Showing posts with label #writers. Show all posts
Showing posts with label #writers. Show all posts

Friday, August 9, 2019

America's First Wild Woman Cookbook Writer

Wild Woman Cookbook Writer Amelia Simmons

By Jacqui Nelson

Cooking is a delicious adventure. Cooking without the right knowledge or recipe can be a daring and nerve-wracking adventure...or at least that's how it sometimes feels to me :) 

Meet the first American writer to publish a cookbook in America...

Amelia Simmons

( date and location of birth unknown ) 

American Cookery 1st Edition 1796 - CookBook Cover
1st Edition, 1796
In 1796, Amelia's cookbook, American Cookery, was published in Hartford, Connecticut - making it the first-known cookbook written by an American. Previously, all cookbooks printed and used in the Thirteen Colonies were written by the British. 

Amelia's cookbook's full title was: American Cookery, or the art of dressing viands, fish, poultry, and vegetables, and the best modes of making pastes, puffs, pies, tarts, puddings, custards, and preserves, and all kinds of cakes, from the imperial plum to plain cake: Adapted to this country, and all grades of life.

The cover and title page lists her as "Amelia Simmons, An American Orphan." The preface says: "The candor of the American Ladies is solicitously intreated by the Authoress, as she is circumscribed in her knowledge, this being original work in this country."

American Cookery had many firsts. It was...
  • the first to include New England specialties such as Indian pudding, johnnycake, and what is now called pumpkin pie. 
  • the first to suggest serving cranberry with turkey
  • the first to use the Hudson River Valley Dutch word cookey  
  • the first to use pearlash (a precursor of baking soda) as a chemical leavener (which started a revolution in the making of American cakes).

Amelia's cookbook was very popular. It was printed, reprinted, and pirated for decades after its first publication. Today, only four copies of the first edition are known to exist. The Library of Congress considers American Cookery to be one of the “Books That Shaped America.”

~ * ~ 

Wow! That's quite the legacy! 

What's your favorite cookbook? Or the first cookbook you used? 

One of my firsts (or the first I used on my own) was a cookbook given to me by my awesome friend Julie. It's called 4-H Favourites and I still use it :) 

More interesting cookbook firsts & resources...

The first French cookbook in the United States was published in 1840, the first Spanish in 1845, and the first German (Pennsylvania Dutch) in 1848. Apparently, the 1840s was a good time to publish a cookbook! 

Want to read more about American cookbook history? Head to the Early American Cookbooks website that is (following text taken from their site) "a carefully curated collection of 1450 cookbooks published in the United States between 1800 and 1920. All of the titles in the collection are in the public domain and are available in full-text on the HathiTrust Digital Library. Browse the titles, read them online, and search through the contents of each book."

~ * ~

CLICK HERE to read more Cowboy Kisses Wild Women blog posts *

Read about my stories on my 

Hope you'll join me on… 
Or follow me on… 

Don't forget to download my FREE story Rescuing Raven (Raven & Charlie's story in Deadwood 1876) 

Friday, January 11, 2019

Wild Women Novelists who Achieved Historic Firsts

Historic Firsts for Wild Women Novelists

By Jacqui Nelson

Life is an adventure to write about. Here are three Wild Women Writers who wrote about their lives (and the world that challenged them) and created a first novel that was historic...

Margaret Jewett Smith Bailey 

( born around 1812 in Saugus, Massachusetts ) 


In 1854 (writing as Ruth Rover), Margaret published The Grains, or, Passages in the Life of Ruth Rover, with Occasional Pictures of Oregon, Natural and Moral. Part autobiography, religious testimonial, and history and travelogue—The Grains is also considered a novel and thought to be the first published in Oregon

Margaret wrote The Grains as a social protest criticizing her husband (who she divorced due to his drinking and abuse) and Oregon’s Methodist Mission (for its failures including discriminating against women and pressuring her to marry).

In 1846, she became the first local poet to be published west of the Rocky Mountains when her poem Love appeared in the first issue of the Oregon Spectator newspaper.

In addition to being a novelist, Margaret was a teacher, a missionary (traveling to Oregon to join its Methodist Mission in 1837) and a regular contributor of prose and poetry to the Oregon Spectator.

Sophia Alice Callahan

( born 1868 in Sulphur Springs, Texas )


In 1891 (at the age of 23) Sophia published Wynema, A Child of the Forest which is thought to be the first novel written by a Native American woman and the first novel written in Oklahoma (then Indian Territory).

After being shocked by the Massacre at Wounded Knee (which took place six months before she published her book), she added an account of that event and the 1890 Ghost Dance of the Lakota to her novel.

In addition to being a novelist, Sophia was a teacher. Her father (a one-eighth Muscogee-Creek) was also a teacher. Three years after publishing her first novel, she died of pleurisy at the age of 26.

Lydia Maria Francis Child

( born 1802 in Medford, Massachusetts )

In 1824 (at the age of 22) Lydia wrote (in six weeks) her first novel Hobomok, A Tale of Early Times and became an overnight celebrity. Hobomok is thought to be the first New England historical novel.

Although she wrote continually (fiction and nonfiction in poems, journals, periodicals, essays and pamphlets) she had a period where she didn’t publish a novel for ten years.

She wrote one of the earliest American historical novels, the first comprehensive history of American slavery, and the first comparative history of women. She shocked her audience by including the issues of male dominance and white supremacy.

In addition to being a novelist, Lydia was an abolitionist, women and Native American rights activist, and a journalist.

~ * ~

I haven't written a story about a Wild Woman novelist but...after reading about these ladies I feel inspired to. So many stories, and not enough time to write them all! 

Do you have a favorite story about a 19th-century novelist? 


~ * ~

* CLICK HERE to read more Cowboy Kisses Wild Women blog posts *

Read about my stories on my 

Hope you'll join me on… 
Or follow me on… 

Don't forget to download my FREE story with my Newsletter

Fall in love with a new Old West...
where the men are steadfast & the women are adventurous.

Tuesday, January 8, 2019

ARCHETYPES, MYTHS AND THE STORY OF THE WEST: part two -writers and screenwriters


Photo (c) by Doris McCraw
Part two of the discussion of writing stories/novels and screen writing. This section deals with some of the similarities between the two and the underlying importance of engaging your reader/watcher.

For those who would like to review the first part, you can access it here: writers and screenwriters

So here we go.
  • Psychological effect
    • It’s important for writers to understand the human psyche. By doing so the writer can effectively communicate their message to their audience.
      • The best stories include both sides of conflict equally, thus allowing the audience to form their own opinions.
When we start a story, we usually have an idea of where we’d like the story to go. As noted above, some of the best stories have multiple views of what is happening. I’ve heard it said a story is only as good as it’s villain. I don’t know how others feel, but in my first published novella, “Home for His Heart”, I felt I needed a villain who was strong enough to force the hero and heroine out of their respective fears. That the villain felt justified in his actions made him even scarier than just a bad person.

    • Symbolic Linkage – Symbolic links are a handy tool for any writer. Most audiences are smart and are have a common culture; therefore writers can effectively use what some audiences might already have been subjected to.
The story of the West has been told by many authors in many different forms. This is also true of the film industry. As we look back to the early western writers and film makers we see a cleaner delineation of good and bad. We can reference events and most will understand the connection. As time has passed, the stories have become more complex, the line between hero and villain have sometimes been blurred. One of my favorite films is the original ‘3:10 to Yuma’ with Van Johnson and Glen Ford. Although you know who the hero and who the villain are, the story adds the element of good in the bad. The remake with Christian Bale and Russell Crowe added more on screen violence and more of the pieces of good and bad for both the hero and the villain. However, if you really want to see how one story can be told is a myriad of ways, read the original short story by Elmore Leonard. It is a great, yet short read.

photo (c) by Doris McCraw
    • Archetypes – Another way to engage your audience is the use of archetypes. In particular the concept of an archetype reveals recurring mental images and/or themes that encompass many different cultures and societies throughout time. One could say that we as humans innately understand archetypes from birth. Character examples might include: The Hero, The Caregiver, or The Wizard. Story specific examples might include: The Hero or The Rebirth.
If there is a more perfect description of the Cowboy as hero, I don’t know what is might be. We have the archetype right there. The Cowboy is the hero, the caregiver and for some a wizard who is there to save the day. When I was writing “Chasing a Chance” my hero was just a man who wanted to find and help the woman he’d always loved. Through the story he learns just how much he was capable of. In some ways, his journey is one of rebirth into who he always was.

    • Myths – With archetypes also comes the use of Myths. Constructing your own myths, legends and saga can also have a big impact on an audience. Myths help make a connection in the same way that both symbolic links and archetypes do. As a myth story unfolds the audience instinctively understands what’s at stake and instantly realizes this is an epic larger then life adventure ahead.

We as Western and Western Romance writers make use of the myths of the West in our storytelling. It is what has drawn us to the genre and keeps us telling its story.

So as storytellers, what part of myth, archetype and symbolic links do you use? I realize I love telling stories of people who come to understand what they are capable of and of making peace with their past. The stories of the West, the journeys and new starts fit so well with the men and women I come to love as I strive to tell their stories.


Doris Gardner-McCraw -

Author, Speaker, Historian-specializing in
Colorado and Women's History
writing fiction as
Angela Raines - author: Where Love & History Meet
For a list of Angela Raines Books: Here 
Angela Raines FaceBook: Click Here




Wednesday, October 10, 2018

Writing the Ruby's Ranch Series Brings me Home



Home can be many things...

I had a whole different post ready to go for today's blog...and then I came home for a visit. I'm not sure what it is about coming back to the town you were born and raised in, but it's brought a strange sense of happiness and a profound sadness all at the same time. Even though I've only lived in Georgia six months, Bakersfield, is still the place I know by heart. I can drive these streets without GPS, and I know all the best restaurants, even in the scary parts of town. 

It's been a year since my father passed away after a short illness. My mother and brother passed only a few years before him, and since my move, I've lost a cherished aunt and uncle. Thus the sense of sadness at returning to the place I lost them. I see where they lived and worked and where we picnicked every Easter. It's hard to visit, but we do it to remember.  

Grief is an ever evolving haze that can swallow a person whole, if they're not aware enough to recognize the signs. I've been confused and absent many times over this past year. I've preferred to hide and write about a different world, than to deal with the fact that everyone in my immediate family, aside from my amazing sister, is gone from this world. It's these times when I lay softly against the memories of a happy, chaotic childhood. It's in these places I came upon Ruby's Ranch.

I was born on a verrrrry small ranch in Kern County that was named Ruby's Ranch. There were a few horses, dogs, chickens, coyotes in the hills behind the house and a dozen feral cats that kept the critters from our door. Though my characters in my Ruby's Ranch Series endure different troubles than my own family, I feel a hug on my soul every time I write the next book because of the similarities. There's a kinship with these characters, an understanding of their struggles, and of their need to find calmness and love.

The first book in the series, Return to Ruby's Ranch, was meant as a stand alone. Don't make the mistake in thinking this is a sweet love story. I wrote this story to solve some mysteries, and there are some hard truths as well. The main character, Ruby Lattrell is the granddaughter of the original matriarch. Ruby lived on the ranch with her family for the first 15 years of her life. She was especially close to her father, John, who taught her the beauty of 'home' and nature and listening to the horses. Her mother, Katherine, was another story. Though loving with John and her children, she was raised by a very strict mother and had always craved for a life away from the ranch. When Katherine disappeared, Ruby was dragged from the ranch by her broken father, never to see her beloved ranch again, until she inherits the property from her crazy Granny Rube.

Ruby's plight to understand what happened to her mother and grandmother, along with a beautiful love story that blossoms between she and the boy next door (who loved her since they were children), drives the story through many twisted paths. I love the characters, flaws and all, I love the setting, similar to one I lived in and I love the 'ghostly' presence that protects them. (Also from my own experience as a child.)

Book 2 of the Ruby's Ranch series was requested by my editor. She said, "your readers are gonna want to know Katherine's story AND Granny Rube's story and maybe even one more after that to wrap." Writing a prequel is not for the faint of heart. Especially when menopause keeps the brain in a constant state of fog. The character bible was ESSENTIAL, and the story lines, as fun and twisted as I made them in the first book, were like unraveling a bundle of barbed wire. But I'm glad she pushed me to write Escape from Ruby's Ranch because Katherine's story is a beautiful, tragic tale that leaves the reader satisfied and hopeful.

Katherine is a strong, stubborn character in her own right. She was bound and determined to 'escape' the minute she turned eighteen, but alas a boy got involved, as they so often do. John Lattrell, horse-whispering cowboy, is a little older, a lot more experienced, and just what the doctor ordered to keep Katherine at the ranch. They had a beautiful life until a cluster of events led to her disappearance. I'm a 'pantser' writer, as you may have deciphered from this rambling blog, so believe me when I say, I was SHOCKED by what happened to Katherine. She has the heart of a warrior.

I turned in Book 3 - Legacy of Ruby's Ranch, to my editor two days before I made this trip back to my hometown. This tells the story of Rube Adams, the original matriarch of Ruby's Ranch. Another prequel, this time the trick was getting my audience to love a stern, crazy woman. Some trick, ha? Turns out, I get her more than I've gotten either of the first two. She has her reasons for being so protective of her only daughter. She has her reasons for losing it in the end, but man did she live a life. An enviable, bizarre life. The love story between with Mac Adams will make you swoon. He definitely sticks by her, no matter what. Book 3 could be my most favorite so far. It'll be out, hopefully, early 2019! And yes, the reader will be shocked again, if I've done my job.

I started telling a story about going home and how sometimes that can make a person feel sad. Writing this series has really brought my childhood back to life. The way I felt bareback riding in the back pastures. How the smell of my horse calmed me down. The quiet moments reading to the animals. The way a real man treats his woman. Sometimes, and I know I'm guilty of this, we're so busy we forget to listen to the birds chirping and the way the wind sounds through a tree thick with pecans. The way an apricot tasted when you climbed the tree to pick the best one. And the coolness of the grass beneath your feet when you pull off those hot boots. Sometimes, we forget to look deep into our partners eyes, and thank them for supporting our journey and for loving us for who we are, damaged writer or whatever else you may be.

I guess coming home has helped me more than I know. Even though I still feel the sadness of my loved ones passing more profoundly when I'm here, kneeling next to my father's grave, I can feel his arms around me, telling me everything will be okay and that he's proud of the woman I've become. He'll see me again.

Thanks for letting me chatter. Hope you'll check out the series and follow me. My journey has just begun.

Happy Halloween everyone!!!

Email me at rhondafrankhouserbooks@gmail.com 

Friday, June 1, 2018

Author Interview with Cheryl Pierson

Hello, Cheryl. Please introduce yourself and tell us about Prairie Rose Publications. Where you’re not only a writer, you’re also….

Cheryl: Hi Patti! I’m so glad to be here. Livia and I both wear many different hats at Prairie Rose Publications. I’m the Editor-in-Chief and co-owner of the company but I also do most of the promoting of new releases, and I’m responsible for acquisitions, contracts, and so on. I’m also constantly trying to think up new ideas for authors to contribute to—boxed sets, anthologies, and “lines” to write for. And as you mentioned, I’m also a writer myself in several different genres. When we started Prairie Rose over 4 years ago, we started out as a company only for women who wrote historical romances. But we quickly realized we needed to add some imprints when submissions of all kinds began rolling in. So in addition to our main Prairie Rose Publications imprint, which is also our company name, we added our two imprints for young readers, middle grade, YA, and NA—Painted Pony Books (historical stories) and tornado Alley Publications (contemporary, sci-fi, and fantasy); our Fire Star Press imprint is for contemporary romance, mysteries, sci-fi, and fantasy for adults, and we also have an inspirational imprint, Prayers and Promises Publications. Sundown Press is the imprint which includes westerns as well as some other genres such as self-help, writing, cookbooks, and so on.

I admire your writing style. You’re very precise: besides the obvious things a writer does such as use dialog and action to tell your story, you’re able to drop in concise, well-crafted phrases that draw us in emotionally. Could you tell us something about your journey as a writer? How much comes naturally and how much have you learned from studying the craft of writing?



Cheryl: Thank you so much for the very kind words! I have read books and studied the craft of writing, of course, and even have taught several creative writing classes and workshops for many years. But probably the bulk of what I do in my writing “just comes naturally”, and I thank God for that. Stephen King says anyone can be taught to write. While that might be true, there is a definitive quality that separates those “wow” stories from “eh” stories. And I don’t believe THAT factor can be “taught” – it just has to be there.  I don’t believe it’s something that can be learned—it’s a part of a person’s imagination, their make-up, and really, the fiber of their personality. I think it helped being raised practically as an only child, with much-older sisters who were out of the house by the time I was 8. I have a lot of “make believe” scenarios I kept in my mind and wrote from the time I was able to string words together. So I just naturally imagine what my characters would say, think, do or feel throughout the story, and I try to tell it in their voice.



I notice that the heroine in Fire Eyes and your daughter share something: the name Jessica. I like to bury bits of my life in my stories for my own amusement. Is this something you do?

Cheryl: Actually, I don’t really do it on purpose, but I’ve surprised myself by what I’ve “revealed” in my characters that came from my life. When I was writing Fire Eyes, my daughter was a teenager. When she and my son were younger we talked one day about wishing we had our Indian names since we have Cherokee and Choctaw blood in our family. My daughter said if she could pick her Indian name, it would be Fire Eyes—so it naturally followed that her name would also be Jessica in the story.  (My son was about 6 at the time—he said he wanted to be Eagle Talon, which I thought was pretty thoughtful for a 6-year-old! LOL)

One thing that struck me while reading Fire Eyes is that there is no clear boundary between good and bad guys. For example, the Indians fade in and out of the narrative and sometimes they’re menacing, and sometimes the reader is relieved to see them. And although the villain of the story is a horrible person, one of the most moving scenes to me is one where an outlaw faces his own death. Not to give too much away, but I was right there with him looking up at what would be his last autumn sky. I think you and I grew up watching the same westerns. Do you think there’s been a shift in recent times how iconic figures of westerns (Indians, outlaws, sheriffs, etc.) are portrayed?

Cheryl: I definitely see a shift, Patti. Things were much more defined “back in the day” of the westerns we used to watch on TV, even to the point of the black hats/white hats to show who was good and who wasn’t. But we know that people are usually not one dimensional. Most times, they have more to them than just being “bad” to the core—but there are exceptions.

I know the scene you’re talking about. That was gut-wrenching to write, even though I knew he was a villain. But he also had memories, a family, a mother…he wasn’t ALWAYS bad. I watched an old re-run of Tales of Wells Fargo a couple of nights ago where the sheriff was actually the bad guy—and I remember thinking, “Wow, what a twist for the times that show was filmed.” But I do think as we are increasingly more aware of psychology and reasons for why people behave the way they do, the “shift” has become more prominent in the stories we write. I should add that I do believe there are people who are totally evil, with no redeeming qualities.


You wear many hats as both editor, writer, publisher. Is there a routine you follow? What does your ideal day look like? Do you have a dedicated work space?


Embry


Cheryl: Oh, gosh. Wouldn’t a routine be wonderful? LOL But I’m also a wife, mom and proud grandparent of a big ol’ huge Great Pyrenees dog! And so, family comes first, especially the fur-baby (hubby and I are grandparents with custody—our daughter had to move to a place with no fence when Embry was about 2, so he’s lived with us permanently for the last 7 years). I try to get a jump on the books that will be coming out soon on the schedule so I’m never feeling anxious about getting them edited in time—and it leaves a little breathing room in case an emergency comes up. In the winter, I’m usually in my office or in the living room in front of the fireplace! I have different projects on my laptop than what’s on my desktop (I have learned it’s best that way!) LOL

I’m so glad to be here, and glad you enjoyed Fire Eyes so much, Patti.  Thanks again for having me!

Excerpt from Fire Eyes:

THE SET UP: Jessica Monroe is living alone with her adopted daughter in the eastern part of Indian Territory. Her husband has been murdered by Andrew Fallon’s border raiders. Now, the Choctaws have brought her a U.S. Deputy Marshal who has been badly wounded by the same band of outlaws, in the hope that she will be able to save his life. Here’s what happens:
“You waitin’ on a…invitation?” A faint smile touched his battered mouth. “I’m fresh out.”
Jessica reached for the tin star. Her fingers closed around the uneven edges of it. No. She couldn’t wait any longer. “What’s your name?” Her voice came out jagged, like the metal she touched.
His bruised eyes slitted as he studied her a moment. “Turner. Kaedon Turner.”
Jessica sighed. “Well, Kaedon Turner, you’ve probably been a lot better places in your life than this. Take a deep breath, and try not to move.”
He gave a wry chuckle, letting his eyes drift completely closed. “Do it fast. I’ll be okay.”
She nodded, even though she knew he couldn’t see her. “Ready?”
“Go ahead.”
Even knowing what was coming, his voice sounded smoother than hers, she thought. She wrapped her hand tightly around the metal and pulled up fast, as he’d asked.
As the metal slid through his flesh, Kaed’s left hand moved convulsively, his fingers gripping the quilt. He was unable to hold back the soft hint of an agonized groan as he turned away from her. He swore as the thick steel pin cleared his skin, freeing the chambray shirt and cotton undershirt beneath it, blood spraying as his teeth closed solidly over his bottom lip.
Jessica lifted the material away, biting back her own curse as she surveyed the damage they’d done to him. His chest was a mass of purple bruises, uneven gashes, and burns. Her stomach turned over. She was not squeamish. But this—
It was just like what they’d done to Billy, before they’d killed him. Billy, the last man the Choctaws had dumped on her porch. Billy Monroe, the man she’d come to loathe during their one brief year of marriage.
She took a washrag from the nightstand and wet it in the nearby basin. Wordlessly, she placed her cool palm against Kaedon Turner’s stubbled, bruised cheek, turning his head toward her so she could clean his face and neck.
She knew instinctively he was the kind of man who would never stand for this if it wasn’t necessary. The kind of man who was unaccustomed to a woman’s comforting caress. The kind of man who would never complain, no matter how badly wounded he was.
“Fallon.” His voice was rough.
Jessica stopped her movements and watched him. “What about him?”
His brows drew together, as if he were trying to formulate what he wanted to say. “Is he…dead?”
What should she tell him?
The truth.
“I—don’t know.”
“Damn it.”
“You were losing a lot of blood out there,” Jessica said, determined to turn his thoughts from Fallon to the present. She ran the wet cloth lightly across the long split in his right cheek.
His breathing was controlled, even. “I took a bullet.” He said it quietly, almost conversationally.

Jessica stopped moving. “Where?”