THE WORDSLINGER TRAILS
RIDING TALL
RALPH COMPTON
(April
11, 1934 – September 16, 1998)
Not
many writers stand six-foot-eight-inches tall without their boots. Neither have
many written twenty-three books in eight years, with several selling over a
million copies and hitting the USA Today
Best-Seller List. The only wordslinger to hit the mark in both classifications
is Western reader’s favorite, Ralph Compton.
Wearing
his boots and his cowboy hat, the late Compton’s wiry frame rose head and
shoulders above the crowd whenever he went. His most amazing accomplishment,
however, was not growing tall, but his prolific telling of Western tall tales. At
fifty-six-years-old, having little prior writing experience, he sat down and
began the opening chapter of his first his first Western—The Goodnight Trail. In the next eight years, he wrote twenty-two
more Westerns before cancer took him home at age sixty-four.
His
canon of work became so popular, his publisher (Signet) used his legacy to
build the Ralph Compton Brand. There
have since been eight-two Westerns—authored by some of the best writers in the
genre—published under the Ralph Compton
banner.
On US
411, near Odenville, Alabama, drivers pass a sign claiming Home of Ralph Compton. It denotes the beginning of a six mile trek
through the woods to the log cabin with the dirt floor where Compton was born.
In his autobiography, Compton stated, “You walked three miles along the
Seaboard Railroad track, climbed a cut bank and trudged another three miles
through the woods.” Born in 1937, at the tail end of the Depression, Compton’s
family struggled with the harsh realities of poverty, “It seemed like we all
started poor and went downhill from there.”
His
mother had a sixth grade education; his father, fifth grade. “By the time FDR’s
‘team of mules, seed and fertilizer’ stake got to us, there were no mules.” His
father settled for oxen instead of mules, along with seed and fertilizer.
Inexperienced at best when it came to planting a crop, Compton said of his
father, “In his best year, he made almost enough to repay what he owed the
government.”
Compton
graduated from St. Clair County High School in Odenville—a major accomplishment
for a young boy in worn out clothes and rarely a full meal. Compton states, “In
those days, welfare families were not
looked on with favor. There were four of us, and we received the staggering sum
of thirty-nine dollars a month. I owe my high school graduation to
understanding teachers who provided odd jobs so I had the bare necessities.”
He points
to his high school principal, Nancy Wilson (to whom he dedicated his first
Western, The Goodnight Trail), for
his love of reading and his ability to read with comprehension and retention.
“Because I did read, she moved me ahead, encouraging me to read literature and
history more advanced than my grade required. Before my graduation, I knew I
wanted to write, although I wasn’t sure what.”
Compton
served in the Army during the Korean War. When he returned home, he was still
unsure of his career direction. He joined forces with his brother, Bill, a
skilled guitarist with a good voice. They formed a bluegrass group, and set out
to play the local circuit of legion halls, armories, and schools. They played
live on local radio stations, often racing from station to station to reach the
widest audience possible. Compton recalled, “Most little stations provided time
for free on Saturday afternoon, usually fifteen to thirty minutes for those
enthusiastic enough—or dumb enough—to donate their talent for the exposure.”
In
1960, Bill moved on to play with Country Boy Eddie (Gordon Edwards Burns), a
singer, fiddler and guitarist who hosted the long-running Country Boy Eddie Show on Alabama’s WBRC-TV station. Ralph traveled
to Nashville where he struggled as a songwriter. He co-founded The Rhinestone Rooster, a tabloid
magazine, but quickly went broke. He borrowed money to keep the magazine
afloat, but quickly went broke again. Not willing to give up, he turned The Rhinestone Rooster into a record
label, but still did not find enough success to make the venture worthwhile.
Jobs as
a radio announcer, a newspaper columnist, and other odd jobs followed. In the
summer of 1988 (“When I was pretty well fed up with the music business...”), the
then fifty-four-year-old Compton began writing a novel. He wrote what he knew,
“...a Southern novel, a hard times tale of growing up during the depression.”
Bob
Robertson, a literary agent who read the manuscript, felt Compton’s writing
showed promise. He didn’t, however, believe he could sell the novel to a
publisher as the market was saturated with similar coming of age tales. Robertson
was impressed enough with Compton’s writing to ask him a straightforward question...”Can
you write a western?” Compton’s reply would ultimately change his life...“I don’t
know. I like Westerns, but I’ve never written one. Let me try.”
Writing
feverishly in every spare moment around his forty-hour a week nighttime work
schedule, he completed a shoot-‘em-up 185 page manuscript. However, when he
showed it to Robertson, the agent told him it was good, but had nothing to
distinguish it from hundreds of other Westerns. The agent then offered more
sage advice, “Write the kind of Western you like. And plan on writing at least
three books, a minimum of three-hundred and fifty pages each.” This seemed
overwhelming to Compton, who felt he’d already done the best he could. But
Robertson continued to encourage him. The agent wanted a potential series,
something with a hook that had not
been done before.
Over
the next several weeks Compton and Robertson kicked around ideas. They wanted a
concept to embody all the exciting aspects of the Western, yet be unique in its
presentation. From their collaboration, the concept of the Trail Drive series was created.
In
January of 1990, after much sweat and research, Compton presented Robertson
with a detailed synopsis of the first three books in the series—The Goodnight Trail, The Western Trail, and The Chisholm Trail. Robertson
enthusiastically approved. Eight months later, Compton finished writing The Goodnight Trail, a rip-roaring
western about the cattle drive which established a new route from Texas to
Colorado.
Compton
skillfully mixed fact with fiction as told the tale former Texas Rangers Benton
McCaleb, Will Elliot, and Brazos Gifford to ride the trail alongside the real
life Charles Goodnight. Compton’s characters were fresh and alive, jumping off
the page with the historical
background accuracy that would become his trademark.
The
rights to The Goodnight Trail sold
quickly, establishing a profitable long-term relationship with publishers St.
Martin’s Press and Signet. It sold more than 1 million copies and was chosen by
the Western Writers of America as a finalist for their Medicine Pipe Bearer Award—given to the best debut Western of the
year.
Compton
had read many of the great Western writers. While believing he had developed
his own style, he claimed, “I shamelessly adopted one element, which I admired
most in the work of Louis L’Amour. While there was romance in his books, there
was no graphic, shocking sex.”
Of his
writing, Compton also explained, “I depend solely on three elements: (1) a
powerful sense of time and place, (2) a strong, fast-paced story, with interesting
sub-plots, and (3) powerful, memorable characters.” His inspiration for the
strong characters and style of storytelling he brought to his own work was the
television series Gunsmoke.
In a 1993 issue of The Roundup, a publication of the Western Writers of America, Compton returned to the question that started it all...“Can you write a western? I could, and thank God, I did. My one regret is I lacked the confidence and courage to do it sooner.”
***In researching Compton I repeatedly found a reference to a 1973 novel, Festival of Spies, listed as part of his writing resume. Copies of Festival of Spies are so exceedingly scarce, I’ve yet to turn up a single copy to verify if it was indeed written by Compton, or is the work of another author of the same name—the resolution toward which I am leaning. Often times the Internet becomes so incestuous as one source cannibalizes another, perpetuating myths and mistakes. If anyone has a copy of Festival of Spies, or knows the story behind the title, please let me know.
