Wrapped up in research, I forget to rehearse.

After going through Mary and John Clum's letters at the U of A Libraries Special Collections, I decide to perform Mary's last letter to her mother-in-law.

I am especially excited to include Mary's insights on the Townsite issue. (I figure this should be of great interest to the researchers and historians at Tombstone Territory Rendezvous.) In the letter, Mary writes, "It is a great outrage to move people off their lots by man force. They tried to move a house last night but did not succeed as the Marshal interfered and put a stop to it.  This morning the citizens moved it back to it's former position. Clark, Gray, and Co. felt somewhat chagrined but do not dare offer any resistance. The entire public is against them. I hope no violence will be used...We have two nice lots of our own and our little house and are comfortable, so are deeply interested in the question at issue."

Intrigued, I put off packing for our Tombstone trip and practicing for my dramatic reading. Instead, I delve into my personal library of Tombstone history. I uncover comments about the Townsite issue in the correspondences of Clara Spalding Brown in, "Tombstone from a Woman's Point of View," and the private journal of George Whitwell Parsons from, "A Tenderfoot in Tombstone." (Both edited by Lynn Bailey.)

Parsons has several entries about the subject as he was heavily engaged in fighting Clark, Gray and Co. about their rights to the town lots. He mentions obtaining two lots himself with Rev. McIntire near the Clum's house on Safford Street. He thinks having the Rev. on his side will help, but also describes the attempt to move the Judge's house while the Judge is away. A judge even! What nerve!

Mary Clum's letter and George Parsons' journal both discuss Clum's articles regarding the Townsite issue in his paper, The Tombstone Epitaph.

I wonder out loud if I can get a copy for my reading. Dan, my ever curious, ever helpful beau, does a search for copies of that paper. Unfortunately, he can't find any copies of the Epitaph from that time period, 1880-81.

Caught up in this research, neither of us gets anything we need to get done for our trip that night. And my reading is Friday! Ahh!

There's always Tombstone...

Celtic Knot in Our Tree of Life

Looking forward to returning to Tombstone with my soul-mate, Dan.

Our last visit was in celebration of our engagement. It was very meaningful to us. We discovered our own, "Tree of Life." The gnarled roots of the Tombstone Rose bush formed a Celtic knot. It's tiny roses were in full bloom symbolizing our hearts opening to each other.

The clipping we took home to commemorate Dan moving in.

Our little tree today, still thriving after 7 months. 

(Be durned if I'll let it die, it representing our relationship and all. lol)

Can our "tree of life" hold up to the weight of our first Christmas? 

Yes! It can! 

Our "tree of life" on our one year and one month anniversary! 

Who Snatched Geronimo's Gun?

Seeking inspiration to rehearse my dramatic reading of the Clum letters, I watched the "true story" of John Clum capturing Geronimo in "Walk the Proud Land" (starring Audie Murphy). 

What fun! It was even shot at Old Tucson Studios! Perfect way to get in the spirit for our trip to Tombstone! Trailer highlights such as Ann Bancroft's sprayed on tan, Audie's full head of hair (John Clum was prematurely bald), and the hilarious musical theater war dance, should have clued us in on the film's authenticity. But the claim that it was a true story sent me and my beau on an ardent search for the facts. After all, it was based on the book, "Apache Agent: The Story of John P. Clum," by his son, Woodie. 

(SPOILER AHEAD)

As research for my dramatic reading, I read several letters that the Clums wrote to each other during this time period (1886). It was interesting to discover what Mary meant when she wrote to her mother-in-law, "I fully appreciate the many trials and temptations he must encounter."  The movie dramatizes that temptation with an Apache widow that the chief gives to John. In reality his wife never comes to the reservation to confront the widow, like she does in the film. Nor do they get married in Tucson. The historical letter includes a detailed description of their wedding in Delaware, Ohio, surrounded by Mary's family. 

It is probably more accurate to say that the film is "inspired by a true story." John Clum did in fact fight for the rights of the San Carlos reservation Indians to govern and police themselves. He created a troop of very successful Apache police who even protected settlers from violent Apaches. 

In the movie there is just one chief and a few under chiefs living on the San Carlos reservation. In reality there were several chiefs and their tribes. (I realize this is a plot convention used to tighten the story.) Word arrives that Geronimo's renegades have been attacking settlers and are on the Ojo Caliente reservation. The movie has Clum deciding spontaneously to go after Geronimo, when actually the Commissioner of Indian Affairs directed him to do it. (With a promise of backup troops if needed.)

In the movie Clum has a handful of Apache police with him when he approaches Geronimo, and a scheme (inspired by a biblical story) in which a few Indians surround them in the mountains and shoot off their guns - the echo making them sound more numerous than they were. In reality, Clum found Geronimo on the Ojo Caliente reservation (abandoned by the Indian Agency). Clum had 20 braves with him as he approached the chief. There were 80 more hiding in the commissary poised for a clever ambush that intimidated Geronimo's renegades into surrendering. The next day the cavalry comes to the rescue, marching in formation, flags and pennants flapping. Clum is lounging with his legs up and casually points out Geronimo already shackled in chains. He and his Apache police had captured the great warrior Geronimo without firing a shot.

But what about Geronimo's gun? In real life, John just snatches Geronimo's gun, Geronimo pulls a knife on him, but one of the Clum's Apache police relieves Geronimo of his weapon. In the movie, there is skirmish including some gun shots and John ends up with the gun. I like the actual incident better. History was more compelling than the movie.  

Unfortunately, the movie inspired this blog entry instead of my rehearsal. Leaving tomorrow for Tombstone! My reading is Friday afternoon! Better get at it! Wish me luck!

The Clum Letters: Through the Eyes of Mother Clum

While preparing for my dramatic reading at Tombstone Territory Rendezvous, I conducted research on Epitaph editor and Indian agent John Clum (He actually captured Geronimo!) at the U of A Special Collections library. After poring over Clum family letters, I have decided to portray John Clum's mother reading letters from her son and his wife, Mary. I plan to include: the first letter Mary wrote to her new mother-in-law in which she shares the details of their wedding, Mary's last letter before dying in which she tells about her life in Arizona, and John's letter sharing the sad news of his dear wife's death (as well as the newspaper clipping he enclosed.)

Dear Maddie: Researching Tombstone Mayor John Clum's Letters to His Dear Wife (or They Actually Let Me Touch Historical Letters!)

Researching John and Mary Clum in Special Collections at the U of A.

by Jana Segal

It had been a few years since I performed the dramatic reading of John Ringo's mother's pioneer diary at Tombstone Territory Rendezvous, so I was eager to perform another historic reading. TTR organizer, Jean Smith, suggested that I do something on the wife of one of the mayors of Tombstone since this year's program already included several prominent men. I googled "mayors of Tombstone." At the top of the list were the current mayor of Tombstone and John Clum. John Clum - Earp supporter, Epitaph founder, and Indian agent! His wife at the time was Mary Clum. I was intrigued to find out more about her. Someone was already scheduled to do a presentation on Mayor Clum based on Gary Ledoux's new book, so Mrs. Clum would fit in nicely. Following that lead, I discovered Gary Ledoux on facebook and asked him if he had any copies of the Clums' letters. He didn't, but he graciously sent me some pages from his book that included excerpts from Clum's April 16th letter to his wife (written while serving at the Southern Apache Indian Agency where he captured Geronimo.) I had a date to work with! A google search for that letter, led to a collection of the Clums' letters in the University of Arizona Libraries Special Collections.

I was tickled to find how easy it is to look up historic documents at Special Collections. The research librarians were so helpful bringing up boxes full of folders with letters, newspaper clippings, and old photos. (I imagined them scooting their little cart by row after row of artifact boxes like the iconic scene in "Raiders of the Lost Ark.") Plastic envelopes held the fragile, aging letters. I couldn't believe that I was allowed get my grubby mitts (or white gloves) on 130 year old love letters! I read Clum's letter to Major J. F. Wade from the the 9th Cavalry detailing the capture of Geronimo. I struggled to decipher the Clums' messy handwriting and smiled at their gushing affection. Finally, I happened onto John's letter to his mother sharing the heartbreaking news of his wife's death. Profoundly touched, I knew that I had to share their story with a dramatic reading of their letters.

Tombstone Territory Rendezvous will be held October 29th to November 2nd.

Little Miracles

by Lorna Kerin Beall 

In past years one of my favorite things to do was to write a Christmas poem or story, some that have been graciously published. One of my favorites was published in The Lutheran Witness a couple of years ago. It was about my little mentally challenged Sunday school student, Theresa, who tore everything she touched. She tore not only her lesson paper but even the paper on her crayons causing many supposedly black puppy dogs or cows to turn out a surprising purple. At snack time Theresa even tore her paper cup, drizzling colorful (and sticky!) Kool Aid everywhere.

We were doing the Christmas story in flannel graph and each child was to put a beautiful and beloved pastel character on the flannel board. I couldn't help but wonder what I’d do about Theresa. Before long however, I was caught up in this lesson of God’s love, and in the joy of the children as they slapped each picture up with exuberance. But all too soon we were to the most wonderful picture of all, the baby Jesus – and to the last child – Theresa.

I held the fragile picture of the little pink Baby in my hand, imagining the children’s hurt cries if Theresa should tear it. Before I could change my mind, I thrust it towards her. Slowly, wide-eyed with wonder, Theresa took the picture of the Baby. She gently touched Him with her tiny finger. Then she began fingering the edges of the soft velour picture. I knew what would come next: the tearing.

But Theresa drew the baby Jesus to her lips and kissed Him. Then she patted Him gently in place on the flannel-board. I knew I’d witnessed a little Christmas miracle. And since then, I've often been inspired by some child’s simple faith. Like last year during our church Candlelight Service. When the first candles were lit a tiny 2-year-old boy in the congregation burst out singing, “Happy birthday to you, Happy Birthday to you. Happy Birthday Dear Jesus, Happy Birthday to you.”

This Christmastime may we join him, and other sweet children, in singing or saying: “Happy Birthday, Jesus!

From Pioneer Lady to Whip-lashin' Gunslinger

Jana Segal

The success of my historical reading actually lead to a "paid" gig (Well...$50.) with a Mystery Theater Group - the Candlelight Players. So I went from playing strong pioneer lady, Mary Ringo, to the rough, whip-lashin', gunslinger, Buffalo Lil. It had been 20-some years (about the same amount of time that I was married) since I had been in a play. After hearing about my performance in Tombstone, my friend Andy recommended me for the role (in part to distract me from my impending divorce.)

So while I was trying to develop my character and memorize my lines, my soon-to-be-ex would call several times a  day about the divorce. Sometimes the play was a distraction from the divorce and sometimes the divorce distracted me from the play. I was so tired from dealing with all my ex's crap, that it was like pulling teeth to even read the play before the first read through. But Andy, with his hilarious Speedy Gonzales accent, lightened things up. By the time we got the play on it's feet, there were glimmers of the old passion I had for acting before I got married. I had forgotten how much I loved to act!

I enjoyed discovering my character's voice. When I had problems distinguishing my character from all the other Western characters, the director wisely recommended that I look at Dustin Hoffman's tomboy sister in "Little Big Man." I watched her three scenes over and over until I got a handle on her vernacular and then I transferred her cadences to my lines. Then I recalled a similar character from Deadwood - Calamity Jane. I found her scenes on Youtube and got my character's attitude from her. Finally, I learned how to crack a whip. Now I was having fun!

But the best part was running lines with my two hammy sons. (They had been sorta distant since their father left the house.) Usually I help them learn their lines (which they get a lot easier than I do.) It actually helped me to bond with my 12 year old when he gave me my cues on route to his Live Theater Workshop class. He started hugging me for the first time in this life!

But the day before the performance, when I wanted to put the finishing touches on my lines, my ex tells me he is taking the boys for the weekend to prepare them to live with him every other week. I spiraled into depression. I read the same line over and over - it was meaningless.

I ended up running through my lines on the 45 minute drive to the resort and while we waited to go on. And there was plenty of time waiting around - first, for the audience to eat dinner and then to read the clues and finally to figure out the mystery. Once I got my lines, I had so much DOWN time that I started to get depressed again! I was afraid I wouldn't get it back up for the finale!

But it all turned out fine. I actually helped other people when they forgot their lines. At the climatic moment, when the shot gun sound effect didn't go off,  I was the one to say, "Bang!" and even got a laugh. In fact, I got six big laughs in all. Thanks to my buddy Andy.

http://www.candlelightplayers.com/

Weaving Emotional Truth Through Your Story

by Lorna Kerin Beall

Happy Thanksgiving! What are you thankful for? I’m thankful to God for His abundant love and blessings, especially that He sent His Son to be our Savior.

Regarding writing and weaving stories, I wanted to share a little more from what I learned from Suzanne Morgan Williams, the author of, "Bull Rider," at The Society of Children’s Book Writers and Illustrators’ Conference I attended recently.

There's an old writing adage, “Write what you know.” But do we really have to stick to what we know or have personally experienced?” The answer is a resounding “No!” I’m sure Ms. Williams has never ridden a bull! (Though I did ride my steer, Cocoa, but he was as gentle as a newborn calf.)                                

Suzanne explained how we can transfer some of the emotions or knowledge that we gain from different life experiences to the characters in our story. She shared how being around her uncle with Parkinson’s disease enabled her with the characterization of Ben, the brain-injured, partially paralyzed war vet, in her book. Her dear uncle sat there crying when Parkinson’s finally took his voice. Like her uncle, Ben had to struggle to get out a few sometimes-incoherent words. Suzanne also used something that happened to her daughter when describing Ben. When her daughter was in the midst of a divorce she’d blurted out, “Nobody will want me,” and the author was inspired to have Ben cry out, “Nobody will want me.”  What makes this so powerful is that it rings true.

Have you experienced something that evoked strong feelings or emotions in you? Draw on those feelings to enrich your story. Your experience provides the emotional content of the story – and more importantly emotional truth. Even if you're writing a genre piece like horror or fantasy, weaving in the emotional truth of a character will elevate that story to a higher level.

Older than Dirt

by Lorna Kerin Beall 

I'm used to going to writers' conferences where many of the attendees are retired. It makes me feel young! But you know you are older-than-dirt when a youthful and vibrant lady editor tells you that you should put romance in your middle-grade novel with a 12-year-old protagonist and you stare at her blankly.

Apparently, I'm not the only one who has experienced this revelation. Author/speaker, Suzanne Morgan Williams told about a time she was interviewing a teen bull rider while doing research for her now published Y.A. novel, Bull Rider. She’d formerly interviewed several older bull riders, one whom answered every question with a one word answer, often yes or no. So she was thrilled to find a bull rider who was the perfect age to share the teen perspective. He even admitted to blacking out in his first ride. (That was evidently quite common.) He told her about his many youthful experiences including his emotions of fear, courage and pride. Just as Ms. Williams was starting the interview the teen’s phone rang. It was his mom and she was concerned that he was in the hotel bar with other older bull riders. He wasn’t drinking and told his mom that he’d be right up and not to worry, he was with a really old lady!

But Suzanne had a totally different experience where she interviewed an 80+-year-old elder of a tribal village. When he found out from the translator that she was only 55, he wouldn't talk to her because she was too young! When she explained to the translator that she was writing to help children, the revered elder totally reversed himself, and told her all kinds of things, even demonstrating a spear throw to the wall and showing her some kind of animal skull.

So perhaps age is relative. The good thing about being older is that you have the time to explore the child in you. In my opinion you are never too old or too young to write a story. Just let that child or elderly person come out to play!

Rehearsing and Performing my Reading of Mary Ringo's Pioneer Journal

When preparing for my reading of Mary Ringo's pioneer journal, I had to decide which journal entries to include. There was A LOT of tragedy on this journey, so I wanted to break that up by including entries with interesting details on camping – so the audience could get a glimmer of life on the wagon train and so there would be peaks and valleys in the performance. This would give me a chance to express other emotions aside from the fear and rising anxiety over the impending Indian attacks. For instance, I express her delight at seeing the beautiful scenery and the joy of watching the children discover a steamboat. I like to have as much variety as possible so it won't become one note.

Rehearsing for a reading can be tricky. Different than rehearsing for a play. With play acting you need to memorize the lines precisely without memorizing the inflections. Some directors have you do improvisation so you stay as spontaneous as possible. When rehearsing for a reading, you need to practice reading it out loud enough so you are comfortable articulating the exact wording and don't garble the words. It helps to know the subtext (internal dialogue). When I type the manuscript I double space so I can write cues for the emotions above the dialogue. But you have to know it well enough so you're aware of the transitions from one emotion to another. It won't do to figure out the emotion half way through the sentence. This is where pauses can come in handy. I put a slash where I need a pause to shift from one emotion to the next. Pauses are also great to add drama. Sometimes Mary would write about some very dramatic event in a very matter of fact or dry manner. A few well placed pauses can really build the dramatic tension. A guy came up to me after the reading and said that he was afraid I was going to pass out from all the anxiety. The anxiety that he (and I) felt came from the pauses.

So how much do you rehearse? It's all about balance. You don't want to practice so much that it becomes dull and you are forcing the emotions. I was lucky to have a manuscript with a very dramatic ending. The writing wasn't stilted at all. The words and rhythm expressed real heartache. The first time I read it aloud, I cried. This is good and bad. It is good because you know that the feelings are there. It is bad because you don't know if you'll ever be able to access them again – especially if you over work it. I opted on the side of less work.

After going through and marking the script with the subtext and emotional cues, it is time to read it out loud. First, I just need to get used to hearing my own voice. I don't worry too much about inflection. If I stumble on a word that is hard to pronounce, I repeat it until I can say it with ease. As I re-read it, new subtext starts to emerge so I tweek my notes and pauses. I work on a section at a time until I get rid of enough kinks to get all the way through it. When I finally got to the climax – I actually cried! I set it aside so I wouldn't overwork it. The next day, I read it all the way through without stopping at each mistake. Finally, I time it. Good. It's in the alotted time frame. I stop for the day.

Friday, November 4, 2011

When I get to Tombstone, I wander the streets. There is a lonely wind blowing – as I miss absent friends. I go back to my room and read through the whole manuscript – except for the emotional climax. I don't want to overwork it. I hope the tears will be there when I need them.

Saturday, November 5, 2011

The next day - the day of performance, I have about two hours to get ready. I read the beginning and start to feel a little anxiety. I take a long shower – belting out a song or two. I take my time putting on my modest makeup and put my hair up in a bun. I casually read the manuscript out loud one last time. It's not perfect. I don't even get choked up at the end. I leave the performance in God's hands. It is really an act of faith at this point. I put on my school marm dress, lace up my period shoes and head for the performance venue hoping for the best.

When I get there, they seem to be behind schedule. One speaker finishes his speech and another goes up. I try to stay relaxed. I wonder if I should go run through it one last time, but decide that that would only make me more nervous. The second speaker finishes his presentation and takes questions. I go to the ladies room to adjust my shawl and put on my bonnet. Jenn, the organizer, finally announces me. I walk to the front and set up a shaky metal stand, place my manuscript on it, and adjust my mic. I ask the audience, “How many of you have heard of Johnny Ringo?” They all raise their hands. I give a short intro on how this is Johnny's mom's journal of their trip cross country in a covered wagon . This intro gives me time to acclimate to my surroundings and the audience.

This is it. My hand shakes as I adjust the mic, but I know I can use the nerves to my advantage. The reading is going pretty well. I wish I had practiced a bit more so I could look up at the audience more often. I mess up a couple of lines, but I stay in character and keep going. Then I start to get into it. I surprise myself with some new expressions in the heat of the moment. The pauses that I planned are starting to build tension. And there it is. The climactic paragraph. I pause to reflect for a moment. When I resume, the emotion is all there. I tear up as I tell of my husband accidentally killing himself. I bow my head in reverence to God. And it is over. The audience applauds. Several people come up to me and tell me how good I did. Mark D says that the audience was so mesmerized that you could hear a pin drop. Thank God!