Linda Shantz: Linking Art, Fiction, And The Race Track

The Q&A

Q: What initially drew you to Thoroughbred racing? And how did that passion translate into your art career?

A: My love of horses became evident from a very young age. I have horse drawings done when I was four, and I distinctly remember my mother reading Walter Farley's The Black Stallion to me around that time. Once I could read on my own, I consumed every book I could find on horses. My favourites were The Black Stallion series and Marguerite Henry's King of the Wind and Black Gold, so I think it's safe to say my love of Thoroughbred racing came from reading as a child.

Having worked extensively with racehorses throughout their lives, what unique aspects of their personalities and journeys inspire your stories?
Horses can have such prominent personalities, and I love how interactive they are. In the Thoroughbred racing world, we are very hands-on during every step of their journey, from the breeding shed to foaling to early training and then to the track. Most would agree the racetrack is far from the ideal way for horses to live, but those of us closely involved with them indulge their personalities, perhaps as a form of compensation. The horses are our friends and partners as much as our human co-workers. I love exploring this dynamic in my books. It's remarkable how adaptable they are.

Q: When crafting a new story, does the plot come first? Or do you find inspiration for storylines through specific horse encounters or racing events?

A: I usually start with the characters and a rough plot idea first. I typically know the beginning and end before I start writing, and I like to sort out the middle shortly after. Then, as I fill out the structure, I'll incorporate things from my experience and sometimes extrapolate from events that have occurred in the real world. More often than not, I've incorporated something that plays out in racing after the fact, which is always interesting!

Q: How do you integrate the technical aspects of horse racing, training, and care into your narratives without alienating readers unfamiliar with the sport?

A: I do my best to put those details in context so a reader unfamiliar with horses or racing has enough of an understanding not to be taken out of the story. I like to focus on the characters and their personalities and struggles, which are relatable regardless of the reader's experience. I have, however, added a glossary of terms in the back of my books. Racing terms differ from those used in other equestrian sports in many cases and even from region to region within racing, so this at least helps readers understand how I am employing these terms.

Q: Beyond the racetrack, what other facets of the Thoroughbred world—the breeders, trainers, jockeys—do you incorporate into your books to create a well-rounded picture?

A: My books touch on all facets, really. They don't work in isolation, so I love showing the interconnectedness of it all, from breeding and foaling, yearling sales, starting yearlings, racing, and aftercare. I've worked in all those areas at different points in my life. I even trained my own homebred filly for a while, though it wasn't a successful venture!

I do think the setting in my books creates an interesting study of this. Woodbine Racetrack plays home base for my characters, and in real life, Woodbine has very much a family feel — both the good and bad of that. We have an interesting community where there's a chance the breeder of the yearling one purchased at the sale will remain involved to an extent if the trainer allows it. It's somewhat of a small-town vibe within the big city that surrounds it (Toronto, Ontario).

Q: Many readers praise the emotional depth of your characters, both human and equine. How do you bridge the gap between human emotions and the portrayal of a horse's inner world?

A: There is a very fine line between portraying horses accurately and being anthropomorphic. The horses in my novels are depicted through the eyes of their humans, who are always interpreting their personalities and actions — and sometimes assigning them human characteristics and emotions — usually in a humorous way. Horses are very good at mirroring humans, so often, what we see in them is what we can see in ourselves if we choose to acknowledge it. It's fun to explore this with characters in the books.

Q: Your Good Things Come series is known for its realistic portrayal of challenges and triumphs. How do you ensure your stories capture the raw emotions of the racing world, both positive and negative?

A: I've drawn on my own experience to capture the emotions involved, and though it's difficult to relive the heartbreak, I think it's important not to shy away from it. Real life isn't all sunshine and roses, and horse racing is definitely a sport of extremes. One can experience the highs and the lows in such close proximity. We tend to want to remember only the good things, but devoting a life to animals means living through it all — the heartbreak and the happiness — and writing authentically means showing both sides.

Q: Have you ever faced any criticism regarding the portrayal of horse racing in your books? If so, how do you incorporate feedback while staying true to your vision?

A: Surprisingly, I've received very little negativity about the portrayal of horse racing. It might be because I focus on the horses and the people who work most closely with them rather than the gambling aspect that most horse racing fiction seems to centre around. I get more complaints about the love lives of my characters because I tend to run them through the ringer before they find their happily ever after. Readers looking for insta-romance will likely be disappointed in my stories!

Q: Looking ahead, do you envision exploring other equestrian disciplines or focusing solely on the world of Thoroughbred racing in your future works?

A: Book Six in the series All The Best Things focuses on one of the secondary characters from the other books. This character is involved in retraining retired racehorses and helping them find new careers. In this book, she works on transitioning one of the farm's retirees into an event horse. Because of the versatility of the Thoroughbred, there are endless possibilities for exploring other equestrian disciplines, but I will say that racing is what I know best and what's most popular with my readers.

Q: What advice would you impart to aspiring writers who want to capture the essence of horses and the world of racing in their work?

A: Don't be afraid to approach someone knowledgeable about racing and ask if they would consider reading your work! Often, very subtle things expose a writer's lack of knowledge when it comes to writing about racing, which could be easily addressed and would lend important authenticity to the work. People who read equestrian fiction are very picky. If a writer doesn't get the horse details right, they will let you know!

Q: Can you share how your love for Thoroughbred horses transitioned into writing books centred around them?

A: It all goes back to those books I read as a child. I don't think I was unique in that, along with reading, I loved to write stories and draw. I actually started the book that would become Good Things Come when I was eight. Once I'd worked in racing, I rewrote it (several times!). It might be the other way around, then, that my love of reading and writing about Thoroughbreds inspired me to pursue a career in horse racing, which in turn gave me the experience I needed to write credible fiction set in that world.

Q: How do your experiences working with racehorses influence the authenticity and realism in your stories?

A: They are integral to the authenticity of my work. The track has a very definite rhythm; there is a routine to everything, and having lived it, I'm able to help readers experience it through words.

Q: What inspires you the most when developing plots for your books, especially within the context of the horse racing world?

A: I rely primarily on my own experience, and it's the people who work directly with the horses who inspire me most. When someone reads one of my books, they're not reading about a billionaire owner or a trainer with hundreds of horses conditioning at arm's length. They're reading about the people who are at the track before dawn, doing all the behind-the-scenes work the public doesn't see. I hope my books help to bring some recognition to those people because they are so often forgotten.

Q: Could you elaborate on the process of interweaving real-life horse racing experiences into your narratives?

A: I usually begin with the characters, horse and human. Something needs to happen for a scene to be interesting, so I draw on real-life experience. Sometimes, it involves making the scene more dramatic than my own experience was, and other times, I've actually toned down what really happened. What I consider to be one of the most unbelievable scenes in Good Things Come is actually closely based on something that happened in real life, but I dialled down the drama because it would have seemed like too much. One thing one learns with horses, though, is that they are capable of finding trouble far beyond what we can imagine, so when I write a scenario, it's always something feasible.

Q: How do you approach the research aspect of your books to ensure accuracy and credibility in your storytelling?

A: While I have a decent foundation of knowledge from my own experience, I use a combination of connecting with people who are credible experts, conducting internet searches, and referencing my own library. One of my veterinarian friends reads my manuscripts before publication to ensure those details are correct, and I'll often text a trainer friend to double-check scenarios, usually about the regulations and protocols. In addition, I spend a lot of time researching on the Internet. Veterinary medicine is always progressing, and the rules of racing vary from one jurisdiction to another. Even the names and conditions of races can change from year to year, so I spend time looking at stakes schedules and condition books to be sure things are accurate.

Q: Can you walk us through a typical day managing a herd of retired racehorses and how it impacts your writing and painting?

A: I'm up at dawn and out at the barn shortly after to feed and turn the horses out and get the barn chores done. Often, as I'm doing stalls, I'm thinking about what I will write that day — that time in the quiet of the barn never fails to feed my imagination. Getting the barn work done first thing in the morning leaves my days free to focus on writing and painting. I take a break mid-afternoon to walk my dog — another great thing for stoking the imagination. The horses come in at the end of the day, and I spend some time with them once they're fed. My horses are very interactive, so in addition to grooming, it's fun just to hang out with them and enjoy their personalities. I usually spend the evenings working on marketing plans. If I'm close to a deadline, either for a book launch or a commissioned painting, my focus may shift more to one than the other. And I always go to the barn once more for a final check before bed. While it does take a significant portion of my day, my daily interaction with the horses inspires everything I do.

Q: Looking into the future, do you have any upcoming projects or ideas you are excited to explore in your writing and artistry?

A: I have so many stories I still want to write. While I'm not finished with the characters from the Good Things Come series yet, and I'm currently working on the next book, I'm planning a new series loosely based on my experience of trying to get homebred of modest lineage to the races. The difficulties faced by someone with limited resources and a one-horse stable — quite a different dynamic from the world of Good Things Come.

Linda Shantz's unwavering love for horses weaves a golden thread throughout her rich tapestry. From the captivating pages of Walter Farley's The Black Stallion series to her later years immersed in Thoroughbred racing, Linda's passion has evolved into a narrative that captivates readers and inspires fellow writers. In her, we witness passion, creativity, and unwavering dedication converge—a symphony of equine enchantment.