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Monday, October 12, 2020

 

Abandoned Amusement Parks Are Creepy By Sarah J. McNeal, #TheWildingsSeries




 

In my short story, THE BEAST OF HAZARD, from Prairie Rose Publications, I wrote about an unscrupulous circus owner who abandons his circus that wreaks havoc and danger on the fictional town of hazard, Wyoming.

I started researching abandoned amusement parks and, I have to tell you, there is nothing creepier than a place where laughter and fun once resided, now desolate and eerily silent. Imagine, on a hike in the forest, stumbling upon a metal clown half buried in the dirt and a Ferris wheel covered in vines out in the middle of nowhere. Even worse, imagine in the middle of a meadow with low lying fog coming across life size statues of dinosaurs. One might even think the creatures were real at first sight. I, for one, would run shrieking and screaming. Roller coasters and carrousels appear particularly sinister empty of passengers and slowly eaten by vines and trees. It just makes me shiver to think how they must appear to someone who might come upon them by accident.  

Near my home in North Carolina is an abandoned mill. I saw it every time I drove to the beach down highway 74. The old mill has deteriorated and kudzu vines have taken over most of the structures. It fascinated me, and it creeped me out. Of course, I had to get some photographs of it. Here is one of them.



In my story, THE BEAST OF HAZARD, an entire town is in danger just as the children are preparing to go out trick-or-treating. What is this beast? And what are the townspeople going to do to protect themselves as well as their livestock?

 




A Terrorized Town…A Killer Beast…And Deliverance

 

Joey Wilding isn’t certain what’s killing the livestock in Hazard. Some believe it’s a bewitched beast, others a wolf gone rabid. As the town veterinarian, he’s seen mutilation before, but not like this, as if something enjoyed the killing.

When Claire Beau asks Joey to help her injured wolf-dog, and begs his discretion, he begins to suspect he has found the Beast of Hazard—and its beautiful mistress. But as he walks through the woods after dark, something more ominous than any wolf stalks him from the shadows.


Excerpt:

Joey walked through the woods to take the shortcut back home. Even in the half-light of approaching night, he could find his way back to the Wilding ranch. He sensed rather than saw something move just on the other side of the old pond. He kept his eyes and ears alert as he made his way through the low brush.

Something’s following me. Menacing and dangerous, it seemed to stalk him from somewhere beyond the bushes. Without a gun, he only had a knife to protect himself. His best option was to pick up his pace without running to get back to safety. Running would draw attention to him and whatever it was that shadowed him, it would identify him as prey.

And then he heard it growl. The ground practically shook beneath his feet with its deep, low pitched sound. Never, in all his life, had he heard such a sound. If death made a noise, it would sound like that. Heart pumping adrenaline made his hands shake, but he knew not to let it show. With every ounce of will he possessed, he put one foot in front of the other until he reached home. 

Buy Link: AMAZON

For more stories about the Wildings click on this link: The Wildings   

 All Wilding Books are available on Kindle Unlimited


Sarah J. McNeal

Author of Heartwarming Stories

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The Missouri Mule





EQUUS CABALLUS (female horse) + EQUUS ASINUS (male donkey) =

THE MISSOURI MULE

Mules have been bred and used for centuries as draft, pack, and riding animals. Mules are mentioned in the Bible and appear in Assyrian bas-relief. Here in Missouri, we consider the mule ours. The first mention of mules in Missouri can be found in newspaper articles printed during the early Santa Fe trading expedition. Between 1870 and 1900, Missouri was the leading breeder in number and quality. In 1889, there were 34,500 mules foaled in the state of Missouri alone out of a total 117,000 in the United States. Of the 330,000 sold, Missouri supplied 68,300.

The Missouri Mule was adopted as the state animal of Missouri on May 31, 1995. Nearly two hundred years before, the mule was already making a huge impact on the state. From the early 1800s to the early 1900s the mule played a central role in farming and land development. In 1870, Missouri was the largest mule-holding state in the nation, a position it held until 1900.

The typical Missouri Mule is a cross between a mare of a draft breed and a mammoth jack or male donkey. This cross produces a stout, strong animal that is more easily managed and more agile than his draft horse cousins. 

With its short thick head, long ears, thin limbs, small narrow hooves, and short mane, the mule shares characteristics of a donkey. In height and body, shape of neck and rump, uniformity of coat, and teeth, it appears horse-like. The mule comes in all sizes, shapes and conformations. There are mules that resemble huge draft horses, sturdy quarter horses, fine-boned racing horses, shaggy ponies and more.

The mule inherits from its sire the traits of intelligence, sure-footedness, toughness, endurance, disposition, and natural cautiousness. From its dam it inherits speed, conformation, and agility. Mules exhibit a higher cognitive intelligence than their parent species.

A mule does not sound exactly like a donkey or a horse. Instead, a mule makes a sound that is similar to a donkey's but also has the whinnying characteristics of a horse (often starts with a whinny, ends in a hee-haw). Sometimes, mules are known to whimper.

Handlers “generally find mules preferable to horses because they show more patience under the pressure of heavy weights, their skin is harder and less sensitive, rendering them more capable of resisting sun and rain. Their hooves are harder than horses', and they have a natural resistance to disease and insects. Many farmers of clay soil also found mules superior as plow animals.” 

Mules come in a variety of shapes, sizes and colors, from minis under 50 lbs. to maxis over 1,000 lbs. Mules’ coats come in the all the varieties as those of horses—sorrel, bay, black and grey, white, roans (both blue and red) palomino, dun and buckskin, even paint, though they’re much less common. And appaloosa mares produce mules with even wilder colors than their horse cousins.

Above: 19 hands, 1,900 pounds of mule

Professor Melvin Bradley, an enthusiast who has researched the mule's legacy says, "They farmed our land, hauled our lumber, drained our swamps, took us to church and war. Now we're having fun with them."

 

Mules have been a favorite of our nation's leaders as well. George Washington was an excellent horseman, but felt horses "ate too much, worked too little, and died too young". In order to obtain an animal that better suited his needs, Washington imported jack stock from Spain and France and began breeding mules.

 

And Missouri native, President Harry S. Truman, often bragged about the superior qualities of the Missouri Mules. Proud to be the son of a horse and mule dealer, Truman invited a four-mule hitch from his hometown of Lamar to drive in his 1948 inaugural parade up Pennsylvania Avenue.

 

Terms

Draft Mule = mule offspring from a draft horse mare
Gelding = castrated stallion/jack
Hinny = hybrid of a stallion and a jenny
Horse Mule = proper term for a male mule
Jack = intact male donkey
Jenny = female donkey
John = informal term for a male mule
Mammoth Jack = jack at least 56" tall at the withers
Mare = female horse
Mare Mule = proper term for a female mule
Molly = informal term for a female mule
Mule = hybrid of jack and a mare
Muleskinner = driver of a hitch of mules
Stallion = intact multiplemale horse

http://www.cvm.missouri.edu/org/muleclub/facts.html

 

Resources: 

http://www.netstate.com/states/symb/animals/mo_mule.htm

http://www.lyndonirwin.com/mule5.htm

Wikipedia

Sunday, October 11, 2020

Book review: Beneath a Desperado Moon by Elizabeth Clements

 

Blurb:

Deputy U.S. Marshal Josh Hunter never believed he’d see beautiful Molly Malone again—but he’d recognize her saucy smile and cinnamon eyes anywhere. Trouble was, so would Buckshot Jones, the outlaw who holds a deadly grudge against her.

Molly has never forgotten that long-ago, bone-melting kiss she shared with Josh—a kiss that changed everything for her. But when she is kidnapped by Buckshot’s gang of cutthroats, the handsome marshal with the green eyes and killer kisses isn’t around to rescue her. Josh shows up in the nick of time, but will his claim be enough to hold off the others?

When an old flame from England shows up to lay claim to Josh’s heart, Molly must fight for him. Can she face her tarnished past and keep his love BENEATH A DESPERADO MOON?

My review:

Beneath a Desperado Moon delivers a steamy good story!

Josh and Molly had been dancing around each other in the previous story, and now they can't help but be tossed together and forced to acknowledge what's been simmering under the surface - almost by gunpoint! Lots of adventure and heat propel them through all the kidnappings, determined outlaws, weddings, friendly fire, and haunted pasts. I loved how quickly Josh and Molly connected to each other, and then as each layer was peeled back, they each handled the other with care, even as at times they desperately fought their connection. Having both discover their true worth through each other's eyes proved just how perfect they were for the other.

If you're looking for an enthralling story filled with temp-rising steam and crazy-fun adventure, you found it! This is a wonderful wrap up to a terrific series.

Purchase links:

     

Thursday, October 8, 2020

New Release -- A British Courtesan in America (Revolutionary Women Book 2) by Becky Lower

 



She is running from her past life as London’s most prized mistress.

When beautiful Fancy Booker’s last benefactor leaves her his fortune, she sails for the new country of America. Giving herself the name Liberty Wexford, she hopes to set a new course for her life—alone.  The last thing she needs is another man in her life.

He has no time for a woman, since the Revolutionary War is a jealous mistress.

Hawk Gentry has two guiding principles. First, as a Son of Liberty, he must be cautious of others, especially anyone British. Second, as a child, he and his Passamaquoddy Indian mother were left alone while his French father trapped or fought wars. He vows never to do the same to any woman he loves, and the family they may have.

Will the war unite or divide them?

When Liberty and Hawk run into each other on the unruly streets of Boston, they begin a tentative friendship. Even though neither wants romance, the sparks fly between them from the moment they meet.

As their relationship blossoms, their pasts rise up to haunt them. Will Liberty and Hawk overcome the obstacles that seem certain to force them apart? With the Revolutionary War beginning, can love hold the hearts of a Hawk and A BRITISH COURTESAN IN AMERICA?


EXCERPT


The streets were bustling with people, all busy with their lives. Libby melted into the throng and wandered from one street to the next, dipping into the various shops she found intriguing. She stopped at one of the street vendor carts and purchased some chocolate, hoping it would be as good as what England had to offer.

As she wandered, she nibbled on it. Not bad chocolate. Not bad at all. Creamy, not waxy. It didn’t quite compare to the kind of chocolates England imported from Belgium, but then, not much did.

Her next hurdle was to find employment. She glanced at the various shops and tried to picture herself working in one of them, but nothing so far captured her fancy as a place of potential employment. The street noise, a combination of people, animals, rolling carts, and vendors hawking their wares, overpowered her senses. The cobbles were uneven, so she shifted her gaze to the street and lurched to a sudden stop as the heel of her expensive brocaded silk shoe wedged between two of the stones. In her haste to explore her new city, she’d forgotten to change out of her favorite pair of shoes, another gift from Atticus. She leaned over to dislodge the shoe, or to unbuckle it and take it off.

She had just released the buckle when shouts, and then, thundering hooves, finally resonated. Libby glanced up in time to see a horse barreling right at her, but she couldn’t free herself from her shoe. A scream formed in her throat.

What a pity, to die on her first day of freedom.

     

Monday, October 5, 2020

The Characters Behind the Characters - Maud Davis, Sociologist

 The Characters Behind the Characters - Maud Davis - Sociologist and Social Reformer

C. A. Asbrey



Maud Davis' work caused more controversy than it should. In turn, her violent death attracted none of the attention it deserved. She was a divisive figure in her life, a dichotomy of contradictions; highly-educated but rarefied, subjective but judgemental, level-headed but injudicious, scholarly but unworldly. She was the inspiration, with many changes, for the murder victim in the fourth book in The Innocents Mysteries series, In all Innocence, and the plot which unfolded from there.       

She was a woman of independent means, a sociologist, and intellectual, who worked hard to improve the lives of others. She was a member of the Anti-Sweating League (working to break up sweat-shops), a member of The Fabian's Women's Group, and The Women's Industrial Council. Maud was a well-intentioned campaigner, but she lacked a fundamental grasp on the hardships of life, and the dangers in the dark corners into which she ventured. That lack of understanding may have extended to failing to grasp to the perils of stepping on toes as she investigated, but we'll look at that later.  

Maud compiled reports and studies on working conditions for the poor, and reported back to political activists who sought to bring improvements. There are many indications that while her intentions were pure, her own background was far too distant and rarefied to fully grasp the depths of the poverty on which she reported. An example of this can be found in the Black Report, on the tailoresses of Rowhedge. Maud was sent to study the women of Rowhedge, a poor fishing village in Essex. The men were often absent, away fishing for long periods of time. Their work could take the fishermen to France, Scotland, or even Norway,  It was a perilous life, and men died, especially in the roaring winter seas which provided the best harvests. 


While the men were away the women did piece work for the London tailors who paid rock-bottom rates. The development of the sewing machine did little to improve women's standing in the tailoring profession. Even experienced women rarely become foremen, and those working remotely never advanced at all. A female foreman in 1901 earned 19 shillings a week, while men doing the same job brought home more than double that amount The development of the railways meant that work could be farmed out to remote areas where there was little competition to drive up wages. Rowhedge was one such town. Compare the previous earnings  to a statement by a Mrs. Green who said, "wages paid to the seamstresses were abominable and the way in which they were obliged to live was fearful… They had to finish off a pair of men’s trousers for 1¾d and they had not only to fetch the work from the factory… but sometimes had it returned for being badly done. They were able to turn out about 12 pairs a day but had to find their own thread… they earned about 1/-2d a day or 5s a week assuming they worked an 8 hour day and 5 day week’.   

Maud reported that, "The Rowhedge women are all that women should be. Full of vigorous health and spirits, they are equally ready for work and for play… These self sufficient women are apparently excellent wives and mothers.' However her naivety of the harsher realities of life were apparent in this statement. "‘The independent income of the women brings them a degree of consideration both from others and from themselves that educes and develops their personality, and causes each woman to become an individual interesting to herself and to others, even as her husband or her son is. In the house the woman is mistress, the man, when at home, adapting himself to her and doing the housework that she may not be interrupted in her industry. With her own earnings she is able to buy what she wants, pretty clothes for the children or for herself, a bicycle, a piano, or whatsoever else may appeal to her as affording the recreation which she takes for granted as her due, and as part of the normal routine of her life.’  

Maud was simply unable to conceive of a life lived hand-to-mouth, and thought that these women were working for pocket-money. Other women working on the same report noted women working late into the night, whilst in labour, and being asked to take a little rest by their families, so it's hard to see how Maud saw these earnings as pin money. Another woman working on the Black report posed this point to another resident of Rowhedge and got a strong response. "Pocket money! That was pocket money! To fill the kids tummies. No-one worked on the tailoring at home unless it was to fulfil a need….. they had to! If the husband lost his job – no dole – no money coming in.’ ‘Yes, my mother did tailoring, ’Cos she had to keep us going. Dad didn’t earn very much…Mum used to do coats at home for the factories…. She used to work very hard for the little she got…. To make ends meet you see’ ‘My mother did that bit of tailoring to feed us kids. She didn’t do it for a bit of pocket money, she did that to keep us."   

On top of all that, any understanding on pricing would have told Maud that a piano or bicycle was beyond the reach of a woman on piece work.

This was not the only time Maud lacked a true scientific distance, but let's not forget that her statistical analysis did help to compile a collection of historical data on wages and prices. It also helped to correct to prevailing views of rural poverty. Her most famous work, Life in an English Village: A Study of the History and Economic Conditions of the Parish of Cosley, in Wiltshire, became notorious for all the wrong reasons. So much so, the villagers lobbied to have the paper pulled from publication.   

The statistical analysis was superb, but the work included too much detail which made it easy to identify the individuals involved, as well as containing a number of pejorative statements. She describes locals as 'rather rough' and a 'dirty lot'. Local children are described as 'rascals', 'slow', or 'lazy'. Of a market gardener and his wife she notes: 'Drank a good deal of their profits, wife got so drunk she could hardly sit in the cart. 'Seen one day in public at Frome having glass of port - more than such people could afford,'  She describes a labourer, his wife and four children: 'Can't say much for them. Wife hard-working woman, but bad manager. 'Not much of it [debt]. A poor lot, drink too much and don't pay. Dirty lot. Inspector has been down on the once or twice - woman keeps house so dirty." 'Dirty children. Noted family. Have been on point of reporting parents to Officer of Society for Prevention of Cruelty to Children. 'Yet children wouldn't be so bad with careful training. Attendance [at school] bad, they take turns to come."

Bear in mind that this was her own village. She knew these people intimately, and as a small rural area, they all knew one another too. She also made statements which alluded to sexual misbehaviour between married people - which did not go down well at all. 

The village did not succeed in stopping publication, but the work remained in mostly academic circles. It was republished in 2013, and was met with a more curious reception from the villagers, many of whom are direct descendants of those described. One hundred years later it is more difficult, but not impossible, to identify some of the individuals referred to in the report.
   

  

On 2nd February 1913, at 2am, the decapitated body of Maude Francis Davis was found in a railway tunnel between High Street Kensington and Nottinghill Gate, London. She was 37.

She had just returned from a trip to New York, where she had ostensibly been on holiday, but friends said she had actually been looking into human trafficking of poor women and children to the United States and West Indies, to force them into prostitution. Her travels had supposedly taken her all over the world, but we have no further details of her itinerary. We do know that on the last leg of her journey she was extremely nervous and confided in a fellow traveller, Mrs. Margaret Davies (no relation,) who testified that Maud started to act strangely and complained of being ill. Whether or not the illness was to keep her in her cabin, and out of view, can only be left to the readers to suppose. Before arrival at Liverpool Maud asked Mrs. Davies, “What does this mean? The boat is full of spies? Haven’t you seen them?” The ship reached Liverpool on January 31, and a frightened Maud asked the other woman if she could travel with her in the train to Euston. Mrs. Davies agreed, but in retrospect they would have been far wiser to seek help on arrival in the United Kingdom.

On their travels, Mrs. Davies confirmed to the inquest that Maud said, “I hope your having been seen travelling with me and speaking to me won’t bring you any trouble.” She asked for Mrs. Davies’ address, saying, “I may need it. You may be called up as a witness.” Maud commented that, “We are getting very near London now.” She took off her coat and left the compartment. Mrs. Davies never saw her again, and we have no further information on Maud's movements after that. Whether removing her coat was intended as a way to alter her appearance or not will never be known. She left her luggage at Euston. Whilst at Euston she visited a waiting room and took a ticket for High Street, Kensington to visit some friends.

Maud Davies’ movements are a mystery until two a.m. on February 2nd, when a railway worker found her body in a tunnel on the Metropolitan Railway near Kensington. The cause of death was decapitation, presumably when a train ran over her. It is thought she died around 4.30, the time her watch stopped. 

The coroner found that whilst still alive, a small, sharp object, such as a hatpin, had made numerous puncture wounds over her chest. They were all in the same spot, which he thought made it unlikely that they were inflicted during a struggle. All the coroner could surmise was that she had made the wounds herself. A bizarre assumption, and it never seems to have occurred to him that her arms could have been pinioned while the stabbing took place. A broken piece of the hatpin was found embedded in her heart on post mortem examination. None of the wounds was sufficient to kill, and cause of death was decapitation. Maud was also found to be suffering from a lung condition, which he surmised accounted for her 'feverish fears'. All accounts from family and friends which stated that she was not in the least suicidal carried little weight.

From my personal opinion, there was a great deal of sexist assumption in the useless inquest which followed. Her fears, desire for a witness, talk of spies and dangers, were all dismissed, despite testimony that she was a down-to-earth, level-headed woman, not given to flights of fancy, or hysteria. The coroner concluded that the chest wounds were self-inflicted, and that the decapitation may, or may not, have been an accident.  An open verdict was recorded, and no further evidence has ever been gathered to overturn that verdict. There is no doubt in my mind that this was a case of murder, and that at least one of the assailants was female.  

If I were investigating, the first person I would have interviewed under caution is Mrs. Margaret Davies. I am suspicious as to why the last person to see her alive, made friends with her on the sea voyage, undertook a train journey to a place in London when she wasn't going there, and as an Edwardian female, undoubtedly had access to a hat pin. Also why was she travelling alone? That was unusual for the time. I also wonder why she didn't raise the alarm when a woman who was so frightened of being attacked suddenly disappeared without all her possessions. I may be doing the lady a disservice, and these questions may have been asked, and the answers not available to me. However, you always start with the last person to see them alive, and I don't feel that this lady's death got the scrutiny she deserved. I also do not see that the people in charge of this investigation have performed anything even close to a competent investigation. 

I leave you to ponder on this case for yourself.          


Excerpt

“She hasn’t got the combination to the safe,” said the manager. “You can scare her as much as you want. We all know you’re not gonna use that gun on us.”

Rebecca’s breath halted as she felt a careless arm drape around her shoulder.

“I don’t need a gun to hurt someone. Give us the combination.” The manager remained mute and turned his face away. “Your call, sir.” He pulled Rebecca around to face him as she gasped in alarm. “Just remember who you’ve got to thank for this, ma’am.”

He pointed over at the manager, who refused to meet her eyes. “That man right there.”

“Anything that happens to her is down to you. Not me,” said the manager.

Rebecca felt herself dragged from the room by one arm. She was pulled into the office next door and pushed against the wall. The man walked over and pulled down the blind before returning to her. Her breath came in ragged pants of fear. “Please, no. Don’t.”

He leaned on the wall, a hand on either side of her head, and pressed his face close. “You were gonna hold this place up. Are you some kind of idiot?”

She blinked in confusion. “Huh?”

The man pulled down his mask, revealing the face of the fair man who had walked into her office looking for Fernsby. “Don’t lie to me, honey. You had the same idea as we did— look at Meagher’s bank account to see where he gets his money. We’ve watched you march up and down outside this place all day, like you were on sentry duty, while you built up your courage. You even got in the way of us doin’ it. What the hell is goin’ on in your head? How dumb can a woman get?”

“You? Here?” She couldn’t quite decide whether to stop being scared or not.

“Yeah. Me.” He indicated with his head. “Now, Nat’s in there, and he needs the combination of the safe. It’s too new and sophisticated for him to crack the combination. You and me need to put on a bit of a show to make sure the manager gives it up.”

“You’re not robbing the bank?”

Jake huffed in irritation. “Try to keep up, Becky. I need you to scream for help so the manager gives Nat the combination to the vault. We want Meagher’s records too.”

She shook her head. “Me? I can’t scream.”

“What do you mean you can’t scream? All women can scream.”

“I can’t. I’m just not made that way.”

He frowned. “Look, Becky. If you won’t scream, I’m gonna have to make you. Let’s do this the easy way, huh?”

“Please, help! Noooo.”

Jake frowned. “You call that screamin’? That’s useless.”

“I told you. I can’t.”

Jake flicked up an eyebrow. “Last chance, Becky.”

“Aaargh—”

“Nope.” A gloved hand reached up to her hat as his eyes glittered with mischief. “Don’t say you weren’t warned, sweetheart.” 



     


REALISM IN HISTORICAL ROMANCES - Elizabeth Clements

REALISM IN HISTORICAL ROMANCES by Elizabeth Clements

There is a wise old saying….to Thine own self be true. I believe that truth applies to writing as well as living and is especially applicable when writing fiction set in the past.

When  21st century readers travel back in time a century or two, or perhaps even further back to medieval times, they understandably bring their modern-day perceptions with them. An author wants to be true to the times yet knows there is a limit. When it comes to writing a love scene, for an example, hygiene is extremely important. Those were smelly times—no deodorants, no bubble baths, let alone bathwater from a tap. A pail or pails of water cannot be heated in five minutes for the lady’s slipper tub. Heck, even with our electric or gas stoves, it takes at least five minutes to boil a small kettle of water let alone make a pot of coffee. Therefore, a writer has to be realistic even with small, daily tasks.

There’s another saying—don’t throw out the baby with the bathwater. Why is that? Well, back in the day, the man or men of the house bathed first, then the wife/women and lastly the baby. By this time, the water was so dirty that one might not see the baby. This is repugnant to our modern-day sensibilities, we being used to daily showers or baths, but it was quite a reality in olden times.

In the wild west, unless there was a handy stream, bathing might be done on Saturday night in preparation for Sunday church. Cleanliness before Godliness, so be religious with your soap. In other cases, it could be once a month or several months when the cowboy or outlaw came to town and went for a shave, a haircut, and a bath. And that didn’t necessarily mean the tub was freshly filled for each bather.

There is a hilarious scene in Monte Walsh, starring Tom Selleck, where the cowhands could no longer tolerate the cook’s pungent, nose-stinging body odor as he leaned close, serving them at the table. They grabbed him and dumped him in the water barrel and scrubbed him, clothes and all. Well, <grin> Cookie bided his time and got his revenge. Moral of the story? Never rile the hand that feeds you.

Hollywood has produced some realistic movies with mud, muck and mire to give us a glimpse of the dreariness of being poor in olden times. The vivid depiction of the wretched living condition makes me shudder and appreciate my modern-day life.

The rich had their carriages to traverse the filthy streets that had gutters with horse dung and sewage running down the middle. Chamber pots were emptied from upper-story windows with little or no warning to unfortunate pedestrians below. Can you imagine the stench? Small wonder the elite held pomanders of oranges studded with cloves to offset the unpleasant vapors. They also doused themselves in perfume instead of bathing because bathing was considered unhealthy.

Research reveals that most women, for fear of catching a cold, didn’t wash their hair for weeks, just wore wigs. One can only imagine how many little critters nested there. Realism is good, up to a point, but one never wants to turn off the modern-day reader—at least when it comes to our hero and heroine. Sadly, (unforgivable) squalor still exists today in many cities around the world. This just proves human nature hasn’t changed with the times; only the window dressing changes.

Another thing a writer has to take into consideration is travel. Realistically, a horse cannot gallop non-stop for twenty miles when an outlaw is pursued by the hero or a posse. How far can a stagecoach travel in a day? And consider the passengers who cannot escape the dust seeping around the blinds covering the window openings, kicked up by the hooves of a team hauling a stagecoach.  

Does your heroine make an unrealistic glamorous exit (as often seen in Hollywood movies), or is her hat askew on her messed hair as she brushes the dust from her  clothes? It is the little touches that add texture to a story and brings it to life. If we have never bounced around or been wedged between smelly, unwashed passengers in a stagecoach or ridden a horse, how do we know what that feels like?

While on the subject of smells, I had an aha moment years ago when I visited a working pioneer village in New Brunswick. We had a gas furnace on the farm, so I never experienced the effects of a wood-burning fireplace (I always thought they were romantic). The fireplace was the hub of the home where meals were cooked and people warmed their hands or backsides.

The fire was seldom allowed to die out because often a stew pot  was nestled amongst the embers and ashes to cook food and keep it warm. A kettle hanging from a tripod kept water hot. In some cases more food was added to that same pot the next day or more and one would never know what all was lurking at the bottom.

Therefore the smell of burning wood hit me the moment I entered the cabin. I realized wood smoke never really leaves a home: it permeates curtains, bedding, and clothes. People are so used to those smells they are nose-blind and accept them without thought as part of living. I have noticed the smell of wood smoke in my home the morning after we had enjoyed a firelit evening watching television. Unlike in earlier times, we do not burn a log constantly (for cooking as well as heat in the winter.) Perhaps that’s why potpourri was used in the Victorian homes of the wealthy to offset the odors.


This first picture is one of Sam Kelly’s cave, which is located on private land. I actually stood inside this cave, smelled the dirt, and imagined living for several hours or days in this earthen cave. This is the size of cave I used in Beneath A Desperado Moon. In existence for well over a century, this cave has had support beams added to frame the entrance from caving in. (Photo from Wikipedia)

The second picture I begged to use from fellow western author, Charlie Steel, because it gives the reader a better visual that a couple horses could be tethered inside this much larger cave. (Photo property of Charlie Steel)


 

I wrote about Sam Kelly and outlaw wolf caves in a blog last year: https://prairierosepublications.blogspot.com/2019/04/part-two-underground-tunnels-and-wolf.htmll and in my books, and also on my website: https://elizabethclements.com

I had a eureka moment, actually two of them, while writing Beneath A Horse Thief Moon. By changing just one word, it stopped my hero from becoming a bitter young man  and let him remain the tender, caring man he was born to be.

The second aha moment in the same book took much longer. It was a fight or flight situation in the first chapter where my heroine has captured an outlaw. Shaking with relief, she kneels on the prairie, thinking about her entire life. Then one day as I reread the scene, I literally slapped myself upside my head when I realized that I, the author, was in Sara’s head, telling the reader backstory instead of showing Sara’s fear and relief over what had just happened. The latter would have been realistic; the backstory was not.

For years, backstory early in a book (for the reader’s benefit) was how many romance books were written and thus that’s what I did, too. But after that break-through aha moment. I prefer to start with action and when it suits, throw in a sentence explaining the character’s thoughts and then continue with the plot. There will always be a time, when the reader needs a bit of a breather from the action, to give her some backstory. When I deleted those five or so pages of backstory, it made all the difference in the flow and pacing of the story at that point.

Getting inside the hero and heroine’s head is so important. In my very first historical that I wrote many years ago, another unpublished writer friend and I exchanged critiques. I remember her writing comments in the margins. Forgive my language, but it underscores my point. She wrote asshole (meaning the hero). Then a little further on, she wrote it again. I also remember her writing it twice, in darkened letters and heavily  underlined at another place.

My hero’s actions were ticking her off because she didn’t know why he was acting so thoughtlessly toward the heroine. She only knew what was written on the page. I, on the other hand, knew why he acted or said things because my mind automatically filled in the words that weren’t on the page. Deep pov doesn’t have to be long—just a sentence or two to explain the action so the reader knows it, too. One of these days I’m going to find that manuscript and retype it and truly add that deep pov.

A little bit off topic, but I’d like to share something else I try to reduce in my writing—dialogue tags.  I’ve noticed way too many unnecessary dialog tags in books when it is quite obvious who is talking. I remember reading books where every person’s dialogue ended with he said, she said, etc, or joined by an adverb, he said angrily.

When there are only two people in the scene, a dialog tag is seldom needed. I like using what I call pingpong dialogue, (short sentences, usually one line) because they complement a heated or witty exchange, plus they also create lots of white spaces on the page. This makes for a quicker read, especially since a solid page of narrative seems to slow the read down (besides also being somewhat intimidating to read because there are no breather white spaces). <grin> One doesn’t have to worry about dialog tags in the first draft—that’s for the edit stage.

Being true to myself also includes the heat level in my books. I admit I prefer reading and writing stories that leave the bedroom door open, or at least ajar. <grin> That said, when I write love scenes they are driven by my hero and heroine’s history, their reaction to each other, as well as their experience level.

In Beneath A Horse Thief Moon, Chase and Sara have a history, were lovers until certain events separated them. When they meet again, chemistry sizzles, tempered by caution and mistrust.

In Beneath A Fugitive Moon, I have an entirely different relationship—that of two young, inexperienced people who are feeling their way through the complicated dictates of the heart, mind, and body. Therefore the heat level is low until….

In the third book Beneath A Desperado Moon, we again have a couple whose chemistry goes through the roof. Each love scene evolves from the situation they are in and (hopefully) moves the story forward either with action or emotions. Action and reaction. My love scenes are never gratuitous. They evolve naturally while introducing a new phase in the hero/heroine relationship, or the story.

Everything happens for a reason, in fiction as in life and that is how I try to stay true to myself in my writing. The characters drive the story and the heat level. I have to be true to my characters, their history that shaped them, and their aspirations in life.

Excerpt: Beneath A Desperado Moon

Buckshot slammed his meaty fist on the table. His mug bounced, spilling beer onto the playing cards. “Yer a liar. Ain’t she, Josh?”

Josh? Molly’s heart lurched. She knew only one Josh. Josh of the smiling green eyes and killer kisses. Surely Fate couldn’t be so cruel to bring him here, playing poker with Buckshot just like he had back in Pine Coulee before all the trouble started.

For the first time she glanced at the other man at the table. Broad shoulders stretched the fabric of his black shirt neatly tucked into black denims. He didn’t look like the usual smelly, dusty outlaws and saddle tramps who bellied up to the bar. There was even a hint of bay rum as if he’d just shaved, noticeable despite the reek of cigar smoke and spilled beer that mingled with the stench of unwashed bodies. Long-fingered hands held his cards, the nails trimmed short and dirt-free. The wide brim of his dusty black hat shadowed his face.

Please look up. As if he sensed her thoughts, he glanced up. Right into her eyes. Josh. Her breath hitched. Her knees went weak. I’m dead in the saddle for sure.

Tilting back on his chair legs, he looked her up and down, his gaze burning green fire over her face, her chest, her hips, and started a different fire deep within her belly. How could just a look from this handsome English rogue melt her insides like candle wax?

She stopped breathing. Would he expose her? After all, he’d been there at the Leaky Tap, helped her and Jolene out the window just before the men pounded up the saloon stairs. He’d taken the blame for shooting Buckshot’s partner, yet here he sat with the outlaw, playing poker. Had he succeeded in joining the gang?

Goosebumps pebbled her skin. She wasn’t cold. Far from it. Josh’s green eyes crinkled at the corners, showing he knew the effect he had on her, the charming scoundrel.

“You deaf, Duke?” Buckshot snarled into the silence. “She’s lyin’.”

Josh shook his head. “Not bloody likely, old chap. This lady’s eyes are warm as cinnamon, not blue. That woman up in Canada had red hair, too, but this lady’s hair reminds me of rich Burgundy. She also had a big mole on her neck. This lady’s neck is white as sweet cream. Has a nicer bosom, too,” he added with a devilish twinkle in his eyes.

Molly went weak in the knees. Oh, my...he talks like he’s wooing a woman into bed. And he called me a lady...three times. Relieved, she clenched her skirt to stop her hands from trembling.

Buckshot gaped. “That rotgut yer swillin’ must be makin’ ya blind. No two wimmen kin look like two peas in a pod.”

Josh lowered an eyelid in a deliberate wink at Molly before glancing at Buckshot. “Remind me to take you down to Cheyenne, Buck. The Thompson twins can make you swear you are seeing double.”


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Beneath A Desperado Moon  https://www.amazon.com/dp/B08JLG6K5P/ref=as_sl_pc_as_ss_li_til?

Sunday, October 4, 2020

EVER HEARD OF LAURA GILPIN? (OR HOW I BEEN SPENDING MY TIME)

 Post by Doris McCraw writing as Angela Raines

So who was Laura Gilpin? Laura Gilpin was a photographer who was born in the Colorado Springs area, Austin Bluffs to be exact. Although the family had a ranch further from the town of Colorado Springs, Laura's mother, Emma, wanted to be near to doctors for the birth of her first child. On April 22, 1891, Laura entered this world. 

If you want to know more about her early life, here is a link to a Wikipedia overview. Laura's Life

So how does Laura fit into how I spend my time? 

1. As a photographer, Laura was always experimenting. For myself, I take my cue from her willingness to keep trying, to make mistakes, and learn from them. Additionally not only does this apply to my writing, but to my photography as well.

                                              One of Laura's Photographs from en.wikipedia

From en.wikipedia

2. Once she focused on a subject she would do her best to highlight all the parts of it she could. As I've been hiking and photographing what I see, I many times will traverse the same general area. Guess what, each time it is different, each time something new shows up. As the seasons' change, so does the panorama.

                                                     One of my recent photographs

3. When life handed Laura challenges she rose to the occasion. Even when left to care for her father, she still managed to make the best of it. While I've not been as challenged as Laura, these last six months of having to adjust to life's curveball, I noted what I could and couldn't do and followed my 'bliss' and got outside and began to enjoy what nature had to offer.

                                            Another recent photo from one of my hikes


I've been lucky to still work, even though it has always been part-time. I've not written as much as I could, but I've been writing. The time outside gives me a breather from stress, lets my imagination wander, and visualize scenes based on the trails and what I'm seeing. Some of the trails made me think of traveling in Medieval times and others walking to town from a ranch. 

So, I've been spending my time following what I have garnered from Laura's life. Plus, I've always admired her work. 

So the next time you may be feeling stuck or in a rut, find someone whom you admire, look at why you admire them and see what you can learn from their life and how they succeeded in what they did.

Laura died in 1979 and is buried in the cemetery I frequently walk, Evergreen. 



Doris Gardner-McCraw -
Author, Speaker, Historian-specializing in
Colorado and Women's History
Angela Raines - author: Telling Stories Where Love & History Meet