Jack Schaefer’s book, Shane, has been classified in many sub-genres, but to me, it will always remain my favorite western romance.

Current bantam edition cover

Romance?  Shane?

This story cannot have a truly happy-ever-after ending for all the principal characters, so it normally wouldn’t make it to my “Top Ten” list for that very reason.  But the story itself is so compelling, so riveting, that there is no choice once you’ve read page one—you are going to finish it.  And it’s not just a story about a very odd love triangle, but also about Shane discovering that he is worthy, and a good person, despite what he’s done in his past.

Shane is the perfect hero—a drifter, a loner, and no one knows why.  He plans to keep it that way.  If only his pesky conscience didn’t get in the way, he might have stopped briefly at the Starrett’s homestead, then moved on.

But from the beginning of the book, we know there is something different about Shane.  The story is told through the eyes of Bob Starrett, the young son of Joe and Marion.  Bob is about ten years old, and his account of the people and action that takes place are colored with the wonderment and naivete of a child who will be well on his way to becoming a young man before the story is over.

The book starts with tension, as Bob is watching the stranger, Shane, ride in.  Shane comes to a fork in the road. One way leads down toward Luke Fletcher’s, the cattle baron who is trying to force the homesteaders out of the valley.  The other branch of the fork leads toward the Starretts, the homesteaders who will ultimately force Fletcher’s hand. Shane chooses that path, toward the Starretts, and the die is cast.

He would have looked frail alongside father’s square, solid bulk.  But even I could read the endurance in the lines of that dark figure and the quiet power in his effortless, unthinking adjustment to every movement of the tired horse.

He was clean-shaven and his face was lean and hard and burned from high forehead to firm, tapering chin.  His eyes seemed hooded in the shadow of the hat’s brim.  He came closer and I could see that this was because the brows were drawn into a frown of fixed and habitual alertness.  Beneath them the eyes were endlessly searching from side to side and forward, checking off every item in view, missing nothing.  As I noticed this, a sudden chill, and I could not have told why, struck through me there in the warm and open sun.

In a nutshell, Shane drifts into the Wyoming valley, and is befriended by the Starretts.  Once there, he is quickly made aware of the brewing trouble between the homesteaders and the powerful local cattle baron, Luke Fletcher, who is set on running them all out of the valley.  Shane is firmly committed to helping Joe Starrett and the homesteaders who want to stay.  Fletcher’s men get into a fistfight with Shane and Joe in the general store, and Fletcher vows his men will kill the next time Joe or Shane come back into town.

Fletcher hires Stark Wilson, a well-known gunhawk, who kills one of the homesteaders that stands up to him.  Joe Starrett feels it is his duty, since he convinced the others to stay, to go kill Fletcher and Wilson.

Shane knocks Joe out, knowing that, though Joe’s heart is in the right place, he’s no match for a hired gun like Wilson.  There’s only one man who is—Shane himself, and that’s going to set him back on the path he’s so desperately trying to escape.

Shane rides into town and Bob follows him, witnessing the entire battle.  Shane faces Wilson down first, and then Fletcher.  Shane turns to leave and Bob warns him of another man, who Shane also kills.  But Shane doesn’t escape unscathed—Wilson has wounded him in the earlier gunplay.

Shane rides out of town, and though Bob wishes so much that Shane could stay, he understands why he can’t.  No.  Bob does not utter one of the most famous lines in cinema history—“Shane! Come back!” There’s good reason for this.  In the book, Bob’s growth is shown because of what he learns from Shane.  To call him back would negate that growth process.

He describes Shane throughout the book, and in many ways, with a child’s intuition, understands innately that Shane is a good man and will do the right thing, which is proven out time and again. So, he also realizes that there is no place for Shane there in the valley, now that the trouble has been handled.

Bob witnesses the conversation between his mother and Shane, as well, where so much is said—and not said.  It’s one of the major turning points in the book, though Bob, in his telling of it, doesn’t realize it—but the reader is painfully aware of it.  If Shane really is a good man, he will have no recourse but to leave.

This happens as the novel is drawing to a close, when Marian, Bob’s mother, asks Shane if he’s going after Wilson just for her.  He has knocked her husband out to keep him from going after the gunman.

Shane hesitated for a long, long moment. “No, Marian.” His gaze seemed to widen and encompass us all, mother and the still figure of father huddled on a chair by the window and somehow the room and the house and the whole place.  Then he was looking only at mother and she was all he could see.

“No, Marian.  Could I separate you in my mind and afterwards be a man?”


Shane was Jack Schaefer’s debut novel, published in 1949.  It was honored in 1985 by the Western Writers of America as the best Western novel ever written—beating out other works such as Owen Wister’s The Virginian, Zane Grey’s Riders of the Purple Sage, and Louis L’Amour’s Hondo.

In 1963, Schaefer wrote Monte Walsh, a book that chronicles the passing of the Old West and the lifestyle of the American cowboy.

Though Schaefer never deliberately wrote for young adults, many of his works have become increasingly popular among younger readers.  Universal themes such as the transformation and changes of growing up, the life lessons learned, and rites of passage from childhood to becoming a young adult in his writing have been responsible for the upswing in popularity with this age group.

Though I consider Shane a romance novel, it’s a very different and memorable love triangle because of the unshakable honor of the three characters. I love the subtlety that Schaefer is such a master of, and the way he has Bob describing the action, seeing everything, but with the eyes of a child. If you haven’t read Shane, I highly recommend it—at less than 200 pages, it’s a quick, easy read, and unforgettable.

A gun is a tool, Marian; no better or no worse than any other tool: an axe, a shovel or anything.  A gun is as good or as bad as the man using it.  Remember that.  (Shane to Marian)


A man is what he is, Bob, and there’s no breaking the mold.  I’ve tried that and I’ve lost.  But I reckon it was in the cards from the moment I saw a freckled kid on a rail up the road there and a real man behind him, the kind that could back him for the chance another kid never had. (Shane to Bob)


What has made our heroine into the person she became for the purposes of our story?  What occurrences in her life have shaped her personality?  And how do we decide on the balance between what we, as the writer know about our heroine vs. what the reader needs to know?

Obviously, we don’t have room to tell the reader all that we, the writer must know about her.  Nor would the reader be as enthralled with that deluge of information as we are.  It’s not necessary for the reader to know every single thing—yet, as writers, one of the hardest parts of creating believable characters is giving them a past, and knowing how much of that history we need to go into.

In my novel, Fire Eyes, one thing we learn about the heroine, Jessica, is that she married young.  She thought she was marrying for love, but as it turned out, she grew to understand that she was not in love with Billy, nor he with her—at least, not in the way she had always dreamed of.  This is a huge issue with her after Billy dies.  She tells Kaed, “The next time I marry, it will be for love.”  This shows how much it means to her, because her existence as a single mother is not easy, and the threat of Fallon is still there.

There are many reasons for her to hold onto that dream so tenaciously, but I didn’t have room to talk about in the novel. Her life before Billy was not easy, and marrying Billy was just the ‘icing on the cake.’  But rather than me tell you about Jessica, how about letting her describe her background to you? 

My name was Jessica Lea Beckley.  That was before I married Billy Monroe, when I was only seventeen.  I thought I was in love with Billy.  He was handsome in his own way.  I was glad when he started courting me, because he was the only boy my father seemed to like.  Once he started coming around, it seemed like word got out we were ‘a couple’—and the other boys quit coming by.


That suited Pa just fine though.  I was the only girl in a family of boys—four older brothers and one younger.  My ma died when Mitch was born, and somehow, Pa always seemed to blame him for it.  I had to come between them many, many times.  Pa was always heavy-handed.  Mitch was determined to prove to Pa that he was worthy.  He ran off when he was sixteen.  Said he wanted to be a marshal.  We never heard from him again.  I missed Mitch more than my other brothers.  He was always special to me.  But Mitch is dead now, killed by Andrew Fallon’s men.


They killed my husband, Billy, too.  I did what I could to save him, but he was just hurt too bad.  Most of what I did was just making him comfortable as he slipped away.  It took him two long days.   Even though I didn’t love him, I was sorry for not being able to save him.  Something really sad was this.  Billy never wanted to be touched—he wanted to do all the touching—what little of it there was between us.  How I would yearn for him to just hold me sometimes!  But it wasn’t in him.  Still, just before he died, he opened his eyes a little and said, “Jessica, would you please just hold my hand awhile?”  Even then, I knew I couldn’t touch him the way I wanted to—just pull him close and hold him.  I took his hand in mine, and he smiled.  It wasn’t long after that, he passed.


Somebody had to bury him, and there was no one but me to do it.  Me, two months gone with our baby. But I lost it, too, when I buried Billy. Nearly died myself, from bleeding, but my good friend Rita, and her husband, Wayne, took me in and cared for me.


In an odd twist of fate, after Rita had her baby girl, she was bitten by a copperhead a few weeks later.  Wayne waited too long to come for help, and Rita passed.  If Wayne had come sooner, I might have saved her.  I think he knew it, too.  Not long after that, he asked me to marry him.  It made sense, me with no husband, him with no wife and trying to care for little Lexi.  But I didn’t love him, and he didn’t love me.  I had to keep true to my promise I made myself, to only marry for love.  A few days later, he showed up at my door with the baby, asking me to take her.  I felt sorry for Wayne, but I was glad to see him go.  Gladder, still, that he left me precious Lexi.


It was good to leave home.  Sometimes I think my pa just wanted me there to cook and clean.  I wanted my independence, and maybe I saw Billy as my ticket out of there.  I’ve never been back, even though it’s less than a day’s ride from here.  Pa was a hard man to deal with, and I was glad to see my older brothers marry and leave, one by one, too.


I’ve always felt bad about not saving Rita and Billy.  I’m a healer.  Had to learn that, being raised as I was with all those boys. They were always getting hurt somehow.  I believe things happen for a reason, though.  If I hadn’t gone through those hard years of growing up where I did, I wouldn’t have been able to save Kaed Turner when Standing Bear dumped him on my porch.  He was hurt worse than Billy, but he had more to live for.  I wasn’t enough for Billy, but to Kaed, I was everything.


Remember when I said that I wouldn’t marry again except for love?  Kaed’s the best man I’ve ever known.  When I look at him, I see love in his eyes—for me—every time.  But more than just the love, I see understanding.  And that’s just as important, I’ve learned, because, love can be many things to many people.  Kaedon Turner knows my soul as well as my heart. We’ve both suffered loss and despair.  But now, we have each other. And when he says, “It’ll come out all right,” I know it’s true.


And now, you know what I knew when I created Jessica Monroe Turner.  A lot goes into making up a heroine’s personality–a lot that the writer must know about her.  This knowledge makes the heroine a well-rounded person to the reader, although you, as the writer, might not be able to include everything.  Still, snippets of conversation and insights will provide for a deeper look into the heroine’s character.  What about your heroines?  How did you manage to convey their backstory to the reader?

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