Carole Beers

Three books published in one year? Hell, yeah. That was my output for 2019—two new Pepper Kane Mysteries, plus the holiday novella, “In From the Cold.” In a world where publishing one book a year is the norm or at least a goal, I gobsmacked even myself. How’d that happen?

My background, as many of you know, was in daily big-city journalism for nearly 40 years, and mainly for The Seattle Times. Features, hard news, obits, criticism and columns. Oh, I ground out some stories for romance and horse publications. But predominantly I was shaped by the values and daily discipline. Fine training for any writer—Hemingway and Faulkner, included!

Retiring in 2006 and moving back to Grants Pass, Oregon, where I graduated high school, I read voraciously, gardened, rested and competed in horse shows—all the things I couldn’t pursue as I liked while employed full time. I also wrote short stories as part of the Monday Mayhem fiction group. The stories were, for the most part, less than stellar. I soon learned writing fiction is way different than doing journalism! You invent characters, settings, plots, rather than having them handed you on a sterling tray.

The next ten years, between stories, I penned three rough-draft novels—including the devilishly tongue-in cheek whodunnit, “Saddle Tramps.” And queried, and queried some more. In 2016 a small indie press I use today, W & B Publishers, signed me to a contract for “Saddle Tramps.” The next two years I wrote a book a year for them while continuing to study craft and build my author platform. Always trying to hue to a morning writing schedule, ever building more complex plots and characters. Learning from readers and other writers. Social media!

What happened was, rather than working at and studying writing, at sweating, editing, grinding it out—which I still confess to doing, at times—I fell in utter love with it. And, as they say, If you love your work, you’ll never work a day in your life. So I was in love. Fully engaged, inside my stories and settings, caring about my characters as if they were family, and wanting to know what happens with them, 24/7.

And, voila! Stop the presses! For me this was the “secret,” the key to prodigious (and more fulfilling) production. My path to writing three books a year. Being “retired,” no doubt, is a ginormous help. More time and energy! But it was the love that made it happen.

You’d be surprised at how much writing you get done when you’re prepared for and are truly captivated by a project—as writers taking part in NaNoWriMo learn. (I’ve not done National November Writing Month, but I understand you madly plot and prepare for it in advance so your daily word count in the month is stratospheric!)

Here’s to falling I love with not only writing, but also what you’re writing about. It can take you places you never imagined. Even to multiple books a year!

Yes, we’ve had some rain in Oregon. I have to come clean. Mud puddles are not my preferred body of water. Murky brown glimmers or shining silver sheets on the path or road hold terrors and mysteries my horse and I can only speculate about. Does that wet patch lying dead flat ahead or shimmering in a breeze, hide a rock, a bog, perhaps even a bottomless hole?

Same deal when an author writes toward a perceived hole or other obstacle in a book. I write forward boldly, stodgily or timidly, for forward I must go. While the soggy monster lying in the way grows larger and more threatening. I am drawn toward it, and yet I fear it. Funny thing is, the closer it looms the more I start second-guessing and questioning why I even considered such a random development in the first place. Why on Earth did I think I need this question, that scene, this surprising dialog, that shocking denouement? Am I mad? My heroine would never, SHOULD never, do such a thing. It’s out of character.

But is it really? I put a toe in, keeping one foot back on solid ground, and what the heck. Write her into the puddle, see what happens. My writers group balks. “You can’t have her/him doing that. It’s not realistic. Your readers won’t like it. I don’t like it.” I sulk a moment. Then I rise to the challenge.

“You say my amateur sleuth, Pepper Kane, wouldn’t let her memory challenged, 80-YO father go on night patrol on the guest ranch after a body was found? And that I, the writer, shouldn’t make him go?

It’s the the nudge this Creative needed. Go ahead. Tell me I can’t do it. Then I’ll move heaven and earth to prove you wrong, make my book even better than I’d imagined. What’s “wrong” suddenly seems terribly right. This plot twist, this character trait, was never expected. But that’s why it’s so damned satisfying when it works.

Does something similar happen to you? The more you want something, the more resistance you encounter, the less time or energy you seem have to go through or get past something unresolved or unpleasant? Yet you lift your chin, call in your courage and imagination, and tackle it anyway? I bet you often find it turns out pretty well, in the end. Maybe better than everyone thought.

My parting words to you, when writing, when living, when facing puddles? Maybe even a whole swamp? Embrace the mud!

What do you see in book covers? Promise of the world between them, of what a reader can expect as to theme, mood and style? Or a wall graffitii’d with a title and author name? To me a cover is like a front door. It can either be an invitation to enter, or a barrier that practically dares me to open it.

With the rise of covers shown in online vendor sites such as Amazon, we’ve noticed larger type and more contrasty colors against nondescript backgrounds. Or with simpler, cliched images (e.g., romance and Westerns). The thinking is to simplify since readers can’t discern detail let alone realistic people and places, in an image the size of a thumbnail or tarot card depending on the device displaying it. And with the barest suggestion of the characters, setting and action inside. Unless you’re familiar with the author’s work, buying such a book is a guessing game.

I don’t want to have to guess! I want to get an idea of what I’m buying. In the case of my own books, The Pepper Kane Mysteries—four to date, one one the way—I’ve been blessed with a publisher who asks if I have a cover concept. I not only have a concept, I have 200+ professionally shot photos from which to choose (thank you Jenny J Jaks Grimm), and a wonderful designer (Cheryl F. Taylor) to add filters, backgrounds and effects that suggest what’s inside the book. Perfectly. A Western show diva and her horse silhouetted against a mysterious background with symbolic details, e.g., a sky with full moon and owl (“Ghost Ranch”). Western colors such as coral, Sienna and aqua add to the ambience.

Many compliments have come our way for those covers—particularly the one for the latest, “Night Rides” (Pepper #4) with its mountain horizon, night sky and lightning bolt. But all capture well what I intended with the novels, which is a gripping, and sometimes beautiful and lighthearted, mystery set in today’s sophisticated American West, with shades of cozies and serious women’s fiction. Can we touch on tough issues like loyalty, child trafficking, and faith/race/gender prejudice? OK, but with a hopeful outcome.

Oh, yes. I worry the horse and the cowgirl hat will turn off some readers who think my books are Westerns, or horsey, or I-don’t-know-what. That with my books’ unique covers in related styles, which indicate a series, they might look a little different from “Big 5” or establishment covers. But I kind of love them for those same reasons! They ARE different, they do offer a unique entertainment and voice.

Besides. I get to immortalize not only a way of life I’ve enjoyed—horses, nature, life sleuthing and relationship building–but I also get to see my entire creative vision displayed. That’s big. And YOU get what you see. My doors don’t lie!

We’ve all heard about author “branding,” or creating an effective, identifiable writer persona that will draw readers of certain genres and  styles to our work. After all, whether out shopping for cars, tools, groceries or clothes, through experience or advertising, we expect certain things of a maker when it comes to fit, styles, craftsmanship.

It’s the same for manufacturers of fiction. Any kind of fiction, romance to mystery, family drama to literary. The author name on a book cover should raise readers’ expectations about what’s inside regarding genre fit, styles and craftsmanship. Therefore we author’s can’t be shy creating a literary persona. It is an authentic representation of who we are, what we care about, what we write.

This is not about one’s deep feelings, doubts, day to day triumphs and tragedies. Although if one “does” social media as part of the marketing plan, it can touch on such things. No. This is about a persona we create and reinforce, a detached name-brand guaranteeing a certain prose behind your name. Shrinking violets take heart. You, rather your public brand, are about writing or selling books. Maybe Ralph Lauren is the same dude who’s suggested in his company advertising with its depictions of an idyllic life sailing, attending polo matches, and living on an upscale Aspen ranch. But l’ll bet the farm he’s not telling all, and certainly is not spending sleepless nights thinking The Real Ralph (poor, shy, artsy Jewish boy from Brooklyn or wherever) will be discovered via his advertising.

When I began writing fiction for publication in 2014 or so, I sought a marketing mentor in a program offered free by Mystery Writers of America. They paired me with bestselling thriller author, Libby Fischer Hellmann. In phone interviews, she suggested I first identify and codify my author brand. That would go into a website, so readers could find and learn about my work. She had me pick a selfie or other portrait that captured what I am about—expression, favorite genre, and loved setting, etc.

Then she had me create my motto, or logo—six to ten words expressing the kind of books I write. Currently it is “New West Mysteries with Heart,” suggesting modern, cozy whodunits with a dash of romance. Writers with more than one category or genre can create a different logo or motto for each category.

Finally, this Carole T. Beers branding effort, after I’d identified what “look” and “motto,” stood for how I look, what I like to do, how I live and what I believe in, took me into social media. Free friending, free marketing, but first, gathering like-minded souls and responding to their posts. My brand was launched! Now I have 5,000 “friends” of my Facebook profile, 1,500 “likes” of my FB Carole T. Beers Author page, and opportunities daily to spread my message and reinforce my brand.

I am a friendly type, though clinically an introvert, and absolutely love doing it all. It does take time from writing. But what will my writing be, with no one drawn to read it?!

Let’s do a little exercise, to make sure you “get” this  branding thing., whether or not you’re a writer. Because every public thing an you do or say, whatever you post, drops info about you, for good or for ill. And you don’t want people confused by what you reoresent. Write down the names of three of your favorite or influential authors. Take a moment and pick out the best. Write down three qualities of personality, outlook, lifestyle or writing style you admire in these authors. That is their brand.

Now write down three to five of your own qualities of personality, outlook, lifestyle or style that you would like to be known for, or at least would not mind people knowing. Congratulations! You’ve just identified your brand. This can define and shape manuscripts. Or lives!

I had an idea about my brand long before I was published: New West Mysteries with Heart. I love the West old and new, books and art dealing with it, people navigating it, as well as horses, dogs and growing things. I love a mystery, risk, adventure. And celebrate our connections, gnarly or mutually gratifying. Energy and humor are musts. My website and posts reflect this. Unbranded livestock can be stolen or get lost in the herd. It simplifies my writing life, brings it into sharp focus.

For me, there’s no room for doubt. A brand tells readers what they need to know. What they might reasonably and reliably expect when they borrow or buy a book with my name of its cover. I write, therefore I brand. And I’ve branded myself so I can write even better. And be discovered, read, and relied on. Consistency and standing in your truth is a powerful thing.

Fresh starts require fresh thinking. And sometimes, no thinking. Let me explain. I’ve just sent “Night Rides,” Pepper Kane Mystery #4, off to the publisher, A-Argus, the small press in North Carolina that printed my three previous books. Quick acceptance, editing, forrmatting and turnaround. Now I have time and ideas on my hands—boy, do I have ideas—before proof copies come back for line editing and final author checks.

What better way to spend this time bonanaza than getting the jump on writing Book #5, where Pepper opens her long dreamed-of guest ranch—really a bed, barn and breakfast that offers a Western ranch experience as well side trips to other Rogue Valley recreational and cultural sites. Problem is, this book already exists, kinda. But in super rough-draft forrm, it representing the first run at the series. Written almost ten years ago!

There actually are three or four different beginnings to this book, originally called “The Hay Hook Murders.” The two main characters, best friends Tulip and Pepper, are reversed in look and name. There’s a whole different boyfriend. And some elements of the murder weapon seem wrong, not to mention that two whole chapters in the middle are missing. Entirely. So something happened between saving the digital draft, and printing out all 300 pages.

I’ve started re-reading the version(s) I have, which I can salvage as a kind of detailed outline. There is that. But now I’ve found so many versions of the beginning, and directions to go in, that I’ve become a bit confused. OK, a lot confused. Maybe I need to chuck the whole thing and start from square one.

But wait. There are some really good scenes, dialog, and useful people, in that draft. I realize it’s an advantage ro have options, to have a bunch of set characters with their own agendas, some already roughed-in scenes, and a general idea what’s going to happen. There’s gold in that there manuscript, albeit covered in grit and sitting at the bottom of the river. Time to pan for grains and nuggets, maybe even get out the old suction dredge.

I’m writing new. Just setting out, setting up camp, keeping to me vision for the book, but letting my subconscious that already knows the important bits, bring me along. This is the fresh-thinking and no-thinking part. Fresh, in terms of new wording and scene-setting. But completely new in terms of how and where the story goes. In terms of what I discover as I write forward into new yet oddly familiar territory.

That makes me excited. That makes this book #5 seem like an entirely new adventure. And if it feels that way to me, think how much more so it will feel that way to a reader. Tally ho, I say. Onward, the wagons. Northwest discoveries await.

:

My author friend Tisha Martin’s smashing 5-star Amazon review of “Saddle Tramps” praises how I portray my characters, including horses—their  traits and trappings—convincingly.

It is the most lighthearted of my books, where I tested my author’s voice and outlook, explored what role horses would play—I don’t want to be thought only a “horse-book” author, though it paid off for Walter Farley—and uploaded onto the page some dark thoughts, goofy observations and sometimes off-center opinions I’ve developed over the years. I refined these, wove them even more tightly into the story in “Over the Edge”and “Ghost Ranch,” Pepper Kane Mysteries #2 and #3.

Formal Western horse shows are an abiding interest of mine, my area of expertise. Few authors I know of have understood or taken them on. There are some books on cutting, reining and roping. And Carly Kade does portray a trainer specializing in the “arena” Western pleasure, but not in an in-depth detailed way. Perhaps for fear of boring readers. My writer’s critique group keeps me keeping it interesting. Detailing what the rider thinks and feels doing the event, what they’re aiming for, maintains pacing and excitement. Particularly if the horse is a bit bronc-y!

Regarding another tack I take (pun intended), I think relationships, whether human or cross-species, absolutely must be FELT by an author as she writes. Actions, reactions and interactions that appear accurate make a book come alive for a reader. The personality and give-take between my amateur-sleuth and her horse—a thinking, feeling being with instincts that’ve helped it survive for millennia—come from my own experience. I really feel these things in my mind’s eye as I write.

Finally, to answer many an interviewer’s burning question, Pepper and Sonny’s opposite personalities and elusive but electrifying relationship reflects a long-ago love affair of mine that (in the dreamworld) persists to this day! And Pepper, herself, is a lot like me. Former reporter, dancer, cogitator, kidder, nature girl with sometimes expensive tastes. Hello?

Writing all this into a book, and a mystery, at that, while peppering it with believable humor, is daunting. Hell. All writing is scary. Be afraid. Be very afraid.

I think the key to any author’s success lies in fearlessly tapping into one’s true times and personality, warts and all. In fact a few warts, laid bare and shown honestly, can make one’s writing stand out. Hopefully in a good way. In other words, instances/essences of a writer’s actual life “goods” AND “bads,” dreams and disappointments edited and channeled into a book, make her word tapestry unique, fully engage people, and take them on that winning ride. It does help if one is able to walk in another’s boots and live as an empath on some level.

Takeaway? Feel the horse, the mother, the friend, the killer. Put yourself in the alley, onstage or in the arena. Analyze your feelings and thoughts at what’s happening around and to you, ask questions, what you imagine will happe or HAS happened, no matter how seemingly insignificant. Then record it. All of it. You can edit and refine later.

That’s how a writer sucks me into a book and makes me live inside it. That’s what I do when I craft my own books. They become code and a metaphor for real life, past/present, real or imagined. Setting it down lights a way, brings answers. And prepares me for more daring literary exploration. 

Yes, books can do that!