses are bound to suffer.

Now, the pendulum is swinging the other way. Twelve state legislatures are considering measures to support or actively encourage the reestablishment of U.S. horse processing plants.

Resolutions opposing the HR 503 bill are either under consideration or have passed in:
Arizona
Kansas
Minnesota
North Dakota
South Dakota
Utah
Wyoming

Bills amending state law to promote slaughter plant development are pending in:
Arkansas
Illinois
Missouri
Montana
Tennessee

This about face was engineered by Wyoming State Representative Sue Wallis and South Dakota State Representative Dave Sigdestad in a resolution submitted to the National Sate Legislatures Agriculture and Energy Committee with the intent of generating jobs and addressing the issue of unwanted horses.

And that is the issue, really – unwanted horses. The key here is for each and every horse owner to think long and hard before breeding their animals.

The racing industry, in particular, is at fault in this regard as they seem to need to produce a whole lot of horses to come up with winners, but at least they are taking measures to curtail abuse in their own backyard.

Magna Entertainment Group has adopted a company-wide policy promoting the humane treatment of racehorses. Any trainer or owner stabling horses at one of their tracks who directly or indirectly participates in the transport of a horse to a slaughterhouse or auction house that sells horses for slaughter will be prohibited from having stalls at the track. Having stalls onsite is a big deal, so this is definitely a deterrent.

Magna Entertainment Group tracks:
Golden Gate Fields; Albany, Calif.
Gulfstream Park; Hallandale Beach, Fla.
Laurel Park; Laurel, Md.
Lone Star Park at Grand Prairie; Grand Prairie, Texas
The Meadows; Meadow Lands, Pa.
Pimlico; Baltimore, Md.
Portland Meadows; Portland, Ore.
Remington Park; Oklahoma City, Okla.
Santa Anita Park; Arcadia, Calif.
Thistledown; North Randall, Ohio

Suffolk Downs also has a zero tolerance policy. Track management will deny trainers stalls if they sell a horse for slaughter. They’ve also partnered with the Thoroughbred Retirement Foundation and CANTER and have set aside ten stalls for horses that need care until they can be moved to a farm or retirement facility.

Finger Lakes Racetrack has its own horse farm and adoption program. Visit the link: http://www.fingerlakestap.org.

Legislation isn’t going to save horses. It’s up to each horseman to make smart decisions and take responsibility for their horses.

They give us so much. It’s our job to look after them.

Happy reading,
Kit
www.kitehrman.com

The Road to Publication, con't. . . .

2009-02-10T11:59:00.002-05:00

During my “Road to Publication” post on January 27th, I mentioned that I’d provide some specific pointers and ask some hard questions for those looking to get published.

What follows is a list I compiled and saved in an email draft because I receive so many queries from writers who want advice on how they can break in. One question (complaint, really) that I hear time and again is: “How can an agent or editor make a decision about my work based solely on a one-page query letter? They won’t know how well I can write unless they read the whole manuscript?”

Believe me; I understand this sentiment and sympathize with the writer’s frustration, but once you look at the other side of the equation—what it’s like to be the gatekeeper—you can see the validity of the “query only” limitation that is often part of the submission process.

A query letter serves the purpose of letting the agent or agent’s reader know if the project is something they’re interested in pursuing; therefore, it has to be extremely well written.

Editors and agents are swamped with submissions so, imagine if you will, the office receiving 200+ manuscripts a week instead of 200+ query letters. Query letters are a necessary evil of the publishing business because the competition is so fierce.

There are many things every writer can and should do to improve her odds. Ask yourself:

Editing
• Have you edited the manuscript many, many times?
• Have you studied the rules of grammar? (You need to understand them before you can break them for effect.)
• Have you learned the industry’s conventions such as proper manuscript format?
• Has your manuscript been through an objective critique group?
• Have you hired a professional freelance editor to give you input? (Get references if you go this route.)
• Have you had a lot of readers, who are familiar with the genre you’re writing in, read the manuscript and give you feedback?
• Is the manuscript as perfect as you can possibly make it?

The Query Letter
• Have you attempted to get writing credits to include in your query letter by entering contests or publishing short stories in genre-specific magazines?
• Have you studied what should go in a query letter?
• Have you polished your query letter ruthlessly?
• Have you shared different versions of your query letter with your critique group to see which one is most effective?
• Have you studied books on querying agents? (The Sell Your Novel Toolkit by Lyons is a good one. So is a book by Kathryn Sands about making the perfect pitch.)

Selecting An Agent
• Have you researched possible agents carefully?
• Do you know how to select the right agent for you?
• Have you looked through the acknowledgements pages of books similar to yours so you can determine agents who like the kind of thing your write? Oftentimes, an author will thank his or her agent in the acknowledgements.
• Have you gone to writing conferences where you can verbally pitch your book to agents?
• Check out a website called Predators and Editors that lists agents to avoid.

Acting Professional
• Have you joined the organizations relevant to the genre you’re writing in so you can become familiar with the publishing industry?
• Have you attended conferences in order to network with other writers, authors, and industry professionals?

I highly recommend that you go to Miss Snark’s website. She’s a New York literary agent. This site is no longer active, but there’s a wealth of information here. Beginning with this link, you can see how she evaluates the hook in a query. What gets her interest, etc. This is very insightful for seeing what works and what doesn’t. Here’s the link where the hook evaluation begins: http://misssnark.blogspot.com/2006_12_10_archive.html. Also, search this website because you’ll find a lot of useful information about the industry in general.

It takes talent, luck, and perseverance to get published. The best way to deal with the query process is to start on the next book while you’re doing it so you don’t become obsessed or depressed by the process. And you’ll be glad you have another book that’s partly done when you do get published, because once you are, you’ll have to promote the first book while you’re writing the second.

Good luck!
Kit
www.kitehrman.com

Road to Publication . . .

2009-01-27T12:24:00.001-05:00

Nothing in my past would ever have hinted at my becoming a published author. Nothing . . .

I didn’t particularly like writing. I still remember a supposedly “spooky-scary” story that I wrote for a ninth grade creative writing class. It had a decent opening—heavy fog moving in off the ocean and a feeling of doom—and, well, that’s as far as I got. My teacher scrawled “Where’s the ending?” on the top of the page. A technical writing class in college further confirmed that writing was not fun and not for me.

When I think about it, I wasn’t even a voracious reader, but I did become a fan of mysteries, and I’m sure that’s where every writer’s journey begins. Somehow, I skipped over Nancy Drew, the Hardy boys, and Agatha Christie. My introduction to mystery came with the incomparable Sherlock Holmes followed by an obscure collection of George Bagby mysteries that I devoured, and finally my discovery of Dick Francis in 1977. Though I had no inkling of the momentous nature of this event—finding my first Francis, a Reader’s Digest edition of IN THE FRAME—I was taking my first step toward becoming an author.

After reading IN THE FRAME, I read every Francis published at the time, quit the government job I was working, and went to work on a horse farm. That job was followed by stints at the track, delivering foals on breeding farms, returning to college to become a vet assistant, and more horse jobs.

Flash forward twenty-some years. I was a stay-at-home mom with three boys, ages three, four, and five. I had two horses of my own and some borders in the barn. Reading was a pleasant release from my daily routine, and of course, I gravitated to mysteries.

On July 22, 1996, I was nearing the end of a mystery, and I was disappointed with the decisions the author made in letting her protagonist do something that I thought was so stupid in an obvious effort to push the story into an exciting climax. I decided I could do better.

So, why did I think I could do it? This sounds kind of weird, but when I would read, especially a Francis novel, I’d wake up with his voice running in my head. I know. Weird, right? But I had full confidence in myself, and when I began writing, I couldn’t turn it off. I was so thrilled. Those early months of discovering a story were the best I’ve ever had in this business. I was infatuated. Enthralled. I was God of the world I was creating, and I was having so much fun.

I completed the initial draft of AT RISK in three months. As usual, I threw myself into the project and studied tons of books on writing . . . took classes . . . joined a critique group. Because I was exploring the process and essentially teaching myself to write, the early draft was way too cumbersome. I spent the next two years tightening and revising AT RISK (I’d estimate the manuscript went through twenty complete revisions) before I decided to market it. Even so, I began marketing before the manuscript was ready, but when it was ready, it was picked up by Poisoned Pen Press, the second largest publisher of mysteries in the country. And it went on to be extremely well reviewed, including a review in The New York Times. Visit my AT RISK website page.

Getting published depends on both luck and perseverance . . . and skill. If I hadn’t kept revising and improving the manuscript, if I hadn’t been afraid to make changes and put substantial time and effort into the project, the manuscript never would have been picked up. Luck comes into play in finding a receptive reader, because writing and voice and subject matter and the actual execution of the work are all so subjective. Timing’s important, too. If the publisher had just released an equine mystery, they’d be unlikely to look at another so soon.

The publishing climate was different in the ‘90s, too. I couldn’t decide whether I wanted to query agents or editors, so I queried both and found a publisher before I found an agent. Interestingly enough, on the whole, the rejections I received from editors were much nicer than the ones I got from agents. In today’s market, though, more and more publishers are closing their doors to submissions from writers, preferring agents to perform a vetting service first. And it’s getting harder to break in and harder to stay in the game once you are published. Despite the seemingly dire publishing climate, readers still need new books to read. Agents still need to pick up new clients. Editors still need to acquire new manuscripts, so don’t give up.

Next time, I’ll post some specific pointers and ask some hard questions for those looking to get published.

Happy reading and riding!
Kit Ehrman
www.kitehrman.com

The Crumb by Jean Slaughter Doty . . .

2009-01-07T00:21:00.001-05:00

by Kit Ehrman

I hope everyone had a wonderful holiday season. Mine zoomed past in a maddening blur. Now that we have less kids living at home, we decided to downsize and put our house on the market a couple of days before Christmas. The weeks preceding Christmas day consisted of cleaning, packing, painting, and moving what felt like half of our belongings into storage in an effort to declutter. And you know what? I really like living in a lean, sparse house. With so many belongings in storage, I’m beginning to think we didn’t really need much of that stuff anyway. When the time comes, it will be interesting to see how much of it I want to move into the new house.

If we do sell the current house, this will be my fourteenth move. Lucky for me, I enjoy moving because it forces me to organize my possessions, not to mention the fact that I love change and get bored if I’m in one place too long.

Anyway, while I was packing, I came across my copy of The Crumb, a young adult novel by Jean Slaughter Doty. If you haven’t read her, I recommend you do. She deals with abuse issues in the show jumping world, so her books aren’t light reads, but they are wonderful reads. While looking for a cover photo, I discovered that Doty has published quite a few equine novels, and I’ll be looking for them. To learn more about her, check out this website: http://www.janebadgerbooks.co.uk/usa/doty.html.

Her writing is lovely and I highly recommend her for young adults and adults alike. In my search on the Internet, I was also reminded of a wonderful resource for finding equine reads: Ponydom. Visit them at http://www.ponydom.com/books/index.html.

Here’s to a great year of riding and reading!
Kit
www.kitehrman.com

2008-12-02T17:23:00.000-05:00

I grimaced a little when I typed my title for today’s post because I still hope I will own a horse again. But right now, that’s not possible or practical for me. Anyway . . . the last horse that I had the privilege of owning was an Appendix Quarter Horse mare whose registered name was Suntan Suzie. I called her Flare. Think “solar flare. “ “Flair” would have worked as a barn name, too, because this girl was flashy—a brilliant chestnut mare with a glorious blaze down her face.

She dispelled the “temperamental mare” theory because she adored people, loved attention, and was a sweetie-pie through and through. So, as many of you alluded to in your replies to my November 17th post, there is that thing about mares being temperamental, but a lot of it comes down to personality.

I could tell when she was in heat, especially a strong heat in late spring because, if I let her, she’d stop in the barn aisle and pee in front of my gelding’s stall. Geez. But even with the hormonal flux, she was well-mannered, and she was always a willing mount. But most of all, she was a “people” horse.

Did I mention personality? She sure had plenty of that. She also had a thing for shoelaces. Don’t ask me why, but my kids would stand on the fence, and she’d be right there, nuzzling them and smelling them; then she’d tuck her velvety nose between the fence boards and play with their shoelaces, turning them a pasty green.

During the years that I owned her, I didn’t ride nearly as much as I would have liked, being busy with two small boys who were not into horses, preferring go-carts they could hotrod and put back in the barn minus the grooming and mucking out. When it was time for me to get out of horses, for various reasons, I knew I was making the right decision for Flare.

Unlike my kids, I loved the barn work part of horse ownership, so she got great care, but she wasn’t being ridden like she should have been. She wasn’t getting a whole bunch of attention either, since I wasn’t riding much. She needed . . . no, she deserved more attention. I was delighted when I found the perfect owner, a nine-year old young lady who was into 4-H and had two nine-year-old girlfriends.

Flare went to a trainer’s barn for a month before the girl’s mother bought her, and this is a story Flare’s trainer recounted.

She told me . . . the girls had come out to ride one afternoon, and they had Flare cross-tied in the barn aisle while they groomed her. Unbeknownst to the trainer, her non-horsey boyfriend had decided to work on the cement barn aisle. He pulled out a machine (don’t know what kind it was or the job it did, but it resembled the huge wax machines they use on the floors at Wal-Mart). He powered it up and was sweeping it back and forth across the aisle. When Flare’s trainer walked into the barn, there were the girls, fooling around with Flare, and there was her boyfriend, sweeping this huge machine across the floor right under Flare’s nose.

The mare didn’t move an inch. In fact, the machine seemed not to bother her at all. If they hadn’t known it before, I think that one incident was what sold everyone that Flare was the perfect mare for these girls.

So, let’s hear if for mares who are sweethearts!

Happy riding and reading everyone!
Kit
www.kitehrman.com

The Girls . . .

2008-11-17T20:01:00.001-05:00

As I reflect on the last two horses that I had the privilege of owning, my post touches on an earlier subject: geldings versus mares.

My first horses were geldings, the last two mares. When I went looking for my third horse, I was well aware of the “rumor” that mares were annoyingly temperamental, but I decided that I’d give them a try. If my future mare was injured and could no longer be ridden, at least I’d have the option of breeding her.

I must admit, now that I’m better educated on the issues of horse slaughter and equine overproduction, I would not have that mindset today if I were looking for a horse. Breeding a horse is a huge responsibility. You need to be certain that there’s a high demand for the resultant offspring, and you need to be willing and able to socialize and train the colt so that he grows up to be a desirable mount or the horse runs the risk of being unwanted and unsalable.

Okay, I can see I’m all over the place topic-wise tonight, but after researching for my next book, the whole, ugly slaughter issue is on my mind. As I look out my window, at my neighbor’s pasture, I’m reminded of the importance of breeding wisely. They have seven “miniature” horses—a concept I have a hard time understanding--and an unknown (to me) number of horses, and they are rarely handled. I never see a vet’s truck and can’t remember the last time I saw a farrier visit the farm. But they had a miniature stud, and for that very reason, they felt compelled to breed their stock. But where will those unschooled and poorly cared for animals end up if they’re sold? They’d have to be extremely lucky not to find themselves in an auctioneer’s lot.

So, if you’re going to breed your mare, please make sure that she’s a quality, highly-sought after animal, and be prepared to put a lot of time and effort into the foal.

Okay, off my soapbox and on to my lovely mares. My first one was a delicate, dark bay thoroughbred who’d raced but was none too fast. She was a little grumpy and didn’t much care for being groomed, but I had some wonderful rides on her. When she was in the mood, she was like driving a Ferrari. Soft mouth, round back, nice easy gait. I swear, I just had to “think” the move, and she’d do it. When she was relaxed like that, she was a dream to ride. Other days, she’d swish her tail and grind her teeth and generally be a pain in the ass to ride.

So, Missy supported the temperamental myth, all right, but I didn’t care. She was special to me. I know some friends couldn’t see what I “saw” in her, but that was okay. Next time, I’ll tell you about my Appendix Quarter horse mare.

Happy reading and riding,
Kit
www.kitehrman.com

My Rescue Horse . . .

2008-10-21T17:00:00.003-04:00

During my last post, I talked about Stoney, my first horse. I just found a photograph taken a few months after I purchased him and thought I'd share it with you.

Stoney--definitely not a rescue horse.

Once I owned my own farm, I was ready for another horse. When I drove out to look at Koby in the spring of ‘85, I didn’t really think of him as a “rescue horse,” but it seems everyone else did. He was extremely thin, but I’d seen horses like him turn around with the right care, so I had full confidence that Koby’s transformation would be no different.

After injuring his left knee on the track, he was sold to a young woman who didn’t have the knowledge or resources to give him the kind of home and care he needed to successfully transition from track to farm life. He was placed in a small, muddy paddock with three other geldings who denied him access to grain and hay as well as the run-in shed. He spent all of that first year off the track suffering under the brutal sun or standing in the freezing rain, scouring the ground for whatever wisps of hay or kernels of grain the other horses might have missed.

Despite the hardships he’d been through, he had a kind temperament, so I had a vet come out to perform a pre-purchase exam which he passed. I had a very strong sense that she was just hoping I would buy him and take him to a better place, especially after she took him into the run-in shed to examine his eyes in a darkened environment. She looked disgusted when she came out. Apparently, the shed was filthy, piled high with a deep layer of manure and crawling with maggots.

A couple of days later, he settled into my barn with my first horse, Stoney. Both horses had roomy stalls that opened to private paddocks, and after the two horses got used to each other over the fence, and Koby became accustomed to eating grass again, I turned them out each day in a ten-acre field.

Routine vaccinations and regular deworming, along with a gradual increase of grain and occasional beet pulp hot mashes, not to mention getting his teeth floated, all combined to put the weigh on and his coat blossomed. So did his personality.

I guess I never really realized just how emaciated he was until, several months later, when my farrier commented on how good he looked and confessed that he thought the horse wouldn’t make it when he first came out to trim his hooves. Here was a guy with undoubtedly lots of horse experience, and he thought Koby would not survive.

But survive, he did. In fact, once he regained his weigh, he was an incredibly easy keeper, and I actually had to watch his diet. He was a broad, bay horse with lovely conformation (this was especially evident once he filled out) and at 16.2 hh, he was an impressive horse. Way too big for me, I might add.

By the fall, Koby had picked up a good bit of weight, though his coat would not look healthy until he shed out.

I did wonder if he’d become difficult under saddle once he began to feel better, but except for a little testing early on, he developed into a wonderful mount. What I do love about ex-racehorses is that they are acclimated to a wide variety of sights and sounds and activities from their time on the track. He was easy to load and handle and was generally a levelheaded horse.

Koby being ridden by my instructor.

I used to load him by myself and trailer him to my instructor’s farm where I took dressage lessons in her indoor. He didn’t even blink when he went into the arena the first time, and I could leg him over to the wall to get a drink and he would stand so quietly. One of the nicest compliments my instructor gave me was when she said something like, “Why don’t I find nice horses like him.”

I remember the first time I took him on a long trail ride with some neighbors. Up until that point, all he knew was the track and my riding arena, but he just took it all in and was so full of confidence. The only thing he did not like, and never became accustomed to, was a herd of Holsteins that we had to pass to get home. He never could get used to the sight of those black-and-white cows.

When I moved to Indiana and had children, I often did not get around to riding until about midnight. This worked out especially well in the hot summer months, but I’d ride in the winter then, too. It was my time to just fool around, with no pressure or distractions. I’d put some music on, and we’d be out in the lighted outdoor arena, just the two of us. And sometimes the snow would come down, spiraling past the sodium vapor lights, and I just loved those nights. Often a herd of eight or ten deer would walk past in the neighboring field, and we’d stop and watch them. They had no fear of us and took their time.

I’m happy that our paths crossed and that we both enriched each other’s lives.

Happy reading and riding,
Kit
www.kitehrman.com

Favorite Horses . . .

2008-10-06T22:27:00.004-04:00

During my last post, “Favorites . . .” (September 23, 2008) I talked about how writers feel about their books and how difficult it can be to answer: “Which is your favorite?”

It’s even more difficult to pick a favorite when friends want to know: “Of the horses you’ve owned, which was your favorite?”

How can I answer that? Each horse that I’ve had the honor of owning was special in his or her own way, and they were all so different, with varied and unique personalities, quirks . . . moods. Lots of non-horse people don’t really get that, either--the idea that a horse even has a personality! But, boy, do they.

My first horse, Stoney, was a 15.2hh, flea-bitten gray Quarter horse/Arab gelding. To read more about our adventures together, check out the post “Riding Adventures . . .” (March 25, 2008).

Stoney was such a hoot! He was personable and ornery and a veritable bulldozer on trail rides (Quarter horse attribute), but he’d spin me right out of the saddle if he spooked . . . at the sight of a deer, no less! Like he’d never seen them before.

He was my “Dr. Jekyll/Mr. Hyde” horse. When he was good, he was very good, and when he was bad, well . . . let’s just say, he was a challenge.

I remember the day I purchased him and took him home to the hunter/jumper farm where I worked at the time. He looked so out of place: at least five-hundred pounds overweight with a roached mane that was growing out and stuck straight up in the air; his Arabian blood hadn’t done anything to refine his head or thick throatlatch; his back was a little too long, or his legs were too short, depending on how you look at it; and to say he had solid legs would be putting it tactfully. But he was mine, and I was thrilled.

And boy; was he an alpha horse. In short order, he moved to second in command in a field of twenty-five to thirty geldings. Second only to Orion, a Thoroughbred/Percheron cross.

Stoney’s rather sheltered life, before I purchased him at age six, made for an interesting transition. Training-wise, he’d gone Western and had just stepped over a few baby fences. I doubt he’d ever been in an indoor arena. There was much he had to learn about his new world. In fact, I don’t even think he’d seen something as commonplace as a chair.

After he settled into his new stall that first day, I took him out to get him acclimated to the farm’s sights and sounds. We happened to approach a black, plastic chair located in the cut-through to the indoor arena. He lowered his head to take a sniff, and as he exhaled, his breath caused a puff of dust to mushroom off the seat. He flew backwards as if he’d been shot from a cannon.

Despite the fact that he wasn’t the best beginner’s horse, and he may have damaged my confidence at times, I loved him very much, and I swear; he knew it. After months of training and lots of work, he began to fit in and even looked the hunter part, albeit still a little chubby.

If Stoney wasn’t hyper on the trail, with some pretend spooks or healthy bucks thrown in--a barn-sour tactic he liked to employ with the hope that we’d go home early (and when he did manage to dump me, he got his wish)--he was just downright lazy. Normally, I worked for everything I got out of him by using my seat and lots of leg, especially when we worked in the ring on the flat. But one ride stands out from the rest. I went on a trail ride with my boss’s daughter. She was riding an adorable gray pony. A mare. Well, apparently, Stoney thought she was adorable, too, because he followed that pony down the trail in the most collected, elevated trot imaginable. Soft mouth, rounded back, no leg needed on my part. A ride made in heaven . . . but most likely born of hormones.

He was a great guy, faults and all.

Rather surprisingly, keeping his barn sour "afraid to be in the woods alone" attitude in mind, he did very well when I took him to some cross country events. He had lots of GO out in the open. I was the one holding us back. Here's an old picture from 1983.

I find myself thinking of him frequently this time of year, because autumn a few years back was his last. He’d grown arthritic to the point that I could no longer keep him comfortable. Even standing for the farrier was an ordeal, and I made the decision to put him down at the age of 31. But he lives on in my heart and in cherished memories, and he shows up in my writing from time to time.

Next time, I’ll tell you about my first rescue horse, Koby.

Happy reading and writing,
Kit
http://www.kitehrman.com

Favorites . . .

2008-09-23T20:10:00.008-04:00

One question that authors are invariably asked is, “Which book is your favorite?”

Just as this question would be impossible to answer if someone were to ask it of our children or, indeed, our horses, it’s equally difficult to answer well when talking about our books. Each and every book (four of them, in my case) was a totally unique experience to write, and each has a special place in my heart.

AT RISK is and always will be special simply because it was the first. When I began creating barn manager and amateur sleuth Steve Cline and delved into his story, I was obsessed and enthused and thrilled with the experience. I was writing for fun. I was writing for me.

There were no agents or editors to keep in mind or collaborate with, no reviewers to worry about, no outside influences at all. And nothing will ever surpass the experience of watching my long-suffering UPS man lug boxes of AT RISK, fresh off the press, into my mud room. My publisher, Poisoned Pen Press, routinely sends boxes and boxes of books to the author to be autographed and returned because they do a brisk business with book collectors.

AT RISK is essentially a coming-of-age story as well as a highly suspenseful mystery. The mystery element is strong; there’s lots of horse stuff; and there’s a thrilling escape-on-horseback ending.

By the time I got to the third book in the series, COLD BURN, Steve is developing a reputation for “looking into things” and is asked to find out what happened to a man who disappeared while working the night shift on a Thoroughbred breeding farm. A fun relationship develops between Steve and the woman who hired him; the mystery came together exceedingly well; and the climax surpassed my expectations. I was pleased with that book on many levels.

TRIPLE CROSS was a blast to research and write as it is set in Louisville for the running of the Kentucky Derby. In all my books, I have a pure horse mystery and some other mystery going on at the same time, and they are intertwined in some way. In TRIPLE CROSS, they blended so well, I surprised myself.

The whole plotting thing is a strange process, believe me. I start out with various ideas and work on them until they mesh and all the characters are acting in a manner that’s true to their wants and needs, and sometimes, I am surprised by the complexity and the end result. But I really love TRIPLE CROSS because it gives the reader an intimate look at what it’s like to be in Louisville and on the backside of Churchill Downs during Derby week.

But, if I had to pick a favorite, I’d squirm around, then finally concede that DEAD MAN’S TOUCH is my favorite. Why? Because it’s the most emotional of the four. The mystery element may not be as strong as the rest, but it’s plotted well, and it’s a very “horsey” book with most of the scenes taking place on the backside of Washington Park (a.k.a. Laurel Park). But above all, it’s an emotional journey for Steve and, hopefully, for the reader.

And I guess others agree with me. DEAD MANS’S TOUCH received a full and totally positive review from the New York Times.

December 28, 2003

CRIME by Marilyn Stasio

Hidden away from the glittering stage of thoroughbred racing, with its flashing silks and gleaming horseflesh, is a place they call ''the backside.'' In her second stable mystery, DEAD MAN'S TOUCH (Poisoned Pen Press, $24.95), Kit Ehrman refers to this behind-the-scenes area – where trainers, grooms, barn managers and stable hands minister around the clock to the needs of their high-strung charges -- as ''a world unto itself.'' Ehrman, who has worked at show barns and breeding farms, strikes a solid claim to this gritty territory with another heels-up thriller that takes up where Dick Francis left off, in the barn.

Steve Cline, the young stable hand who made such a strong and sympathetic hero in ''At Risk,'' searches out the father he never knew, a thoroughbred trainer at a Maryland racetrack, and signs on as a ''hot-walker,'' a lowly exercise worker, when he discovers that someone has been fixing races by tampering with his father's horses. In true Francis tradition, Steve takes plenty of physical punishment as a sleuth. But his undercover role also gives him the inside track on life as it's lived on the backside, a grueling, even squalid existence that pays off in the chance to get close to the magnificent animals that have more character and heart than the two-footed fools who view them as a commodity.

Happy reading,
Kit
http://www.kitehrman.com

THE GOD OF ANIMALS . . .

2008-08-27T01:21:00.006-04:00

This past week was an interesting one for me as far as reading goes. The sad truth about being a writer is that writing cuts into reading time in a huge way. Lately, I’m lucky to finish a book a month, but I gave in to temptation when a bookseller handed me an advance reader copy of SILKS written by the esteemed Dick Francis and his son Felix Francis. SILKS was a good, solid read--highly recommended for all Francis fans.

Then my sister lent me a debut novel, THE GOD OF ANIMALS by Aryn Kyle, and that’s the topic for today’s post. I was going to hold off reading another book so soon after SILKS, but I opened Kyle’s book--just to read the first page--and that was it. I was sucked in until the very end. This author’s skill blew me away.

THE GOD OF ANIMALS is a coming-of-age story featuring twelve-year-old Alice Winston. She and her family live on a horse ranch in the desert. The Winston ranch had been in the family for generations, and the family has fallen on hard times. Alice’s mother is severely depressed and rarely comes out of her room. Alice’s older sister, Nona, is a natural, gifted rider. Nona’s success in the show ring helped bring in clients, so when she runs off with a rodeo rider, the family has a harder time making ends meet, but more importantly, her leaving deeply hurts Alice. Then we have the father, a complicated individual to be sure. Eventually, he is forced to take in boarders, something he’d never done before. When his father hears of this, he likens it to “prostituting” the ranch.

Okay. What I found so compelling about THE GOD OF ANIMALS is Kyle’s wonderfully descriptive writing and her insight into human nature. The descriptions in this book are absolutely fantastic. Admittedly, there were errors when it came to horse details and a few believability problems, but I happily gave the author a pass. What was very difficult to read, however, was the abuse meted out in this book, the cruel training methods, etc. The abusive scenes were even that much harder to read because of Kyle’s gift for description.

I skimmed the reviews on Amazon, and readers either loved or hated this book. Period. And I can see why. Kyle unflinchingly examines the good and evil that we all possess, and she doesn’t feel she must give us a happy ending, but a realistic one. In a way, that was refreshing because life is messy.

If you read this book, the abuse will bother you. It’s meant to bother you. But this is the kind of read that will stay with you long after you reach The End.

Back to Work . . .

2008-08-12T10:54:00.002-04:00

I no longer own horses of my own--it’s been a couple of years now--and I’ve got to tell you, I am still going through withdraw. I need a horse fix, and I need one badly.

For a while, writing about horses helped because when I’m writing a “horse” scene, I feel like I’m in the scene. Like every equine author I know, the horses that I’ve known and loved come alive for me then. So, that’s fun. And I love it when I have a “riding” dream. I had one the other night, and interestingly enough, I was paired with my old partner, Stoney--my first horse. We were on a trail ride together, and he was his typical self: fun and a bit mischievous. I was amazed at the muscle memory at play. Everything felt so real. Then, unfortunately, my pesky cat woke me up, and that was that. Man, did I want that dream to last.

Snaffle

What to do? With all the family obligations and the writing job, and the obvious--no horses--getting some quality horse time is going to be a challenge. So, I got to thinking . . . what if I can combine writing with being around horses? I could haul my laptop to the nearest horse show and write while being surrounded by beautiful horses. Nah, I doubt I’d get any writing done. Might as well take my camera instead, enjoy the show, and snap some pictures.

Could I get a part-time job in a stable to satisfy my need? I don’t see how given my time constraints, though as weird as this might sound, I love mucking stalls.

Then, I got to thinking about my all-time favorite job--delivering foals on the night shift.

(See June 3rd and 18th posts for more about that job.)

At this huge (500+ horses) Pennsylvania farm where I worked, foaling attendants were expected to muck stalls or clean waterers between rounds. Then, as morning approached, we would hay and grain about eighty horses before our shift was over at seven. Believe me; I would have been bored if I didn’t do stalls. It pays to keep busy: other employees there had been caught napping.

But, I know some breeding farms work differently. The foaling attendant may only be expected to make rounds and/or monitor CCTV screens and deliver foals with nothing much to do in between, and I can see why. While I appreciated being kept busy mucking out between rounds, I used to feel sorry for the mares in the barn where I was working because their sleep was definitely interrupted.

Anyway, maybe I can bargain with a local breeder. I’d work for a lot less if I can do the rounds and deliver the foals and write when nothing much is going on.

In the meantime, I’ll have to find another way to get my horse “fix.”

After the Finish Line . . .

2008-07-15T23:03:00.001-04:00

Today’s post will be short since I’m away from home, using a hotel Internet that’s extraordinarily slow.

In light of the recent topic here, regarding responsible horse ownership and the fate of horses that are no longer wanted, I’d like to draw your attention to After the Finish Line, a website dedicated to caring for racehorses once they’ve left the track. Please visit www.afterthefinishline.org/index.htm.

The tragic deaths of 2006 Kentucky Derby winner Barbaro and this year’s second place finisher, filly Eight Belles, brought the plight of racehorses and, ultimately, the whole slaughter issue to the forefront. Thankfully, changes are being made.

At Suffolk Downs in Boston, sending racehorses to slaughter will no longer be tolerated. Track management will deny stalls to any trainer who sells a horse for slaughter. It’s great to see that the industry is taking action. Certainly, there’s much to be done, but it’s a start.

What’s needed even more, I believe, is for backyard horse owners to be educated, to stop mindless breeding of their stock, to make sure their horses are well-trained and socialized, and to take responsibility for their fates.

How We Deal With Issues In Our Books, Or Not . . .

2008-07-01T16:41:00.007-04:00

The posts on the Equestrian Ink blog over the last week or two have been thought provoking, to say the least. I’ve been thinking about the slaughter issue for quite some time, especially since the American Horse Slaughter Prevention Act (H.R. 503/S. 311) was introduced and is making the occasional headline. And this profound topic was going to be a part of my next mystery, although that has changed, but that’s a whole other story.

But research for that book took me to places I didn’t want to go, mainly to a video that I found on the web of a horse being killed in a Mexican slaughterhouse. I have a pretty good imagination, and this was so much worse.

Then, thanks to Laura Crum’s tip, I spent last night reading the Fugly Horse of the Day where I found examples of incredible human stupidity, laziness, and disregard for what is right and moral, as well as some admittedly funny stuff, too.

One reason so many horses end up on a slippery slope that may very well lead to slaughter is that so many humans breed inferior animals with poor conformation and unsuitable temperaments. They don’t properly care for and train the horses they do own, and they don’t take responsibility for them when they can no longer do their job, preferring to have them take their chances at auction where they are at extreme risk.

I owned my first horse until his death at age thirty-one, when I had to put him down because of old injuries and arthritis that anti-inflammatory medicine could no longer touch. He let me know when it was time to let go.

I am sad to say that, after him, I sold three other horses. They were all gorgeous, well trained, and athletic, and perfectly suited for their new owners, but I’ve lost touch with them over the years. And that was a mistake. If I ever purchase another horse, it will be for life.

Anyway, I have very strong feelings about human responsibility in the human-horse equation, and some of my opinions find their way into my mysteries. I don’t preach. After all, I write to entertain, but my character has his own opinions, and it’s only natural that he would consider them as the story plays out.

In DEAD MAN’S TOUCH, Steve gets his first look at the world of horse racing after working exclusively in the hunter/jumper arena. Here’s a short excerpt:

I flipped through my program and matched names to faces. None of the trainers looked younger than forty. Most were much older. One was a woman, and all of them were white. The grooms were easy enough to spot, wearing numbered pennies over tee shirts and jeans. They were a mixed group. Black, white, Hispanic. Old, young. Male, female.

The horses themselves were not what I was accustomed to. Nothing like the fat, glossy horses, essentially expensive pets, that resided at Foxdale. These animals were lean and hard. As I watched the bettors along the rail study the Form, I realized that the horses were viewed simply as a commodity. If they couldn’t earn their keep, they were out.

A signal must have been given, because the trainers legged the jockeys up onto the horses’ backs, then the grooms took them out onto the track.

The grooms peeled off their pennies and dropped them into a plastic bin as they slipped through the barricade. They walked back on the path I’d taken while the trainers went into the grandstand through a side entrance. A guard stood at a podium just inside the doorway, checking passes or ID’s of some sort. I retraced my steps. As I drew level with the barricade, I turned and looked back at the grandstand. A wall of sheer glass reflected a single line of cumulus clouds drifting across the horizon.

I walked back and leaned against the fence next to four of the grooms, three guys and one girl with halters and lead ropes draped over their shoulders.

A distant bell rang. The horses broke from the starting gate and surged forward in a rainbow of color.

The Night Shift (con't.) . . .

2008-06-19T00:41:00.002-04:00

In my last post, I wrote about my all-time favorite job: delivering foals on the night shift. I adored that job and have many fond memories such as the one I described about witnessing a mare nickering to her unborn foal.

The mares I dealt with were Standardbreds, and in case you’re not familiar with that breed, they’re the harness racehorses (the trotters and pacers) that pull the sulkies and usually, in my experience, race at night. They’re similar to Thoroughbreds in many respects, but overall, they’re less high-strung, and the wonderful mares I worked with bore this out.

Most of them were extremely easy to deal with and tolerated my presence before and after the delivery with a kind generosity. Only one had a reputation, and lucky for me that she did, because I was warned about her. The woman who trained me had delivered her foals twice before, and she told me that soon after delivery, once the mare was on her feet, she’d try to kick me, and sure enough . . .

We followed a strict procedure foaling-out. Once the mare entered the first stage of labor, if we had a chance, we’d wash her vulva and udder, then braid and wrap her tail, warm two enemas for the foal, and wait as unobtrusively as possible for the mare to enter stage two, when her water broke. During the delivery, we offered gentle assistance if needed and made sure the foal’s nose and mouth were clear of the amniotic sac once he was delivered. After he kicked free of the umbilical cord, we’d treat it with an iodine solution and administer the enemas. (A foal’s first movement is sometimes difficult and can make him colicky.)

But back to my troublesome mare. After the delivery chores were completed, we were supposed to strip and bed down the stall with a luxurious layer of straw that we banked along the walls. I had finished one half of the stall, and was working on the next, when the mare spun around and fired with both hind hooves. I actually had to use the pitchfork to hold her off so I could get out of the stall.

But that was it. The rest of the mares were dreams to work with, even a maiden mare that I had to open up as she bore down to deliver her colt. Her vulva had been stitched partially closed some ten months earlier, to keep containments out of the birth canal after she was confirmed in foal, and the vet had missed opening her up. She was a sweetie; although, when I think about it, she was a bit preoccupied with the contractions when I got to work on her.

So, in and of itself, the job was exciting. Patrolling the barns in a driving blizzard was a highlight, but my nightly patrols took a sinister turn one season when a serial arsonist settled in the area.

Even in the dead of winter, we kept the barn doors cracked for ventilation purposes. One morning, around two-thirty, I was checking a mare to see if her teats had waxed up when I stepped out of the stall and glanced down the aisle. There was an orange glow on the horizon.

I realized the fire was located in the direction of my house. I hopped in the farm truck and drove past, relieved that it wasn’t my horse barn that was burning, but a neighbor’s structure used to house farm equipment.

My boss considered hiring someone to patrol the barns with a shotgun, and I was relieved when he didn’t. I figured I had a better chance being shot by mistake than encountering the arsonist. Eventually, the fires stopped, and the horse farm was never impacted, but I’ll never forget how I felt when I stepped out of the stall that morning and saw that glow on the horizon.

Here’s an excerpt from COLD BURN:

At four-thirty on a bitter February morning, the arsonist struck for the third time.

I’d heard about him from the guys who worked the day shift. So far, he’d entertained himself by torching vacant buildings, and as I stood in the doorway at the end of the barn aisle, listening to the mares moving in their stalls behind me, I hoped like hell he’d stick with his game plan.

I slid the heavy door farther along its tracks. An eerie glow marred the horizon as if a monstrous red moon had tilted on its axis and risen behind a screen of cloud and smoke. Without a reference point, distance was impossible to judge. Six miles away, the Rappahannock River snaked through the foothills of Virginia’s Blue Ridge Mountains, but the blaze looked much closer, and that worried me.

I had just finished feeding the mares in barns one and two and still had four more barns to work my way through before I was supposed to check seven and eight. They were located on the newest section of the farm, directly to the northwest. Directly in line with the fire.

I decided to ditch the schedule and head over earlier than usual.

When I turned to close the door, the bay mare in the stall to my left angled herself in the corner by her feed tub so she could peer through the bars on the front of her stall. She stared at me with such unnerving intensity, I could have sworn she knew more about what was going on--and what was yet to happen--than I did. But I was letting my imagination run away with me. If anything, her superior senses had provided her with far more information about the fire than I could ever hope to understand. I inched the door down the track, blocking out her image as deliberately as if I’d closed my eyes to her.

Happy riding and reading,
Kit
www.kitehrman.com

The Night Shift . . .

2008-06-03T17:58:00.001-04:00

I’ve been doing some spring-cleaning (the worst kind, actually: in the garage) and admittedly a little late in the season. Feels more like summer cleaning. Here it’s already June 3rd, technically wrapping up one of my favorite “horse” seasons: breeding and foaling time.

When I worked at a Standardbred breeding farm in Pennsylvania, our last foals would be hitting the ground about now, and generally, we humans were pretty darned happy that the season was coming to an end, what with the constant and seemingly never-ending chores that revolved around getting five-hundred to six-hundred mares in foal: ultrasounds, palpations, teasing the mares to see if they were receptive, and the actual breeding, itself. Even the stallions were probably happy to take a break. But I was always sad to see the season end because foaling-out was my all-time favorite horse job. My record was four foals on one shift.

The schedule was fairly brutal for foal attendants. We worked alone with only two of us splitting the nighttime hours for the season. I worked the midnight-to-seven shift for five days, then work a double shift (six p.m. to seven a.m.) so my counterpart could have off, then I’d have my day off. The day off would occur every weekend, and somewhere in there, I’d usually be awake for 30 hours before I got to bed – every single week.

Despite the difficulty of working when your body thinks it should be asleep, I loved the job more than any other. I loved being the only person on the farm and loved the connection I felt with the mares, the things I learned and observed . . . the wonderful privilege of being with these animals and getting a look into their lives that most people don’t have the opportunity to experience: listening to a mare snoring; watching one dream; feeling the contentment and peace that settles over the barn around two in the morning; watching a light snow fall when most of the world is asleep . . .

I incorporated one of the most touching things I’ve witnessed, when it comes to broodmares, in the following scene from COLD BURN:

Note: Steve has just returned from a rather racy party at a millionaire’s home and is relieving his partner on foal watch:

Maddie sat sideways on a hay bale with her knees drawn up to her chest and her arms clamped around her shins. Her right shoulder and hip leaned into the stall front, and she’d rested her head on her knees. As I walked down barn three’s aisle toward her, at five past midnight Saturday morning, I wondered if she had any idea just how titillating her pose was. To begin with, she wore jeans snug enough to cut off her circulation, but drawing her legs up as she’d done, tightened the denim even more.

I sighed. Then again, maybe it was the mood I was in. I’d always found that lack of sleep triggered some primal need to copulate, and the party had completely messed up my schedule, not to mention the sensory input overload.

I smiled as I remembered Elaine’s reaction to Hadley’s invite and guessed she hadn’t wanted to lose her ride to an orgy of sex and alcohol. She’d been anxious on the drive home, but I’d been thankful for her interjection and told her so. I liked my sex private.

Pulling my gaze away from Maddie, I glanced toward the dark storage area in the back and thought, as private as a horse barn, anyway. “What’s going on?” I asked.

Maddie jerked her head toward the stall as I realized the mare wasn’t standing in plain view. “I think she’ll go tonight. She hasn’t heated up yet, but I bet you’ll have a foal before daybreak.”

“Cool.”

“Yeah, well it’s not so cool for me if they’re all gonna start waiting for your shift.”

I grinned and stepped closer so I could see over the bottom half of the stall. As I looked over the edge, the bay mare rolled onto her sternum, touched her muzzle to her belly, and whinnied. “What’s she doing?”

Maddie slipped off the hay bale and stood beside me, her right arm brushing mine. She whispered, “She’s talking to her unborn foal.”

“You’re shitting me, right?”

“Uh-uh. She’s had four or five foals already. She knows exactly what’s going on, and she loves her babies. She’s such a devoted mother, one of the best mares I’ve ever worked with. I’ve foaled her out two years in a row, now, and she’s always talked to them.”

I raised my eyebrows. “But before they’re born?”

“Uh-huh.” Maddie turned toward me and licked her lips. “And now, it looks like you’re gonna have the honor.”

“Hmm.”

Next post, I’ll tell you about some real-life spooky events on the night shift; one of which triggered the opening to COLD BURN.

Cheers,

HEX . . .

2008-05-13T23:19:00.001-04:00

My sister and I share a passion for equine mysteries which began way back in 1977, when I discovered Dick Francis’s IN THE FRAME--the fateful book that shoved my life’s path off course. After reading ITF, I read every book that Francis had published at the time, quit my government job, and went to work in the horse industry, where I stayed for 25 years.

I also introduced Francis’s mysteries to my sister, and thus began a gift-giving tradition between us. Francis’s books are released in October, so every Christmas thereafter, my sister would give me his latest release. I have to admit, it was sometimes tough waiting those two months before I could get my hands on his next mystery, but the wait was always worth it.

Nowadays, when my sister stumbles upon other equine mysteries, she passes them along to me once she’s read them, and HEX by Maggie Estep was one of those books.

HEX is not your typical equine mystery, though. The main character, Ruby Murphy, eventually goes undercover at Belmont Racetrack; although, the equine element is secondary, story-wise, to Ruby Murphy’s unique life and friends. You could even say that the mystery is in third place--HEX not being your typical mystery. In fact, if no one had been murdered in the entire book, I wouldn’t have been surprised.

What HEX is, is beautifully written, fun, and compelling. The lyrical, intelligent writing comes as no surprise since Estep is a poet. The book’s format is different, as well, consisting of possibly five, first-person, point-of-view narratives.

One horsey aspect that I found quite interesting and unique was the description of a horse stable in Harlem (I believe) near the beach. Okay, New York’s geography is totally obscure to me, so I have no idea if this is even remotely possible, but . . . it sounded cool. I wonder if the place truly exists.

HEX is followed by two other Ruby Murphy mysteries: FLAMETHROWER and GARGANTUAN. I’m looking forward to reading both. For more information, visit Maggie’s website: http://www.maggieestep.com/index.html

Happy reading

Serendipity . . .

2008-05-06T16:40:00.003-04:00

I give a lot of thought to my characters’ names, both human and equine. When I was writing my Kentucky Derby mystery, TRIPLE CROSS, I needed to name several Thoroughbreds who would become characters in the book, and as a necessary component of the mystery, I needed to develop their pedigrees, too. I wanted the pedigrees to sound familiar to the reader, so, I turned to the Jockey Club’s foal registry.

I also wanted to make sure that my story’s equine characters (the ones who lived and breathed in the story and won or lost races, etc.) were not named after horses currently racing. So for those horses, I used the registry to make sure I wasn’t duplicating a real name.

Anyway, Steve’s father was running a racehorse, Gallant Storm, in the Derby. One of his main competitors, and a significant character in the book, was Gone Wild. I liked that name for him because his connections’ wealth came from Kentucky’s oil and gas exploration industry where “wildcat” is a common term. So, once I decided on Gone Wild, I had to find a pedigree to suit him. I decided that his sire would be the very real Gone West.

So, I’m down in Louisville for Derby week, 2005. I stayed Derby weekend at the fabulous 1888 Historic Rocking Horse Manor on 3rd Street. As is tradition, the manor’s guests draw names, and if your horse wins, you win the pot. Well, who should be running that year, but a colt named Going Wild? And whose name did a draw? Yep, you got it. Going Wild.

1888 Historic Rocking Horse Manor in Louisville

Unfortunately, we both lost.

But the names keep cropping up. A couple of weeks ago, I met a dear, elderly woman at a book club event in Cincinnati, the kind of person you feel you’ve known your entire life. She’s eighty-three and only quit riding two years ago! Her current horse is a Thoroughbred who didn’t really care for racing, and guess who his sire is? Gone West! She was so tickled to find a reference to her horse’s stud in the book.

Keeps me wondering what other connections are waiting to be made.

Happy reading,
Kit
www.kitehrman.com

Party Central . . .

2008-04-20T13:28:00.016-04:00

Yep. “Party Central.” That’s the best way to describe downtown Louisville as the first Saturday in May approaches.

There are over seventy Kentucky Derby Festival events, beginning with the spectacular Thunder Over Louisville (North America’s largest, annual pyrotechnic show). Other events include the Pegasus Parade and some wacky events like the Run for the Rose’ in which servers from area restaurants race around an obstacle course balancing glasses of wine. And these events, along with the actual horse racing, draw over 1.5 million visitors to Louisville.

In TRIPLE CROSS, I was putting Steve in the middle of all this, so I had to check out the party scene myself, for accuracy’s sake, of course. One of my favorite Derby Festival events is the air show and Thunder, the official start of the whirlwind Derby party.

Fairly early in the book, Steve is invited to a Thunder Party by Rudi Sturgill, a wealthy young man who has a runner in the Derby. After the fireworks wind down, Rudi decides to move the party to 4th Street Live! Louisville’s entertainment district. They settle on Sully’s Saloon, and this is where Steve gets his first hint that events have gone horribly sideways.

4th Street Live's pumpkin-colored, steel lattice supports a glass roof that covers an entire city block.

Colorful lighting and an elevator's exposed gears are some of 4th Street's unique touches.

Only in Louisville: Portable commercials in Sully's Saloon! If you can't tell from the photo, that's a laptop screen suspended above the guy's head. He wore a powerpack around his waist.

Later, in TRIPLE CROSS, Steve takes a friend to Maker’s Mark Bourbon House and Lounge. I just loved this restaurant. Very trendy.

Maker's Mark Bourbon House and Lounge's fabulous 58' bar.

Red-tiled pillars, sheer curtain walls, honey-colored floor.

During my research forays, I was frequently struck by the dissonance between the late night party scene and the early morning work taking place in the barns at Churchill Downs. The men and women who care for and worry over the horses’ health and wellbeing, well, their lifestyle and routine and focus is so far removed from the partying and the money funneling into the town, I couldn’t not think about them.

In any case, I enjoyed my time in Louisville. The party atmosphere was overwhelming and seemed to permeate every aspect of my visit, and I loved discovering the fancy restaurants and party spots, but one of the side benefits of writing is learning about unusual, unexpected places. Once of those places is Wagner’s Pharmacy.

The grill at Wagner's Pharmacy.

I first heard about Wagner’s from an adorable, elderly woman whose husband had been a racehorse trainer. I met her at a book launch for DERBY ROTTEN SCOUNDRELS, a collection of short mystery fiction revolving around the Kentucky Derby. At the time, I had no idea that I’d ever write a Derby book, but she was so enthused, I couldn’t help but remember her recommendation. And, I’d been curious. What could a pharmacy have to do with horse racing? She’d told me that backstretch workers and racehorse owners hung out there. I had to admit, I was intrigued.

Then I visited Wagner’s. The place is amazing.

Every inch of wall space is covered with racing memorabilia.

Directly across from where I sat at the counter hung a photograph of Secritariat, and I have no doubt that it was carried across the street some thirty years earlier.

If you're ever in Louisville, and if you love horses, don't miss Wagner's. It's located on 4th Street, right across from Churchill's Gate 5. And the food's great, too.

Of course, Wagner's is mentioned throughout TRIPLE CROSS because any backside worker with a pulse would have eaten there. So, here's an excerpt featuring a scene set in this amazing landmark. Steve's trying to avoid the police when he slips inside.

Wagner’s Pharmacy was a misnomer, really, because it was part café, part sundries, part liquor store, and one-hundred percent unique. The glass door eased shut behind me, efficiently dampening the street noise while jumbled voices and the sounds and aromas of sizzling food flooded my senses. I’d been inside once before, and I swear, the place was straight out of a forties movie. I looked for an empty seat. Booths lined the wall on my left. Tables and chairs filled the center of the room. A Formica counter stretched down the right-hand wall where customers sat on barstools upholstered with pumpkin-colored vinyl and watched the cook fry up their eggs. I stepped down the sloped floor and slid onto an empty stool at the end of the counter, planted my boots on the runner.

Wooden plaques hung above the grill and featured seriously dated paintings of eggs and bacon, coffee and toast. The damn things had to have been tacked up there before my mother was born.

First impressions are often flawed by preconceived, erroneous notions, and my initial look inside Wagner’s had taken me by surprise. The establishment that so many people talked about and patronized, backsiders and the wealthy alike, was a dump. But it had an irresistible charm, mainly because it could not have existed anywhere else in the world. Everywhere you looked, on every square inch of wall space, hung period photographs of horses and jockeys and the men and women who owned and trained them. Directly across from where I sat hung an eight-by-ten glossy of Secretariat after he won the Kentucky Derby in unbelievable fashion on May 5th, 1973, and I had no doubt it was an original that had been carried across the street and had decorated that space for thirty years.

Pure and simple, Wagner’s was a walk backward through time. And the food was damn good, too.

I ordered bacon and eggs and biscuits and gravy and was halfway through my meal when my cell rang. I wiped my fingers on a napkin and flipped the phone open. “Cline.”

“Coast is clear.”

I smiled. “Who’d they talk to?”

“Mr. K,” Jay said, referring to Kessler. “Bill Gannon and his employees, couple Hispanic stable hands, me, the guy Kessler was talking to.”

“Know who he is?”

“From what I heard, guy’s an owner. Maybe a potential client.”

“Did the cops interview with the press around?”

“Used an office. Even so, the reporters were buzzin’ round like flies on shit.”

“Apt description, there, Jay.”

He grunted. “Get your ass back here, and bring me something to eat.”

I closed my phone and was scraping the last bit of egg and biscuits and gravy into the center of my plate when someone stepped alongside my shoulder and placed a hand on the countertop. A small, feminine hand. I turned my head.

Detective Bonikowski stood at my side in her fashionable suit--this morning’s choice, a charcoal gray herringbone--paired with a pink silk blouse with the buttons left undone at her throat.

“Detective.”

“Mr. Cline.” She swept the room with a practiced glance before her gaze returned to my face. “What are you doing here?”

“Taking a break.” I gestured toward my plate. “Eating.”

“You take breaks in the middle of walking a horse?”

I smiled. “Not usually.”

“Did you think we were coming to hook you up?”

“It crossed my mind.”

“And now?”

I glanced at her and sighed. “No. Your shoulders are relaxed. Your hands are nowhere near your weapon or cuffs, you’re unbalanced with most of your weight on your left foot . . . and you’re alone.”

Her mouth twitched. “I wouldn’t need backup to handle you.”

I swiveled around on my stool and squinted at her, wondering if the implied meaning was simply a case of wishful thinking on my part. “How’d you find me?”

“Driving past. Looked in the window . . . you know? Advanced police work.”

I grinned.

Cheers,
Kit
http://www.kitehrman.com

The Genesis of a Kentucky Derby Book . . .

2008-04-15T10:53:00.019-04:00

After I finished writing the third book in the Steve Cline Mystery Series, COLD BURN, which is set on a thoroughbred breeding farm in Warrenton, Virginia, and the manuscript went off to the typesetters, it was time for me to come up with a story idea for the next book in the series. I have to admit, a novel set at the Kentucky Derby was not my first choice.

After wrapping up COLD BURN, I spent three months plotting and researching the fourth book, only to have it rejected on synopsis. So, I had to come up with something, and fast, especially if I wanted to maintain a book-a-year schedule. A schedule I’ve since demolished, I might add.

Anyway, while casting around for a story idea, I considered all the people in Steve’s life, and my focus settled on his father, racehorse trainer Chris Kessler. I decided that Kessler finally had a horse capable enough and talented enough to run in the Kentucky Derby. I pitched the idea to my editor. She loved it, so Steve and I were off to Churchill Downs!

View from the Backside

The Backside

After getting permission from the powers that be at the storied track, I set about researching Louisville and the Derby Festival Events and the backside of Churchill Downs.

Riverfront Plaza

A Gallopalooza Horse on Main Street

I came up with the “horse mystery” quickly, but it didn’t feel substantial enough to carry an entire novel; plus, I generally like to layer a second mystery into the story when possible, anyway, so I came up with another mystery that would complicate the plot in a big way. I started my research online, amassing hundreds of pages of detailed notes that would later filter into the story itself. Then, it was time to visit Louisville and Churchill for onsite research.

Morning workout

Afternoon sun winking off Humana Building

Meanwhile, I had to think of a way to get Steve involved in the mystery I’d designed for him, and it had to be believable. So, I turned to real life. I had taken a Private Investigations course a while back, and one of the topics that we studied dealt with the Public Information Act. Essentially, we learned about the amazing amount of information that is available to the public. And we were given a final assignment: to learn everything that we could about a person unknown to us. Our instructor’s parting words were: “Whatever you do, don’t follow your subject.”

He didn’t want to be called by the police when we screwed up.

Well, those words have stuck with me over the years. I had it in the back of my mind that I could use his sentiment somewhere down the line in a story. So, I decided that Steve would take the same PI course. (He loves working with horses, but he’s interested in investigations, as well.) Steve’s course is wrapping up just as he heads to Louisville. While there, he decides to complete the assignment so he can turn it in when he returns to Maryland.

Unfortunately for Steve, the person he chooses to investigate winds up missing under mysterious circumstances, and the race is on . . .

TRIPLE CROSS: A sinister plot of deceit and revenge unravels beneath the famed Twin Spires of Churchill Downs.

Here’s the opening to TRIPLE CROSS:

The assignment was simple enough. Pick a random subject and learn as much as you can about him. Name, address, phone number. DOB, mortgages and property taxes. Car description and plate number. VIN if you didn’t mind being obvious. A simple assignment if I’d been in Maryland. But I was six-hundred miles from home, standing within eyeshot of the famed Twin Spires of Churchill Downs. Logistics would be complicated, but nothing I couldn’t overcome.

First and foremost, I needed to select a subject. But on the backside, with all the “Slims” and “Ricos” and “Willies,” figuring out someone’s real name was a tricky proposition at best. Track employees were supposed to keep their photo IDs displayed at all times, either dangling from straps around their necks or clipped to their shirts, but most backsiders found the practice cumbersome and ended up slipping them under T-shirts or stuffing them in back pockets. And whomever I chose needed to have at least a tenuous tie to the community. On the backside, that could be a problem, too. Of course, I could have picked a jockey or a trainer or a local celebrity, but I wanted someone who wasn’t in the news. Someone ordinary. Normal.

Yet I suspected there was nothing ordinary or normal about this place or time. Not in the town of Louisville, and certainly not in the barn area at Churchill Downs. Not fifteen days before the running of the Kentucky Derby.

Even before the sky had brightened, and the lights illuminating the Twin Spires lost their brilliance to the new day, traffic on Fourth Street had increased until the whine of tires on asphalt pushed through the chain-link fence that separated the backside from the rest of the world.

Today, it seemed like that fence wasn’t doing any damned good.

Also, don’t forget the Kentucky Derby documentary that I mentioned in an earlier post. If you’re interested in viewing it, and it’s playing near you, please try to catch it early because twenty-five percent of the box office from the opening week will be donated to the worldwide leader in equine research – The Grayson-Jockey Club Research Foundation. If you can, please support the film the week of April 18th. To learn more, visit: http://www.thefirstsaturdayinmay.com/

The First Saturday in May . . .

2008-04-09T00:58:00.001-04:00

I spent the afternoon in Louisville today. The magnolias, daffodils, and tulips were in bloom, and naturally, my thoughts turned to the Kentucky Derby. As hard as it is for me to believe, the big race is only twenty-five days and counting.

Time flies.

Statue of Aristides, winner of the first Kentucky Derby.

Considering the fact that my latest mystery, TRIPLE CROSS, is set in Louisville for the running of the Kentucky Derby, you’d think that I’d be a huge horseracing fan when, in fact, I’m not.

I am most definitely drawn to racing, but this is solely a byproduct of my love of the horse, and I have to admit, after Barbaro, my feelings about horseracing are even more conflicted.

Racing is hard on horses, but so are all the equine sports at the upper levels. Let’s face it; as soon as humans are thrown into the mix, our natural competitiveness (and sometimes, greed) causes us to push our horses. So, it’s up to us to do the best job we can to ensure their safety and continued health.

Some will be critical of how we “use” horses, but the truth of the matter is: many of the top equine athletes love what they do.

What happened to Barbaro was tragic, and it broke my heart. But it was an accident. I have admired Barbaro’s trainer, Michael Matz, for decades, having become familiar with him as he competed on the Grand Prix circuit, rode in the Olympics, and later, saved several children when Flight 232 went down in an Iowa cornfield. He is a horseman in the truest sense of the word.

If you haven’t heard about it yet, THE FIRST SATURDAY IN MAY, an independent documentary about the 2006 Kentucky Derby, filmed and produced by two brothers, will be released nationwide later this month, on April 18th. Here’s a clip from the movie:

To learn more about THE FIRST SATURDAY IN MAY, visit: http://www.thefirstsaturdayinmay.com/

I found this wonderful clip on YouTube (from the movie) of Michael Matz introducing Barbaro to his son. It's very sweet and really highlights Matz's temperament and horsemanship. Click here.

So, while I'm not a big racing fan, this excerpt from TRIPLE CROSS, sums up how I (and Steve) feel about racehorses:

There’s something about being on the backside of a racetrack just before dawn that is truly magical--standing along the rail when the light’s just coming up, watching the horses move fluidly across the damp earth, their dark shapes silhouetted against a rainbow sky. You stand there, breathing in the clean air, listening to the steady primal rhythm of a galloping horse, and the rest of the world simply does not exist.

Cheers,
Kit
www.kitehrman.com

Riding Adventures . . .

2008-03-25T16:44:00.006-04:00

I purchased my first horse, a big flea-bitten gray, when I was twenty-three. Stoney was a sweet, wonderful guy. He was green when I bought him, but he advanced quickly. He was usually very solid and steady in the show ring and did well in low hunter and pleasure classes, often earning several champion titles in one show. He was also well behaved when I took him to some combined training events. But there was one place where his ornery side came into play—out on the trail . . . alone.

In company, he was great. Stoney preferred to lead. He was bold and confident, and riding him felt like driving a bulldozer. “You want to go up that ten-foot muddy bank out of the river?” “Sure, no problem.” I’d point him, and off he’d go.

“What, no trail?” “Not a problem.” I might get scratched up with briers and gouged by tree branches, but none of this held him back.

And he loved river crossings. He’d stand in the middle of the current while schools of fish swam between his legs. I have no idea what he thought they were, but he’d cant his head and watch them dart beneath his belly. And I’d have to be careful, because he liked to roll, especially when it was hot. I would have loved to have taken him for a swim, though we never had that opportunity.

But when we set off alone, I never knew if I’d be walking home or riding because he had this nasty habit of bucking as we came out of stream crossings or after jumping a log. He didn’t get me off much, but when he did, he’d gallop for home.

I remember this one time when we were out in the woods, and he started bucking after we jumped a log. He put his nose to the ground and pulled me right out of the saddle. I was actually straddling his neck as he continued to buck down the trail, and it was then that I made the decision to bail instead of risk slipping beneath his hooves. I lunged to the side and hit the dirt, and off he went down the trail. I ran uphill and almost caught him as he whizzed by on the switchback. When I’d finally trudged back to the stable, I couldn’t find him and was afraid he’d remain forever hidden in a dense corn field. But, he hadn’t stayed out in the open to pig out. He’d squeezed into the stall we used to store hay and was chowing down on a bale of alfalfa.

We had some adventures in groups, too. My boss was a wild woman in the saddle. She took a bunch of us novices on a cross-country gallop. Stoney was so excited by this barely-controlled, group gallop, I spent much of the run trying to keep his bucking under control. We slowed to a canter when we reached a wooded trail. My boss was an excellent horsewoman. She was riding Pocket, her son's beautiful bay hunter. As he cantered down the trail on autopilot, she was twisted around in the saddle, watching her band of excited students, when I noticed a heavy low branch jutting across the trail. I warned her just in time. Otherwise, she would have been knocked right off.

The land surrounding the horse farm where I worked at the time bordered Maryland’s Patuxent River, and it was extremely hilly and wooded. When I first purchased Stoney, he had no clue how to get us to the bottom of some of these hills except to make a mad dash down them. He’d stand at the top, worried, shifting his weight; then he’d take a deep breath and just go. I eventually got him to understand that he could take his time, and those big scary hills lost some of their menace.

Columbia Horse Center

My fictitional Foxdale Farm, where Steve works, is based on the Columbia Horse Center.

The hours I’ve spent riding, especially cross country, show up in my fiction. Here’s a little excerpt from AT RISK, where Steve has taken a school horse out for a nighttime ride. One of the boarders had noticed a six-horse that resembles the trailer used in a horse theft, and Steve is going to check it out:

Wooded hills sloped upward on both sides of the river, and except for a faint gurgling, where fast-moving water tumbled over a natural dam, the meadow was quiet. I might have found it peaceful except for the night’s objective. I looked at my watch. Seven-fifty-five. I had two hours before the last lesson was over, before Karen would check to see if we’d made it back.

When we came to a stretch of meadow where the footing was safe, I bridged the reins together over the crest of her neck--to act as a brace in case she stumbled--then crouched low over the saddle. She automatically lengthened into a ground-covering canter, the instinct for speed there for the asking. Her body rocked beneath me, her muscles straining, footfalls muffled, breath coming faster, louder, filling my ears. I pressed my knuckles into her mane and relaxed into her stride. The brisk air stung my face and pulled tears from the corners of my eyes. The ground beneath us was a blur, the speed intoxicating for both of us.

Where the meadow narrowed into a track not much wider than one of the old logging roads, with trees thick on both sides, I brought her back to a walk. Jet swiveled her ears and tossed her head in irritation.

“Sorry, girl. Can’t run here.” I patted her neck. Steam eddied through her coat, curling upward in tendrils, and I could smell her sweat, stirringly primitive. A link to the past. The result of countless years of man and horse working together.

I owned Stoney until his death at age 31. He was a great guy, and his memory lives on in my writing.

Happy reading and riding.

Track Conditions . . .

2008-03-17T19:48:00.006-04:00

When I began my writing career, I knew so little about the publishing industry, I didn’t realize that there was such a huge demand for series books, especially in the mystery genre. But, luckily for me, I wasn’t done with Steve when I wrapped up AT RISK. I still needed to explore the reasons behind his strained relationship with his father, and discovering that answer took me (and Steve) to the racetrack in DEAD MAN'S TOUCH.

Once I decide on a story idea, I begin researching right away because my findings often influence the developing plot.

I had worked briefly at Laurel Park years before, and all the delicious, sensory-filled memories of that experience were firmly embedded in my mind. But I was greedy. I wanted more.

Laurel Park grandstand and paddock area

Laurel Park grandstand

In my search to learn of others’ experiences and impressions of what it’s like to work on the backside of a racetrack, I discovered TRACK CONDITIONS, a beautifully-written, heart-wrenching memoir by Michael Klein.

TRACK CONDITIONS is a poetic, episodic narrative of the author’s five-year stint working as a racetrack groom as he journeys from track to track in an effort to reclaim his lover while battling alcoholism and dealing with the damaging effects of a sexually-abusive stepfather and a mother who suffered from depression.

Granted, this is not your typical equine book, but it is unbelievably moving and lyrical. To give you a sense of Klein’s writing style, I’ve pasted a brief excerpt below:

"One morning, Jewel was gazing into the middle distance after the last set of horses had gone out to the track, a distance lined with momentary hazards: a groom having trouble getting the tack off a horse; a filly not standing still for the blacksmith; sparrows in distress swimming in a necklace of high notes up to the haylofts."

During his time on the track, Klein had the good fortune of being Swale’s groom and the bad luck of being fired weeks before the Kentucky Derby-winning colt ran in the Preakness. The cover photo above, taken by Puff Anderson, shows Klein and Swale.

Ultimately, it is horse who saves man.

Over the years, I’ve read TRACK CONDITIONS twice and will read it again. I can’t say that reading it changed anything in DEAD MAN’S TOUCH, but I suspect that some of the story’s mood filtered into my own writing.

Happy reading and riding . . .
www.kitehrman.com

Heroes and Horses

2008-03-11T13:41:00.014-04:00

The protagonist or hero of a story is one of the most important elements a fiction author must deal with, one that deserves a great deal of forethought and consideration.

When I set out to write my first mystery, AT RISK, on July 22, 1996 (yes, I actually remember the date) I already had the opening scene in mind. What I needed was a character to tell the story. A hero.

First off, I decided that my hero would be a guy, in part, because I like guys and, secondly, because much of the fiction that I’d been reading featured male protagonists. I grew up reading Sherlock Holmes and George Bagby, and later, I fell in love with Dick Francis’s equine novels. And my perception at the time, flawed as it may have been, was that guys had a lot more freedom, took more chances, and were more exciting than . . . well, me.

Then there was the fact that I wanted a lot of freedom writing this character. I didn’t want him to resemble me too closely because I suspected I might feel inhibited if I thought the reader was thinking: this is who the author is.

So, I took a chance, bucked the tradition of women writing female protagonists, and developed barn manager and amateur sleuth Steve Cline. Without realizing it, I bucked another tradition by writing a very young protagonist at a time when older sleuths were the norm. His youth (he’s 21 in AT RISK) was actually trickier than nailing the guy thing.

While I was working through the first drafts of AT RISK and the opening chapters of DEAD MAN’S TOUCH, I took two writing courses offered by Writers’ Digest magazine’s Novel Writing Workshop. Both times, I requested a male instructor and was lucky to be paired with Steven Havill and William G. Tapply. Havill writes a police procedural series set in New Mexico, featuring Undersheriff Bill Gastner, and Tapply’s series features Boston estate attorney Brady Coyne. Both men, along with my husband, were a tremendous help and quick to point out when I got it wrong!

So, who is Steve? To make him more complex and interesting and real for the reader, I gave him personal issues to deal with along with the story problem. He grew up in a wealthy but emotionally distant family with two older siblings. He attended a private school and spent many of his summers “at camp” because his parents were too busy to parent. Despite the excessive wealth, his relationship with them was damaging, and eventually Steve becomes estranged from them when he leaves college to work in the horse industry. Many of the choices he makes, including his penchant for risk-taking, are linked to his strained relationship with his father and a subconscious need to prove himself.

Steve has been so much fun to write. He’s young, reckless, flawed, but also principled. At times, he seems real.

Speaking about real, many of the horses I’ve known and loved, or have just worked with, have found themselves in the pages of my books. A troubled horse in AT RISK, Cut to the Chase, a.k.a. Chase, is modeled after a horse who used to be boarded at a hunter/jumper farm where I worked. The real Chase, whose official name escapes me, was an open jumper: a huge seventeen hand, coppery chestnut gelding with a lot of white on his legs. The barn crew used to affectionately call him “Jaws” because he loved to nip his handlers. What fascinated me about the real Chase was the fact that, though ornery when handled from the ground, he was a sweetheart under saddle. He was a gorgeous, fluid mover and a truly gifted jumper.

What has surprised me most about my fictional horses is the way they magically come to life, seemingly on their own. One of my favorites is Russian Roulette. He’s a character in DEAD MAN’S TOUCH and TRIPLE CROSS.

I didn’t intentionally model him after any horse from my past, but he came to life nonetheless. Here’s a brief excerpt from TRIPLE CROSS:

I gathered my trash together, left it sitting on the tack trunk, and walked over to Ruskie’s stall. He poked his head over the stall guard before curling his neck around to nuzzle my waist. I hooked my arm across his neck and smoothed my hand down his face. Resting my forehead against his mane, I breathed deeply, inhaling the indescribable blended odors: his skin, his sleek chestnut coat, the sweet smell of his breath, all combined with the mix of straw and hay, and I was reminded of the generations of horses who had passed through this barn. Derby runners, most of them.

Ruskie was uncharacteristically still, and I wondered if he sensed the tension fizzing in my nerves and pressing against my skull like a bad headache.

I had no guarantee I’d be here tomorrow. None at all.

He lipped the thin belt keeper at my waist, then smoothed his muscular lips along my belt. Knowing that a nip was likely next on his agenda, I straightened.

I stopped at Storm’s stall and patted him, told him to be a good boy, and when I turned around, Jay said, “What? No hug for me?”

I grinned and told him to wish me luck.

Here are a couple of photos of the actual Derby Barn at Churchill Downs that I took while researching TRIPLE CROSS:

Notice the press. They were everywhere!

Morning bath.

One of the last chores: cleaning saddles and tack.

“The horse: friendship without envy, beauty without vanity, nobility without conceit, a willing partner, yet, no slave.” ~ Anon

Until next time . . .

Scenes from TRIPLE CROSS:

A Chance Discovery

2008-03-04T09:31:00.004-05:00

It's odd, life's little twists and turns. My journey to becoming a "horse person" and, later, an author happened because of a work of equestrian fiction.

I was twenty-three at the time, and working for the government, when I took a week off to stay at my parents' house while they were on vacation. My husband was out of town for a training seminar, and I was bored, so I looked around the house for something to read and found a Readers' Digest Condensed Book edition of Dick Francis's IN THE FRAME. The main character was an equine artist, and I got enough of a feel for the horse world to know that I wanted to read more of Francis's work, not to mention that fact that the man writes an excellent mystery, to say the least. Afterwards, I tracked down every title that Francis had written at that time and was hooked. Titles that I read soon after I read IN THE FRAME, and two of my favorites were: DEAD CERT and FOR KICKS. I fell in love with the fictional horse world he portrayed and decided I wanted to experience it for real.

I quit the government job, exaggerated my experience (none) to get a job working on a hunter/jumper show farm, and ended up working in the horse industry for twenty-five years. My first horse was a six-year-old Quarter horse Arabian cross. A big, fat, flea-bitten gray with black points and a black mane that stuck straight up after the previous owner had roached it. He reminded me of an ancient war horse from the Middle Ages, so I named him Stonehenge (barn name "Stoney). I've also had the privilege of owning several thoroughbreds who've retired from the track and an adorable Appendix Quarter horse mare named Flare:

Over the years, I've worked a variety of horse jobs. I worked briefly at the racetrack. I've worked as a barn manager, groom, vet tech, and I delivered foals on the night shift. That was my all-time favorite job. I've shown over fences, did some low level eventing, and eventually switched to dressage. Though I enjoyed riding, barn chores and caring for the horses interested me more.

I've always been a mystery fan, and when I decided to try my hand at writing, it was only natural that I would combine both loves: horses and mystery. There are currently four novels in my equine-oriented mystery series featuring barn manager and amateur sleuth Steve Cline. (Check out Steve's MySpace page.)

The stories are traditional mysteries with a touch of romance, highly suspenseful, and fully entrenched in the horse world. The books have been well reviewed in the New York Times, Denver Post, Chicago Tribune, Library Journal, etc., and they have collected multiple awards. The latest release, TRIPLE CROSS, takes place in Louisville and on the backside of Churchill Downs during the Kentucky Derby.

I've been lucky. Lucky that a chance discovery of a work by the master, Dick Francis, came at a time in my life when I was young enough, and naïve enough, to drop one career for another, riskier one. And I've been lucky that I've met with such success now that I've switched careers again, by trading in a set of reins for a pen.

More on TRIPLE CROSS later.

I'd like to tell you about a new blog: Equestrian Ink, a place where you can discover new authors, learn about equine-related fiction that you may have overlooked, and hear from some exciting guest speakers, too.

Cheers,

Back to TRIPLE CROSS . . .

2008-02-27T11:49:00.015-05:00

During my very first post to this blog, I had intended to talk about researching TRIPLE CROSS, but I got sidetracked with the Czech review. So, I thought I'd dive into that subject now.

First off, I never intended to write a "Derby" book. But, after I finished writing COLD BURN, the third book in the Steve Cline Mystery Series, I spent three months plotting and researching the next book only to have it rejected on synopsis. I was really behind schedule then and had to come up with a story idea fast. So, I looked at Steve's past and the people in his life, and a trip to Churchill Downs for the running of the Kentucky Derby was doable and logical since Steve's biological father is a racehorse trainer.

The next thing I did was get permission from Churchill Downs; then I began researching. Whether the book is set in Maryland or Pennsylvania or Kentucky, I love to write about real places, because I imagine that readers enjoy coming across a setting that they're familiar with in a book. The pressure is there to get it right, so I do a lot of research. One of my criteria for choosing a locale is the availability of good maps. Of course, Louisville being a major metropolitan area, that was no problem. I did stumble upon a cool, highly-manipulative aerial map of Louisville, where you can adjust the view from 700' all the way down to 35'. You can get close enough to make out lane markings on city streets. I almost felt as if I could look into windows with that feature.

During the research and plotting process, I did a great deal of Internet research before I ever had the chance to set foot on the backside of Churchill Downs or visit the town of Louisville, but once I had the chance to travel to Louisville, I took pictures of most of the places where I would later set scenes.

Here are several shots of Louisville's waterfront and the Belle of Louisville:

And of course, I had to visit the restaurants (and bars) that Steve visits in TRIPLE CROSS. Here's one of my favorites. The Bristol Bar and Grille located at 614 West Main Street. If you have the chance to visit, you have to try the Green Chili Won-Tons with guacamole. They are out of this world!

This striking Gallopalooza horse stands on the sidewalk outside the Bristol Bar and Grille. To view more Gallopalooza horses around Louisville, click here.

Some "horsey" art inside the Bristol.

Cheers!

As Promised . . .

2007-12-16T18:42:00.003-05:00

It's staggering how fast time passes by, especially as the holiday season approaches.

Okay, okay. You're right. I should be writing, but I thought I'd share those Czech Republic covers with you as promised, the ones for the first three books in the Steve Cline series. What I find interesting is the similarities between covers. I haven't researched other mysteries released in the Czech Republic to see if this is a common practice. Is this a tactic to help readers find books by the same author, or is it a practice to cut expenses? I don't know. What I do know is, as a reader/shopper, I might confuse them because they look so alike. But then, Lee Child's current cover art in his hardcover releases all feature a bull's eye. So, maybe it wouldn't be a problem, after all.

AT RISK

DEAD MAN'S TOUCH

COLD BURN

Getting Started . . .

2007-11-25T18:42:00.005-05:00

I've thought on and off about starting a blog and decided, finally, to give it a try. I've been wanting to write about researching TRIPLE CROSS (my latest mystery which is set in Louisville and on the backside of Churchill Downs in the weeks leading up to the Kentucky Derby) and the fun I had doing it, but what pushed me over the edge and really got me thinking about a blog was finding a book review in the Czech Republic. Not of TRIPLE CROSS, but of an earlier title.

TRIPLE CROSS is the fourth installment in the Steve Cline mystery series. Visit my website to learn more.

Anyway, back to this book review. Recently, the entire Steve Cline Mystery Series (except for TRIPLE CROSS, because it's too new) has been released in the Czech Republic, and as is customary, an author will receive a complimentary copy of each title released in a foreign language. These are always a thrill to receive. In Czech, I'm Kit Ehrmanova, btw. So, I was finally getting around to putting the foreign covers on my website when I discovered a review of DEAD MAN'S TOUCH in IN Magazin in Czech.

Of course, I can't read the thing, but it looks promising.

Kit Ehrmanová: Dotek mrtvého muže Mladý ošetřovatel koní Steve Cline, který se stal tak silným a sympatickým hrdinou v předešlé autorčině knize V nebezpečí, vyhledá otce, kterého nikdy nepoznal. Ten je trenérem plnokrevných koní na dostihovém závodišti v Marylandu. Steve se od otce dozví, že si někdo nekale pohrává s jeho koňmi, aby ovlivnil výsledky dostihů, a rozhodne se mu pomoci. Přijme v jeho stájích podřadné místo vodiče, aby mohl nerušeně přijít věci na kloub. Jeho tajná role mu navíc umožní vyzkoušet si život v zázemí a dostat se blíže k těm úžasným a nádherným zvířatům, která mají lepší povahu a srdce než ti, kteří je považují za pouhé zboží. Ehrmanová, která má pracovní zkušenosti ze sportovních stájí i hřebčínů, zaujala dalším dobrodružným příběhem, kterým vstupuje do tohoto odvážného a odhodlaného prostředí. Příběh začíná tam, kde Dick Francis skončil. Ve stáji. Olympia

And I can only hope that that reference to the master, Dick Francis, is a positive one.