When I started writing equine fiction, I never didn’t think about the horse characters. After all, horse books were how I started writing, and writing horse characters was what it was all about. The equines were the stars of the show, weren’t they? How dare I prioritize such a petty thing as plot or character arcs over my beloved equids.
However, as I got older and I learned more about character arcs and plot, I started to realize something: my human characters were, to be honest, a little more interesting than my equines. Horses didn’t have dialogue and made for difficulties in traveling and plot mechanics that I hadn’t accounted for. Thus, over the years, I found myself with a grave problem:
I kept forgetting about my horse characters.
As a horse crazy girl, this was a severe blow. How on EARTH could I call myself a writer of equine fiction if I forgot the very thing that made my genre?
Thankfully, there’s actually an easier solution than you would think to this. And today, I wanted to start off this year with five things I’ve learned for keeping your equine characters in the picture, without cluttering the plot or the character arcs (which are actually very important XD).
***
#1. Craft Your Horses to Complement Your Characters
I never realized I did this until I was diving into my equine characters for my WIP Dust of the Arena. Characters should all complement– or conversely, rub against– each other in different ways, especially to create rich character dynamics. Equine characters are not exempt from this rule. In fact, since equines lack a voice, it might be even more important for them.
Horses have their own personalities, just like humans do. As a writer, you can use this as a tool like you would with any other character: to emphasize, reveal, create, or sharpen a strength or flaw. Since your character, assumably, will be around this horse a lot, you can use those interactions to show the different facets of your protagonist.
The Fireborn Epic is probably one of the best examples I’ve found of a modern equine fiction book that does this well. Mindar, Ceridwen’s horse, is just as crucial to her character arc as any other character is– same for Rafi and Ghost. Both Mindar and Ghost reflect and complement their riders. Ghost is prankish, but bold and brave. Mindar is impatient and fierce and loyal. Both of them mirror their riders enough to work well with them, while also proving enough of a challenge to grow the characters– Mindar is short-tempered, and Ghost is a little too mischievious and flighty.
In an older example, in The Phantom Stallion, Sam has two main equine companions: the Phantom, and her horse Ace. Ace is as stubborn as she is and knocks down her cocky behavior, but steady and loyal. Phantom is deeply bonded to her, but unstable and still very dangerous. While Ace is a reflection of what she wants to become, the Phantom is the shadow of her past, and what could have been, but never was. The two horses are both very loyal, but they reflect different pieces of Sam, which makes them all the more compelling as characters.
So, take a look at your protagonist’s qualities and their flaws, and ask yourself what elements their equine companion could reflect. They could be calm and steady for your characters’ nervous tendencies. Or maybe both of them are good leaders. Choose the elements that will make your equine characters the best horse for your character (or the worst horse, if it’s that type of story.).
***
#2. Body Language Still Talks
As a nonverbal language, a lot of people forget how much body language can add to the subtext of a story… and how much it can add to your protagonist/horse sidekick’s relationship. Horses “talk” mostly in body language, and when they interact with your character, they’re unlikely to use verbal cues as much as body language cues. Learning horse body language is key to strong human/horse interactions in your fiction and showing your horses’ personalities.
Horses and humans can have a “conversation” through body language. Since horses can sense emotions, they might not understand the words your character is saying, but they can generally get the feel for them, and you can have them respond with body langugae without stretching suspense of disbelief too far.
For example, from Dust of the Arena:
Cinco cranes his head around as far as his halter will let him, lipping the hem of my shirt. I turn and wrap my arms around his neck, his pulse thumping against my head and his grassy breath in my hair.
It’s been eight years.
You’re a different person.
You’ve changed.
Right?
Cinco grunts and tucks his chin against my back. I scratch his withers and his muzzle wiggles against my spine and shoulders.
A formerly wild mustang looks to me as his lead mare. That’s gotta say something, right?
I step back and around his head, running a hand down the bridge of his nose as I blow softly into the space between us. His nostrils twitch, then he huffs back, a soft nicker on his breath.
“You’re a herd leader. Got any advice?” I joke, swallowing hard against the sudden lump in my throat.
He blinks, then reaches down to scratch the inside of his leg and chest.
I snort. “I don’t know how to translate “itchy armpit” into practical advice.”
Horses can sense when their humans are distressed, and some personalities will respond to give comfort, especially when they are deeply bonded to their human handlers and consider them to be part of their herd (more on herd dynamics in a minute)
Horses sensing their humans emotions can also have intriguing downsides: a horse acts out because of their handler’s frustration, or their handler is trying to hide their emotions with another person… but their horse senses them.
I had some fun with that one.
“Didn’t know you talked to horses, Chay.”
I jump, looking up to where Reed leans against the railing of the back porch steps. The obvious flush to his face means the use of the old nickname was a slip-up. No one’s called me “Chay” since I left.
“They talk back sometimes, if you listen well,” I quip lithely. Next to me, Cinco, who has tilted his ears back to a pin, glares at Reed, deftly keeping his muscled, desert-hardened body between us. I take off his halter and walk toward the gate, but he cuts in between, one ear trained on me and giving Reed the greatest stink eye I’ve ever seen.
He thinks he’s a threat.
I forget how much Cinco tunes in to my emotions.
Reed tries to approach, but my warnings die in my throat as Cinco snorts harshly and snakes his head forward, teeth clacking at him as if Reed was an intruding stallion he has to protect his herd against. Reed stumbles back, warily eying him.
“He looks mean.”
“Nah,” I chuckle, scratching Cinco’s neck. “He just forgets that I’m not a horse, and he’s not a herd stallion anymore.”
I swear horses can understand English because I’ve never seen Cinco so miffed and offended as when he looked at me.
“You’re a good horse,” I amend, rubbing his withers. “But I can handle myself, buddy.”
I do my best to try to relax my body language so he can get the idea.
He lashes his tail, looks between me and Reed, then backs up, ears still pinned and muzzle pinched.
***
Deep dive into equine body language, and you’ll get plenty ideas on incorporating equine body language into your horse and human interactions. Plus, you’ll create a more vivid picture in the writing overall.
(I would share examples that aren’t just mine, but the legality of such was unclear, thus why it’s only my writing. But other books that do this well are The Phantom Stallion, The Fireborn Epic series, ANYTHING by Marguerite Henry (she’s probably the master of this), and Smoky the Cowhorse.)
***
#3. Herd Dynamics
One thing that I wish more equine fiction authors would do is research herd dynamics. They’re incredibly helpful (especially if you choose to include mustang characters) to figuring out the totem-pole relationship between a group of equids and humans.
Horse herd structure in wild bands is something like this: lead stallion is over all. He’s the protector and defender of the herd, and the only one equal to him is the lead mare– or lead mares, in some cases. Stallions mainly defend the herd from predators and rival stallions, but they also have been known to break up inter-herd conflicts. There usually aren’t any other stallions in the herd over three, although in rare cases there can be a few lower ranking stallions that the alpha male doesn’t perceive as a threat. Both stallion and lead mare(s) work together. The rest of the horses have their own various ranks within the herd, and often pair up with horses of similar ranks in groups of two or three as bonded pairs.
The lead mare is usually the most mature mare, near the top of the rank. Some herds have more than one. The lead mare’s role is to help keep the herd moving to new grazing areas and new water sources. This role is usually the one riders are supposed to take with their horses. Even stallions respect their lead mares. However, not every character is going to have a “boss mare” personality.– which leaves room for many leadership conflicts. Horses know it the minute they have a rider who isn’t the boss– and if they too have a meek personality, it will stress them out (some horses don’t like being leaders) or they will take full advantage. Often your character’s personality on the leadership range can be best accented by their relationship with their horse.
It gets especially interesting when you have a group of horses and riders. They could be two low-ranking buddies together– or maybe they’re a strong leader duo. Or maybe your bossy equine side character forces your meek character to become the leader. Either way, figuring out the herd dynamics can not only lead to bonding moments, but hilarious horse and rider conflicts.
***
#4. Get Them In on the Action
While there are sometimes logistical issues, the easiest way to bring the horses into the story is using them in the action. Is your main character being chased? Not only does this getaway car move pretty fast, but it bites and kicks as well.
Most horses do not fight when it comes to conflict– they are more flight or freeze (usually flight). But a mare protects her foal (some motherly mares have been known to protect smaller/younger riders) and a stallion fiercely defends his herd. So motherly mares and geldings/stallions who consider their humans part of their herd might fight a villain to defend their herd.
However in conflict, horses make a better escape avenue– whether to get away, or get help.
***
#5. Affect the Arcs
One of the biggest benefits equines have in fiction is their perception for emotion. They’re emotional creatures and tend to be a mirror for ourselves. In this way, a horse character can have a powerful impact on the protagonist’s character arc. Even something as small as a feisty pack horse can help teach a character an important lesson about patience.
While I could write an entire article on using horses to impact your character arcs, the gist of it is this: being around a horse forces you to learn leadership, patience, responsibility, and trust to have a good relationship with your horse. Horsemanship builds courage. A timid character learns boldness. A rough character learns gentleness. A cocky character gets a lesson in humility. Horses aren’t afraid to school their riders– whether gently or harshly, well, that depends on the horse. But as iron sharpens iron, a friend sharpens a friend– even if those friends are horse and human.
***
While it does take some intentional practice, these tips have really helped me keep my equine characters on the page– without detracting from my protagonist’s journey. And I hope it was helpful for you today!
If you have more tips or in depth questions, share them below in the comments! All comments are moderated, so if they don’t show up for a minute, it isn’t because I can’t see them– I just have to approve them first XP.