by Molly Owen | Jun 28, 2011 | Barbara Scott, Blog
An army travels on its stomach. Whether or not Napoleon was the first to say this, it is a long accepted truth. A truth that could be justifiably applied to the cowboy on the cattle trail. The wise cattle owner recognized this and gave just as much consideration to the hiring of the cook as he did his trail boss. In fact, next to the owner and the trail boss, the cook usually got the highest salary often as a share of the herd’s sale price.
For that pay, the cook generally came with his own chuck wagon. This vehicle, an invention attributed to Charles Goodnight, was specially built on a standard wagon base with room for supplies in the front and a trail kitchen in the back. Equipped with a fold down table, drawers and shelves for utensils, cook pots, plates and the all-important Dutch oven, the chuck wagon was the center of the cowboys’ life while on the trail. Many cooks served as not only the creator of meals, but as first aid doc, postal clerk, and steward of the campgrounds.
The cook was responsible for acquiring supplies. He started with a list which included beans, flour, rice, salt pork, syrup, spices, prunes and dried apples, “skunk eggs” (onions), and coffee served hot, strong, and always. He kept a supply of dry wood and cow chips for fuel slung in a cowhide tarp (called a possum belly) under the wagon. Cowboys were told to be on the lookout for fire wood to add to the store. As the season wore on, the prairie was scoured of fuel sources, so cow chips became the fire maker of necessary choice.
With so much meat on the hoof, beef would be a staple of the trail diet. Or so you would think. However, many an owner and trail boss balked at depleting the moneymaker. Consequently, the steers were relatively safe from slaughter on the trail unless one proved troublesome or a straggler. Then he was ripe for the picking.
Even then, the cook would waste no portion of the animal. A popular or infamous recipe of the trail was “sumbitch” stew with ingredients including heart, liver, kidneys, brain, sweetbreads and everything except the moo. Seasoned with salt, pepper, and chili flakes and cooked as long as practical, the stew was better than it might seem from its contents.
The best cooks were known for their sourdough biscuits. Sourdough starter was carefuly restocked and guarded. On cold nights the prudent cook took his starter to bed with him to be sure it stayed warm enough to raise his biscuits. Biscuits. beans, and Arbuckle’s coffee made up the bulk of the cowboy’s trail diet.
In my cattle trail historical, West of Heaven, Marcella McGovern unexpectedly inherits the cattle of her ranch owner father and the bawdy house of her mother. To get the cattle to market, she is forced to recruit the women who formerly worked at the bawdy house. With a crew like that, how could I resist creating a cook as unusual.
Hans Weiss wants to become cook for Marcella’s crew to practice his recipes for the restaurant he plans to open in Kansas when he gets there. Beans, biscuits and the occasional stew are not enough for Hans. To facilitate his success he even devises traveling chicken coops so he has a fresh supply of eggs on the trail.
Here’s an excerpt describing Hans’s preferred bill of fare:
Last night after hearing Jean Luc’s reasoning and instructions for slowing the herd, Marcella had recruited Nell and the two of them went out to collect cow chips. Hans stored them in the possum belly, a basket that hung under the wagon, to use for fuel on the treeless prairie. But this chore did not keep her away from camp long enough. She returned in time to hear the question that had already become a habit with Jean Luc,“Hans, what’s for supper? — or dinner? — or breakfast?” depending on the time of day.
To which Hans would reply Shinken mit rotkohl ” — or “Linsensuppe” — or “Biernebrod.“
And Jean Luc would throw his head back and walk off laughing.
Yet, when meal times rolled around, she noticed he ate the ham with red cabbage, the lentil soup, or the dried apple bread with gusto, all compliments to the chef, just like the rest of them…
Later after the successful slowing of the herd:
Too soon, it seemed, the signal was passed to break for the night. The herd was put to pasture and first watch began. The rest of the crew gathered to wash up and wait for supper.
When most were assembled, Jean Luc sauntered up. He rocked back on his heels and stroked his stubbly chin. Jake mirrored his actions in almost comical style, though no one dared laugh.
“Hans, what’s for supper?”
“Geffulte.” Hans replied.
Instead of his customary laugh, Jean Luc nodded his head. “Ahh, large noodles filled with meat, onions and parsley then boiled in beef broth. Very good.”
Then it was Jake’s turn. “Herr Weiss, what’s for dessert?”
“Pfefferkuchen mit honig.”
“Ahh, gingerbread cake with honey. Very, very good.”
This time no one could suppress their good-natured laughter. Not even Marcella.
After a moment, Jean Luc gestured them to silence. “Hans has made us a gingerbread cake to celebrate. Congratulations, wranglers, you have successfully guided the herd past the first milestone. You are no longer tenderfoots. If I have earned the right to say it with my late start, I am proud of every one of you.”
West of Heaven by Barbara Scott is available at Amazon for Kindle, Barnes & Noble for the Nook, Sony, Kobo and Apple’s iBookstore or
http://stores.desertbreezepublishing.com/-strse-150/Barbara-Scott-West-of/Detail.bok
For a review of West of Heaven at Love Western Romances:
by Molly Owen | May 24, 2011 | Blog, Paty Jager
I received a brochure in the mail the other day promoting the Cowboys and Indians magazine. Inside they had Gene Autry’s Cowboy Code and it is pretty darn close to the original cowboy code only modernized.
Gene created this code in response to young radio listeners who wished to be like him.
1. The cowboy must never shoot first, hit a smaller man, or take unfair advantage.
2. He must never go back on his word or a trust confided in him.
3. He must always tell the truth.
4. He must be gentle with children, the elderly, and animals.
5. He must not advocate or possess racially or religiously intolerant ideas.
6. He must help people in distress.
7. He must be a good worker.
8. He must keep himself clean in thought, speech, action, and personal habits.
9. He must respect women, parents, and his nation’s laws.
10. The cowboy is a patriot.
Could you imagine what a kinder and gentler world this would be if everyone were taught these standards?
Paty Jager
www.patyjager.net
www.patyjager.blogspot.com
by Molly Owen | Oct 13, 2010 | Terry Blain
Music hath powers –
At one of our chapter meeting we had a workshop where we listened to music and wrote a paragraph or two in response to the music. This was a new experience for some of the members, but I’ve always listened to music as a background when I write. Mostly, I choose music to give me a feel of the time and period I’m writing.
The idea is to choose music that will focus you on whatever your writing. For example, the story of KENTUCKY GREEN takes place in 1794 and involves the conflict between the Indians and the American in the what was then the Ohio Territory. The hero is part Shawnee, and much of the story takes place outside, so I had a recording (which I’ve lost) of Indian flute music that also included the sound of streams and bird songs.
I also listened to the sound track of The Last of the Mohicans*, as the look and feel of the movie was the same as my story.
When I was doing research for writing COLORADO SILVER, COLORADO GOLD, I found a great CD. The story takes place in Durango, Colorado, and he hero of the story, who now works for Wells Fargo, grew up in a saloon. Several scenes take place in a saloon. The CD I found is Durango Saloon* 
Of course, for writing the romantic scenes, I have recordings of love songs. If there are lyrics, I tend to listen, so all the music has to be instrumental, so it just washes over me.
My current work are westerns set in Texas. And, if you’ve read my previous blog you know I love western movies*. So I have several CDs of western movie themes*.
Now, as I said, when I’m writing I can’t listen to music with lyrics. But on the way home from work, I can listen to music that will get me in the mood. Nothing like Marty Robbins* who’s most famous song is El Paso. I’ve read that his grandfather was a Texas Ranger who told him stories when Marty was a boy. And since my heroes are Texas Rangers — you get the idea.
While writing the first of three stories, one of the song lyrics gave me an idea for the next story.
I also use several movie soundtracks as background music as I write. Gettysburg* for the epic, sweeping sounds, Quigley Down Under*, even through its set in Australia, it has that wide open spaces feeling. I like Cowboy Celtic, for the hammered dulcimer sounds.
And lest you think all I listen too is western stuff, I also used the Onigo Boingo* track of Not My Slave to represent the conflict between the hero and heroine in one of the Texas stories.
So, do you use music in your writing? How? What do you listen too?
*******
Last of the Mohicans, soundtrack, Trevor Jones and Randy Edelman
Durango Saloon, Peter Elman
The Wild West, the Essential Western Film Music Collection
Marty Robbins, #1 Cowboy, Gunfighter Ballads and Trail Songs
Cowboy Celtic, Davie Wilkie
Gettysburg, movie soundtrack, Randy Edelman
Quigley Down Under, movie soundtrack, Basil Poledoruis
Best of Boingo, Danny Elfman
by Molly Owen | Jun 24, 2009 | Paty Jager
Now you’re saying to yourself what’s a western author doing talking about stage makeup?
Since I’ve run out of historical things to write about that pertain to my current release, Miner in Petticoats, I decide to write about what I discovered while working on my current WIP.
The heroine in the next Halsey brother book has a disfiguring scar on her face from an accident when she was a child. Her family is prominent in society, and she refused to be hidden away. In fact, due to her accident, she became determined to be a doctor.
To find out how she could cover the scar when out in the world and not sheltered at home, I began researching stage makeup. In the late 1800’s few people other than stage performers or prostitutes wore makeup in the U.S.
These are some facts I discovered.
Stage Makeup items available before 1850:
White face powder
India ink for drawing lines
Rouge (very bright red or pink)
Misc. artist’s pigment base powders, (like Bole Armenia aka “burnt umber” for a reddish brown tone)
Burnt cork (for dark brown/black)
Lamp-black (for mascara)
Burnt paper (for gray shadows)
Spirit gum
Wool crepe hair (for both facial hair and false noses)
1850’s Germany – Mysterious invention of greasepaint (powdered pigments mixed with lard) by either German actor Carl Baudius, or Carl Herbert.
1864 England – a short book, The Guide to the Stage, Containing Clear and Ample Instructions for Obtaining Theatrical Engagements, by Leman Thomas Rede includes 2 and ½ pages of vague advice on applying powdered pigment makeup.
1870’s USA-Anglo-French actor, Charles Fechter, supposedly spreads the use of greasepaint to the US while on tour.
1873 Germany– Ludwig Leichner commercially produces non toxic ready-made greasepaint sticks. Leichner’s company goes on to be the main European theatrical makeup producer for over a century.
1877 England -The Art of “Making-Up” by Haresfoot and Rouge*, published by Samuel French, the first booklet in English on theatre makeup is printed, describing makeup application with powdered pigments. Suggested pigments in this booklet are 3 kinds of white, Dutch pink rouge, carmine red, and ruddy rouge, Mongolian brown, powdered blue, and chrome (yellow), and antimony (a metallic gray-black) used for shadows, which was toxic.
The 1890s saw incredible innovations in makeup, most of which are still in use today, including:
•Nose wax (aka “mortician’s wax” an item co-opted from the Victorian funeral industry)
•Black tooth wax (aka “cobbler’s wax” an item taken from the shoe repair industry)
•Emil Noir (black tooth enamel)
•Cold cream and cocoa butter
•Mascaro in multiple colors (a dark, soft makeup stick in a lipstick like holder that was used as both mascara and eyebrow pencil)
•Lipsticks
•Blue eyeliners
•Ladies liquid colors for arms and necks
•Paper Sticks for application of color (Tortillions – artist’s blending tools)
•Wig joining paste
•Vaseline
For my heroine I use the 1850’s version of lard and pigment powder. First because lard was easily accessible and the powder could be mixed to match her skin tone. Since the scar is lumpy, she can mold the the lard mixture around it and smooth it out to blend in.
This is why I write historical books. I dig deeper into areas that I would normally overlook to make my characters and story realistic.
What is the latest thing you researched for a book that you would not have found interesting otherwise?
Miner in Petticoats
Paty Jager
www.thewildrosepress.com
ISBN# 1-60154-506-1
ISBN#13: 9781601545060
Last night after hearing Jean Luc’s reasoning and instructions for slowing the herd, Marcella had recruited Nell and the two of them went out to collect cow chips. Hans stored them in the possum belly, a basket that hung under the wagon, to use for fuel on the treeless prairie. But this chore did not keep her away from camp long enough. She returned in time to hear the question that had already become a habit with Jean Luc,
