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Sunday, November 23, 2008
Thursday, November 06, 2008
Nevada's First Woman Sheriff
In 1919 Clara Dunham Crowell, a former waitress at the Two Bit House, was the law in Lander County, Nevada.
Clara Dunham married George Crowell, a teamster who drove a stage coach, in 1898. The Crowell family flourished with the addition of two children. George, who was highly regarded for his honesty and “can do” attitude, was elected sheriff of Lander County.
He tackled the job with the same enthusiasm he used to drive his old six-horse stage. Clara learned much from her husband about the qualities of a good sheriff – how to anticipate trouble, how to keep calm, and how to use a gun.
Clara herself was not in the habit of running from trouble. During his stage-driving days George often returned late and if he was carrying company money he would keep it safe at home until the bank opened the next morning. One night Clara and her niece were in the house alone when a strange man knocked on the door. “I know there’s money in there,” he said. “Open up or you’ll be sorry.”
Clara opened the door in his face and demanded, “What will I be sorry for?” Then she chased him out the gate.
As sheriff George Crowell was highly respected, but when he was struck down by illness and died in 1919 the local lawmen and women circulated a petition calling for Clara to become the first woman sheriff in Nevada history. There were several male aspirants for the job, but none made a formal application after the petition was circulated and presented to the county commissioners. They unanimously selected 42 year old Clara Crowell to be sheriff for the remaining two years of her husband’s term.
Clara proved that she could handle any situation. She was involved in the apprehension of cattle rustlers, horse thieves, robbers, and other criminals. As sheriff she demanded respect for the law in Lander. She and her deputy, Thomas White, even enforced the new Dry Law, which among other things prevented people from transporting bottles of liquor.
On several occasions she even entered saloons and broke up brawls. In an administrative overhaul, she removed Deputy White who had served under four sheriffs. She earned a reputation throughout the West as a tough law officer. When her term came to an end many people encouraged her to run for election. But she was respected also for her nursing skills and she decided to take the job of matron, or administrator, of the county hospital, a position she held for the next 20 years.
Posted from “The Historical Nevada Magazine.”
Clara Dunham married George Crowell, a teamster who drove a stage coach, in 1898. The Crowell family flourished with the addition of two children. George, who was highly regarded for his honesty and “can do” attitude, was elected sheriff of Lander County.
He tackled the job with the same enthusiasm he used to drive his old six-horse stage. Clara learned much from her husband about the qualities of a good sheriff – how to anticipate trouble, how to keep calm, and how to use a gun.
Clara herself was not in the habit of running from trouble. During his stage-driving days George often returned late and if he was carrying company money he would keep it safe at home until the bank opened the next morning. One night Clara and her niece were in the house alone when a strange man knocked on the door. “I know there’s money in there,” he said. “Open up or you’ll be sorry.”
Clara opened the door in his face and demanded, “What will I be sorry for?” Then she chased him out the gate.
As sheriff George Crowell was highly respected, but when he was struck down by illness and died in 1919 the local lawmen and women circulated a petition calling for Clara to become the first woman sheriff in Nevada history. There were several male aspirants for the job, but none made a formal application after the petition was circulated and presented to the county commissioners. They unanimously selected 42 year old Clara Crowell to be sheriff for the remaining two years of her husband’s term.
Clara proved that she could handle any situation. She was involved in the apprehension of cattle rustlers, horse thieves, robbers, and other criminals. As sheriff she demanded respect for the law in Lander. She and her deputy, Thomas White, even enforced the new Dry Law, which among other things prevented people from transporting bottles of liquor.
On several occasions she even entered saloons and broke up brawls. In an administrative overhaul, she removed Deputy White who had served under four sheriffs. She earned a reputation throughout the West as a tough law officer. When her term came to an end many people encouraged her to run for election. But she was respected also for her nursing skills and she decided to take the job of matron, or administrator, of the county hospital, a position she held for the next 20 years.
Posted from “The Historical Nevada Magazine.”
Sunday, November 02, 2008
Test blog
Testing this to see how things transfer to word press. This is a test. It is only a test. In the case of a real emergency. . .
Friday, October 24, 2008
Trick Or Treat?
As Halloween fast approaches, the holiday here in the US seems to get bigger each year. I had to wonder, how and when did this holiday take hold in this country? After all, America was founded by Puritans who would’ve banned such holidays. But as other cultures emigrated to the United States, they brought along their own customs.
It seems Irish and Scottish immigrants, who arrived between 1840 and 1870, were responsible for bringing their traditions, including Halloween to the United States. The origins of modern-day Halloween came from a pre-existing autumn festival of the dead, called Samhain.
Scottish and Irish-Americans held dinners and balls, celebrating their heritage and legends. Children’s Halloween activities included bobbing for apples and divination games. Pranks and mischief were also common.
So, like Christmas traditions, many of our modern-day Halloween celebrations originated during the Victorian era.
For more info on the origins of Halloween, visit these History Channel sites: http://www.history.com/minisites/halloween/
http://www.history.com/video.do?name=halloween
It seems Irish and Scottish immigrants, who arrived between 1840 and 1870, were responsible for bringing their traditions, including Halloween to the United States. The origins of modern-day Halloween came from a pre-existing autumn festival of the dead, called Samhain.
Scottish and Irish-Americans held dinners and balls, celebrating their heritage and legends. Children’s Halloween activities included bobbing for apples and divination games. Pranks and mischief were also common.
So, like Christmas traditions, many of our modern-day Halloween celebrations originated during the Victorian era.
For more info on the origins of Halloween, visit these History Channel sites: http://www.history.com/minisites/halloween/
http://www.history.com/video.do?name=halloween
Saturday, October 18, 2008
Enriching Victorian Age Noble Characters: Not Just for Authors
Beyond fairy tales, the Victorian Age happenings provide opportunistic contrasts for noble and royal characters, and possible fodder for story conflicts. Often missed opportunities as I often perceive authors to underutilize this category of characters.
I’ve been a professional editor and writer off and on for some time; occasionally I’ve been asked to do so while in an emeritus capacity with the USSS to guard against the possible endangerment of protected bloodlines by unwitting revelations about said bloodlines.
While reading, I’ve noted a tendency for the sometimes gratuitously placed royal or noble characters within a manuscript (or a galley) to be, well, cardboard cutouts or paper-thin. Part of background rather than major influencers that they were, still. Although my job is perpetually to keep such bloodlines safe, I’ll be the first to say that much of their popular lore is underutilized and certainly would harm none to enhance storylines with more of their, well, ‘real’ natures.
I’ll explain a few ways to maximize upon typical nobiliary traits for characters.
1) Most queens were in Queen Victoria’s shadow during her imperialism. However, they were as active as usual in spheres of influence. Most appear in history books. But do your readers know that queens are historically known to be animal rights activists, or very nearly so? Their role somehow engenders great love of pets and animals. Can your readers see a queen defending horses being whipped along the roadside without stopping the atrocity? Or going after illegal hunting by poachers on her neighbor’s estate or even public parklands? Or befriending an injured wild animal that can stay in her menagerie if it can’t be returned to its habitat? A queen’s entourage member might also make a good solid story character and would tend to follow her lead or act in her behalf on such matters. Such instances would not only be tolerated but expected, therefore. Realizing that women were still often considered by many to be merely a higher level of chattel still helps to understand why those at the top echelons developed human-like reverence for mounts, hunting dogs, cats who moused their barns, and lap dogs. And then there were the exotic pets, topiaries, preserves, and safaris that had started becoming artistic rather than monetary. Household pets were appearing in Masters-styled artwork preserved for future generations during this rapidly changing era. Authors can utilize their nobiliary female characters for more than their well-publicized fashion sense, or lack of.
2) Hiding royal families typically sought out civil or clerical positions during the Victorian era. Their heritages taught them to seek leadership responsibilities even while hiding from the sunset of the French Reign of Terror. To flesh out such a typified noble character recently or still in hiding, it might take adding in depth by adding extremes to behaviors that were not negative traits such as a noble son being an ethical vegetarian. A higher echelon trend did fascinate Society, and wasn’t unexpected amongst clergy well-traveled and often the unlanded nobility or gentry. Many a lady’s journal interlopes into the dietary habits of monks or other clergy frequenting parties and soirees. Imagine the difficulties and story conflicts while such a displaced noble character travels throughout the Wild West. Extreme customs were individually tolerated during this Era and made good parlor talk.
3) Not every princess during the Victorian Era shopped at the House of Worth. Even when they could afford the price tag and could dawdle in the waiting rooms while perched on elegant chairs gazing at reflections in strategically angled mirrors encircling the exclusive invitation-only shops. The influential princesses understood that they started trends, just as ancient ones did and even modern ones today. But princesses were handy with a needle and were known to design and sew their own attire, even for official State functions. There was no looking down on a creation by-hand. In fact, they were lauded for preserving state coffers, or their own purse strings. Rather than be embarrassed by a financial need to sew when they couldn’t use a haute couture fashion house, this generation of princesses excelled at being fashion-forward with their own creations. The license allowed these princesses freed up ladies in lower echelons to remain proud of their own household designed wardrobe pieces. Such princesses were known to draw on their historical accoutrements such as heraldic embroidery and laces. Ironically, perhaps, the fashion designers rising in fame were not on the invitation lists of the same socialites and aristocrats that they dressed. Even though a trip to their shops was considered the height of Society trekking. But Society could speak freely in front of the haute couture designers of this era. Gossip disallowed in the typical drawing room was encouraged over pink champagne in the designers’ show rooms, after all. Even in the company of princesses.
4) Madame Guillotine still drove many a royal son into the military decades later. Speaking of this type of hero, he wouldn’t have given up his heritage. The Armed Services worldwide were (and still are) known to accommodate hiding royal lines within their ranks. With accommodations. Such an officer might have many a secret to hide, beyond the brooding hero’s clandestine needs of the Dark Ages. He would be trying to take care of loyal pensioners from a lost estate, support dependent female family members unable to work, and yet still maintain a show on the surface equal to his military counterparts so that he didn’t give anyone away. He would forgo luxuries, maximize gifts, become a martyr due to perceived need, and woo a heroine with charm rather than expensive gifts. Although in the end her reward might be a title should she prove worthy of his noble household. Plenty of room to demonstrate his nobler-than-thou character that was nonetheless expected by his pressuring social peers. All about adding depth to even the smallest kind gesture, beyond mere formalities, for story characters.
5) Writing in a noble character’s active participation in reviving a trend can expose their inner-
motives and set up story conflicts to an advantage. For example, the Victorian Era was known for self-imposed or directly dictated decorum, reflected on the surface with aforementioned Morality Laws. It was a matter of taste. Renewed, at that. Nude horsewomen riding through central parks were no longer tolerated. But artistic visions promoted by noble patrons of the arts would still find nudity in plays far above the saloon hall patronage. Especially during the Renaissance revival that spiked in between revolutions and wars worldwide. Although Victorians were not underdressed, they were not shocked by nudity in its artistic form. As in the Renaissance, a top noble lady would be expected to play the part of an upper echelon Shakespearean heroine in the buff. Albeit, at that level, the plays were by private invitation and tickets were not on the market for a general public, per se. A character with a vested interest in hiding, or exposing, such artistic venues would only add depth to motivations, for example, and give plenty of valid reasons for secrecy between characters. Not all aspects of such trends were potentially scandalous or to be misunderstood. This flirtation with the Renaissance that even revived blackwork embroidery that spread like wildfire across the Wild West.
Merely a smattering of ideas for Victorian Age authors of any genre to consider, as they are the types of elements I would love to read or watch more about, myself. Go ahead and come up with your own ideas on how to more deeply motivate your noble household members and their ilk. I promise you'll be pleased with the responses.
I’ve been a professional editor and writer off and on for some time; occasionally I’ve been asked to do so while in an emeritus capacity with the USSS to guard against the possible endangerment of protected bloodlines by unwitting revelations about said bloodlines.
While reading, I’ve noted a tendency for the sometimes gratuitously placed royal or noble characters within a manuscript (or a galley) to be, well, cardboard cutouts or paper-thin. Part of background rather than major influencers that they were, still. Although my job is perpetually to keep such bloodlines safe, I’ll be the first to say that much of their popular lore is underutilized and certainly would harm none to enhance storylines with more of their, well, ‘real’ natures.
I’ll explain a few ways to maximize upon typical nobiliary traits for characters.
1) Most queens were in Queen Victoria’s shadow during her imperialism. However, they were as active as usual in spheres of influence. Most appear in history books. But do your readers know that queens are historically known to be animal rights activists, or very nearly so? Their role somehow engenders great love of pets and animals. Can your readers see a queen defending horses being whipped along the roadside without stopping the atrocity? Or going after illegal hunting by poachers on her neighbor’s estate or even public parklands? Or befriending an injured wild animal that can stay in her menagerie if it can’t be returned to its habitat? A queen’s entourage member might also make a good solid story character and would tend to follow her lead or act in her behalf on such matters. Such instances would not only be tolerated but expected, therefore. Realizing that women were still often considered by many to be merely a higher level of chattel still helps to understand why those at the top echelons developed human-like reverence for mounts, hunting dogs, cats who moused their barns, and lap dogs. And then there were the exotic pets, topiaries, preserves, and safaris that had started becoming artistic rather than monetary. Household pets were appearing in Masters-styled artwork preserved for future generations during this rapidly changing era. Authors can utilize their nobiliary female characters for more than their well-publicized fashion sense, or lack of.
2) Hiding royal families typically sought out civil or clerical positions during the Victorian era. Their heritages taught them to seek leadership responsibilities even while hiding from the sunset of the French Reign of Terror. To flesh out such a typified noble character recently or still in hiding, it might take adding in depth by adding extremes to behaviors that were not negative traits such as a noble son being an ethical vegetarian. A higher echelon trend did fascinate Society, and wasn’t unexpected amongst clergy well-traveled and often the unlanded nobility or gentry. Many a lady’s journal interlopes into the dietary habits of monks or other clergy frequenting parties and soirees. Imagine the difficulties and story conflicts while such a displaced noble character travels throughout the Wild West. Extreme customs were individually tolerated during this Era and made good parlor talk.
3) Not every princess during the Victorian Era shopped at the House of Worth. Even when they could afford the price tag and could dawdle in the waiting rooms while perched on elegant chairs gazing at reflections in strategically angled mirrors encircling the exclusive invitation-only shops. The influential princesses understood that they started trends, just as ancient ones did and even modern ones today. But princesses were handy with a needle and were known to design and sew their own attire, even for official State functions. There was no looking down on a creation by-hand. In fact, they were lauded for preserving state coffers, or their own purse strings. Rather than be embarrassed by a financial need to sew when they couldn’t use a haute couture fashion house, this generation of princesses excelled at being fashion-forward with their own creations. The license allowed these princesses freed up ladies in lower echelons to remain proud of their own household designed wardrobe pieces. Such princesses were known to draw on their historical accoutrements such as heraldic embroidery and laces. Ironically, perhaps, the fashion designers rising in fame were not on the invitation lists of the same socialites and aristocrats that they dressed. Even though a trip to their shops was considered the height of Society trekking. But Society could speak freely in front of the haute couture designers of this era. Gossip disallowed in the typical drawing room was encouraged over pink champagne in the designers’ show rooms, after all. Even in the company of princesses.
4) Madame Guillotine still drove many a royal son into the military decades later. Speaking of this type of hero, he wouldn’t have given up his heritage. The Armed Services worldwide were (and still are) known to accommodate hiding royal lines within their ranks. With accommodations. Such an officer might have many a secret to hide, beyond the brooding hero’s clandestine needs of the Dark Ages. He would be trying to take care of loyal pensioners from a lost estate, support dependent female family members unable to work, and yet still maintain a show on the surface equal to his military counterparts so that he didn’t give anyone away. He would forgo luxuries, maximize gifts, become a martyr due to perceived need, and woo a heroine with charm rather than expensive gifts. Although in the end her reward might be a title should she prove worthy of his noble household. Plenty of room to demonstrate his nobler-than-thou character that was nonetheless expected by his pressuring social peers. All about adding depth to even the smallest kind gesture, beyond mere formalities, for story characters.
5) Writing in a noble character’s active participation in reviving a trend can expose their inner-
motives and set up story conflicts to an advantage. For example, the Victorian Era was known for self-imposed or directly dictated decorum, reflected on the surface with aforementioned Morality Laws. It was a matter of taste. Renewed, at that. Nude horsewomen riding through central parks were no longer tolerated. But artistic visions promoted by noble patrons of the arts would still find nudity in plays far above the saloon hall patronage. Especially during the Renaissance revival that spiked in between revolutions and wars worldwide. Although Victorians were not underdressed, they were not shocked by nudity in its artistic form. As in the Renaissance, a top noble lady would be expected to play the part of an upper echelon Shakespearean heroine in the buff. Albeit, at that level, the plays were by private invitation and tickets were not on the market for a general public, per se. A character with a vested interest in hiding, or exposing, such artistic venues would only add depth to motivations, for example, and give plenty of valid reasons for secrecy between characters. Not all aspects of such trends were potentially scandalous or to be misunderstood. This flirtation with the Renaissance that even revived blackwork embroidery that spread like wildfire across the Wild West.Merely a smattering of ideas for Victorian Age authors of any genre to consider, as they are the types of elements I would love to read or watch more about, myself. Go ahead and come up with your own ideas on how to more deeply motivate your noble household members and their ilk. I promise you'll be pleased with the responses.
Sunday, September 28, 2008
Victorian Ladies Used Economy in Fashion
The trend-sensitive Victorians spent much time and effort on their wardrobes, sometimes due to matters of economy, as well as to keep fashionable. Dressing suitably for each occasion was most admired, because of one of the new trends coming in from Great Britain. That of tailored and conservatively constructed clothing, something which British attire is still noted for today and considered untrendy and classic.
Fashionistas, though, were most concerned with keeping up with the offerings from the House of Worth. Or, appearing to. In reality, very few ladies could actually afford to do so, even from the higher echelon societies around the globe.
Frivolity was kept to a minimum, although there were notable ladies who would only wear a gown once. It was perfectly acceptable for them to wear the same gown to more than one occasion on their social circuit during any given season. In fact, in respectable society they could also attend the same echelon of soirees in past season’s fashions as a statement of their household’s economic condition without losing status or eliciting comment.
Remarking negatively upon another’s economy was considered a low-class behaviour but did become more commonly heard post-Civil War for a variety of reasons that would bear too long an explanation for this brief article.
Of interest to authors and researchers trying to capture the Victorian era lady and her society would be understanding how she handled her attire with challenged incomes. Also, how the characters viewed wardrobe and utilized one can be a subtle but poignant method of layering their emotional experiences in a Victorian era story. A layer beyond the mere weight of a fabric on a heroine.
In my Civil War short story manuscript, Silver Linings, the heroine at the beginning of the story in New Orleans wears highly decorative brocades and silks which befits her station as an opera star. Although she is actually a spy from an impoverished noble household, she expresses the flamboyance expected in her role with tastes from her background.
By the end of the story, the heroine is bereft of incomes and hiding in an exotic port of call waiting to enter the Mexican Imperial Court II. Her fashion sense takes an approach that many Victorian ladies increasingly utilized, that of mixing unmatched skirts and jackets and blouses. In fact, jackets were considered an economical and respectable approach to adding life to a fading wardrobe. Even the princesses abroad under constant scrutiny were known to use such fashionable tactics.
It was the fact that a lady had put concerted thought and planning into her wardrobe to breath life into it that was admired and noted and kept her fitting into her society.
Fashionistas, though, were most concerned with keeping up with the offerings from the House of Worth. Or, appearing to. In reality, very few ladies could actually afford to do so, even from the higher echelon societies around the globe.
Frivolity was kept to a minimum, although there were notable ladies who would only wear a gown once. It was perfectly acceptable for them to wear the same gown to more than one occasion on their social circuit during any given season. In fact, in respectable society they could also attend the same echelon of soirees in past season’s fashions as a statement of their household’s economic condition without losing status or eliciting comment.
Remarking negatively upon another’s economy was considered a low-class behaviour but did become more commonly heard post-Civil War for a variety of reasons that would bear too long an explanation for this brief article.
Of interest to authors and researchers trying to capture the Victorian era lady and her society would be understanding how she handled her attire with challenged incomes. Also, how the characters viewed wardrobe and utilized one can be a subtle but poignant method of layering their emotional experiences in a Victorian era story. A layer beyond the mere weight of a fabric on a heroine.
In my Civil War short story manuscript, Silver Linings, the heroine at the beginning of the story in New Orleans wears highly decorative brocades and silks which befits her station as an opera star. Although she is actually a spy from an impoverished noble household, she expresses the flamboyance expected in her role with tastes from her background.
By the end of the story, the heroine is bereft of incomes and hiding in an exotic port of call waiting to enter the Mexican Imperial Court II. Her fashion sense takes an approach that many Victorian ladies increasingly utilized, that of mixing unmatched skirts and jackets and blouses. In fact, jackets were considered an economical and respectable approach to adding life to a fading wardrobe. Even the princesses abroad under constant scrutiny were known to use such fashionable tactics.
It was the fact that a lady had put concerted thought and planning into her wardrobe to breath life into it that was admired and noted and kept her fitting into her society.
Saturday, September 27, 2008
A Brand New Cover
Just wanted to show off my brand new cover for my Civil War romance, Confederate Rose, just contracted by The Wild Rose Press.
Isn't it gorgeous?
Here's the blurb:
Disguised as a man to serve with her husband as a soldier in the Confederate Army, Irish immigrant, Katie Rose O'Reilly, vows to remain in the ranks and seek revenge on Yankees after her husband is killed at Sharpsburg. As she's transporting mail from Richmond back to camp, a stranger startles her, causing her to fall and almost drown in a swollen stream.
Southerner Alexander Hart, a Yankee spy, saves Katie from drowning, then nurses her through a resulting fever. He must keep his identity secret from the beautiful Rebel soldier even as he finds himself falling in love with her.
Katie falls in love with the caring gentlemen stranger, only to later discover he's the enemy. Heartbroken, she turns him in to the Confederates, but then questions her goals and beliefs. Is it possible to put aside her quest for revenge to save the man she loves?
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