Researching your characters

I prefer researching and writing about the U.S. in the 1800's. Specifically the western U.S. However, I find myself time and again having to research farther back and overseas to fully develop my characters.

A character's roots tells a lot about that character and I find that by going back on the family tree I can develop my characters and make them more real. My problem is even though I'm researching for my book set in the west in the 1800's I have to delve into 1700's Europe sometimes.

I remember my Social Studies classes and learning all about the "boiling pot" that makes up America. I know the only true American is the Native America who has been on this continent the longest though I've also read they came from another continent as well, long, long ago. My heritage is a "Heinz 57". My mother's side being predominately German and my Dad's side Dutch, Irish, English. So even to find my ancestral background I have to travel abroad.

Which brings me to- I have a book case full of western reference books and few on European history and find myself either going online or traipsing to the library to find the research materials need when I work to "discover" family history on a character. Anyone wanting to comment and leave me some good reference books I'd appreciate it.

For my latest release, Miner in Petticoats, the heroine took some research. I wanted her Scots, but while researching for her background I found that many of the Scots at the time she would have been a girl were exiled to Ireland due to clan wars. So I put her in Ireland and she married an Irish man who was killed during the uprisings between the Irish and the English.

While none of the story takes place in Ireland, I still had to research the living conditions and the upheaval going on there to be able to give my character back story that made her who she is in this book.


Blurb:
Shouldering the burdens of his family and the mining community, Ethan Halsey devotes himself to providing for his brothers’ growing families.

However, Aileen Miller, a widow, also looking out for her family’s interests, refuses to part with the land he needs. As they battle- one to push his dream to reality and the other to prove no man will hurt her again- their lives become enmeshed and their hearts collide.

How far have you gone to build your character in your mind as well as your reader's?

www.patyjager.com

Stage Makeup

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