A TASTE OF THE 1950s: WHEN SPAM AND JELL-O MOLDS RULED THE TABLE by Ellen Butler

 

Since my next book in the Ariadne Winter mystery series, Deadly Secrets at Ballyford Castle, will be arriving on October 1, I’ve decided to discuss another interesting aspect of the 1950s that I have researched. Food.

The 1950s were a defining decade for American cuisine—a time when the kitchen became the heart of the suburban home and convenience was king. It was the era of TV dinners, canned goods, and brightly colored cookbooks that celebrated innovation, even if the results were sometimes questionable by today’s standards. Among the standout stars of the 1950s dinner table were SPAM and Jell-O molds—two iconic staples that defined the culinary culture of the time.

After World War II, America was booming. Suburbs were expanding, appliances like refrigerators and electric ovens were more accessible, and grocery stores were brimming with processed foods that promised to save time for the modern housewife. Home cooking adapted to this new lifestyle with recipes that were equal parts creative and efficient.

SPAM, the infamous canned meat introduced by Hormel in 1937, found its heyday in the '50s. Though it gained popularity during the war due to its long shelf life, it remained a household favorite afterward. Its versatility made it a star ingredient in many meals. Fried SPAM slices were served with eggs for breakfast, diced SPAM was baked into casseroles, and it often appeared in sandwich form. Housewives praised it for its affordability and convenience, despite its mysterious texture and salty flavor.

But if SPAM was the workhorse of 1950s cuisine, Jell-O was the showstopper. No dinner party or potluck was complete without a dazzling, multi-layered Jell-O mold. These gelatin-based creations weren’t limited to sweet desserts—savory versions, known as "aspics," included ingredients like olives, tuna, chopped vegetables, and even shredded chicken, all suspended in a quivering, translucent dome. As seen in the photo above. Served on a bed of iceberg lettuce with a dollop of mayonnaise, they were as much a conversation piece as a side dish.

The fascination with Jell-O molds reflected the decade’s obsession with presentation. Cookbooks encouraged women to make food look impressive, even if it meant encasing ham in lime gelatin or adding hard-boiled eggs to a tomato aspic. It was all about entertaining with flair—menus were designed not only to satisfy but to impress.

Beyond Spam and Jell-O, 1950s food was a playground of new ideas. Casseroles made with condensed soup, deviled eggs, molded salads, and pineapple-glazed hams were fixtures of the American table. Recipes leaned heavily on processed ingredients—instant pudding and margarine were pantry must-haves. While modern sensibilities may raise an eyebrow at tuna suspended in lime Jell-O, these dishes represented creativity, resourcefulness, and a sincere attempt to embrace the future.

Today, vintage 1950s recipes resurface as a mix of nostalgia and novelty. Some home cooks have become social media influencers by replicating these dishes and sharing them on various platforms.  Others incorporate SPAM as a staple in their meals and share the fun of Jell-O molds with their children and families. Either way, SPAM and Jell-O molds remain unforgettable icons of a decade that dared to dream—in pastel colors and gelatin.

ENGAGING THE FIVE SENSES FOR RESEARCH (AND MAKING IT FUN!) By Allie Marie, Guest Blogger

I’m excited to be one of the contributing authors for Sand in Our Shorts. My writing spans several genres, but most are historical mysteries with paranormal elements and time travel. While I can research settings for modern characters with ease, trying to authentically capture the past takes time and research—and a bit of creativity. I didn’t start applying all of the senses to my writing right away. The technique has evolved with time and has helped me create accurate and interesting settings.

My books are set locally where I am surrounded by the history of America. As a hands-on person, I can really get “into” my work. This has included shadowing a brewer for several sessions to learn the essence of his job, visiting naval museums to study a German warship, and following a beekeeper during harvest. I’ve developed a method of incorporating the tedious task of research with the fun part of “experiencing” it through the five senses. This is especially helpful to “show, not tell” my readers.

For example, Colonial Williamsburg and Yorktown, both of which are featured in some of my stories, have restored sites that mirror the locations some of my time travelers visit.

I live not far from the beach and have found secluded coves that match the settings I imagine for a future pirate or seafaring story. My photo of the fog covering the horizon yet leaving the beach and trees visible will help me recreate the scene.

It is a short drive to Washington, DC, or a train ride to New York City to capture the big city elements as well as the historical aspects of both cities.

Every trip engages the five senses, and sometimes what I call my “sixth” sense—when I seem able to breathe the very essence of my characters or setting through my research. Sometimes, however, my imagination does a pretty good job of conjuring up images of a location or setting before I’ve even seen it.

SIGHT

I like to see the sights of my settings, as close as possible to the real thing. My research journeys have taken me to 18th-century manor houses, Victorian mansions, and historic settlements to see what the homes and buildings of the past looked like. Visits to breweries, distilleries, and old speakeasies have been integral to my research for my True Spirits Trilogy.

When I visit a site that captures what my imagination is creating, I take a photo to remember details later. What might the characters’ clothes look like? From the deerskin-clad Native American to the Colonial soldier, from the Victorian hostess to the 1920s flapper, from the modern firefighter’s turnout gear to the business suit of the female executive, descriptions need to be accurate. 

Live demonstrations at battlefields depicted the size and operations of cannons, the outdoor cooking conditions, and the tiny tents nine soldiers had to share. 

Colonial pubs, wine cellars, and tasting rooms often capture the settings of the period, with brick walls, candles in lanterns and sconces, wooden benches, and tables. Sandy beaches, old forests, farmland, and fields capture the essence of nature when you stand in front of any of these locations and your senses take in your surroundings.

SOUND

I’ve been to Native American Indian Powwows, Royal Tattoos, and colonial reenactments to capture the sounds of Indian drums, the swirl of bagpipes, and the thunder of cannons, and I want my reader to experience it too. 

Did the native drumbeats send my heart racing as the warrior in war paint approached? It did when I imagined I was a settler facing the unfamiliar sights unfolding in front of me.

Did the swirl of bagpipes put me in the same mood as my characters of Scottish descent? It did when I “joined” their family celebration of Hogmanay. Did that cannon boon put me in the middle of the battle of Yorktown? You bet it did.

Does silk cloth rustle with movement? Does it squish or scrape like taffeta? A minute of my time (not counting an hour to find said materials) can give me the exact sensation I want to portray in the right scene.  

SMELL

What does gunpowder smell like after a gun has been discharged?

How do I describe the salty smell of the ocean on a hot summer day without going to the beach and concentrating on that single sense? What does a raw fish smell like after sitting on the shore for hours in the hot sun? How does freshly cut grass compare to wet hay after a storm?

Does that decadent smell of coffee bring a sense of relief to battle-worn soldiers or a contemporary character needing the jumpstart ahead of a busy day? How about the aroma of fresh-baked bread in a bakery? Or the smell of sandwiches and fruit when children open their lunches in a schoolroom?

For romantic elements, what kinds of perfume or cologne do the characters wear? Is it a flowery scent for her, a musky, woodsy smell for him?

Can you capture the scent of a building—the cold, mold in a dank basement, the wooden floors of an old butcher shop mixed with the overwhelming odor of meat?

TASTE

I want to know about the foods my characters eat, whether they are modern or historical. Is the roast fork tender or tough as leather?

How did the oysters from the James River of Virginia taste to the Native American Indians, or how haggis tastes to a Scotsman, or the dry, hard biscuits called “tack” that were sometimes the colonial soldiers’ only food? What foods have been a staple throughout the centuries?

Does whiskey (with or without the e, depending on where it comes from) really burn if you take a swig? What kinds of barrels enhance the flavor of a good, spirited drink, and does it make a difference?

Did freshly churned butter taste like the butter we buy from the store? I’ve learned that honey has different tastes if the hives are located next to other agricultural fields.

Does the character have the taste of blood in his or her mouth after being injured?  Is it metallic or coppery?

I want to see and taste what my characters taste in order to describe it well.

FEEL (TOUCH)

How does a newborn baby’s skin compare to the aged hands of its grandparent?

What does rough wool feel like to the upper-class woman who has fallen on hard times and no longer wears velvet or cashmere? How about that silk mentioned earlier–—can you help your reader feel it in your description?

Does the food your character is eating have a flavor or texture that can alter their experience?  An unexpectedly sour taste, chewing on a tough piece of meat, or stale bread can all enhance your story.

The soft fluff of the fiber and the prickly scratch of the bracts of the boll presented two extremes to the difficult harvesting of this crop, which will be a feature of a future historical series.

BREATHING   

 I like to think of a different kind of “sixth sense”—the effort to “breathe” in the atmosphere of the settings, and for a brief moment, live like my characters. And hopefully, so will my readers.

Using all of my senses to research my stories has become interesting and fun. I’m resigned to one fact, though. When I’m creating my ghosts and time travel events, I have to rely solely on my imagination for that!

 

 

BEST WRITING ADVICE (PART TWO) : DON’T LOOK BACK! By Penny Hutson

If you’ve read a good deal in the genre in which you plan to start writing, as I recommended in “Part One” of my “Best Writing Advice” series, then you’re ready to consider this next tip.

Never try to write a great or even good novel (or other piece of writing) on the first go-round. Even Hemmingway said, “The first draft of anything is shit.” While that’s a bit extreme not to mention a little vulgar, I get his point. Don’t try to write every line perfectly or worry too much about the final draft while you’re creating the first one. Not only will it take much longer to finish, but it can also get in the way of your creativity. Another drawback, especially if you do not have a very detailed outline, is that you may forget what you were planning to say next. Worse, you may never finish the piece. Trust me, I have files full of the beginnings of many good books.

COASTAL CRIMES 2: DEATH TAKES A VACATION By Mystery by the Sea Authors

 

 March 10, 2025 (Monday) 7pm Est – Zoom Meeting – Session open to the public

Topic: Coastal Crimes : Death Takes a Vacation anthology. Come hear the authors discuss their story location, characters, and story inspiration on a moderated panel.

Description: Get ready to travel to mysterious vacation destinations in Coastal Crimes: Death Takes a Vacation anthology by members of Sisters in Crime, Mystery by the Sea chapter.

The stories are set in and around Virginia. Each of the fourteen stories transports readers across a rich, unique, and deadly landscape in the Coastal Plain of Virginia, North Carolina, and east of I-95. This collection includes vacation getaways from the shores of Virginia Beach to the Eastern Shore, and the Outerbanks of North Carolina. So, pack your bags to visit premier destinations filled with mystery, murder, and a coastal view.

Teresa Inge is inviting you to a scheduled Zoom meeting.
Mar 10, 2025, 07:00 PM Eastern Time (US and Canada)

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Meeting ID: 519 229 8030

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THE SURPRISING POWER OF GRATITUDE by Penny Hutson

It’s November, and on the East Coast that means two things. The weather cools and the leaves turn to a beautiful red, gold, and orange. Across America we also celebrate one of my favorite holidays – Thanksgiving. Family and friends gather around the table for a wonderful meal in a meager attempt to honor the shared autumn feast between the Plymouth colonists and the Native American Wampanoag people back in 1621.

During the Thanksgiving holiday season, we often talk of being grateful or giving thanks for what we have. The word “thanks” is even in its name; but if you knew the true benefits of being grateful, you’d want to do it all year long.

In M.J Ryan’s Attitudes of Gratitude: How to Give and Receive Joy Every Day of Your Life, the author lists fifteen ways that being grateful is good for us. She calls them “the gifts of gratitude.”

While I won’t write about all fifteen, I will highlight a few that surprised or enlightened me. Of course, she included the more obvious results like feeling more joyful, kind and generous.

What I found interesting, however, was the medical evidence she cites showing that emotions such as gratitude and love strengthen and enhance our immune systems. When we harbor negative emotions like worry, anger, and hopelessness, we can reduce the number and slow down the movement of disease-fighting white cells in our bloodstreams. That’s not good.

However, the findings suggest that when we focus on being grateful, it reduces those negative emotions and instead releases endorphins into the blood stream. Endorphins are the body’s natural painkillers, and they stimulate the blood vessels. This leads to a relaxed heart and reduces the amount of adrenaline in our bodies which constrict blood vessels and raise blood pressure. In fact, too much adrenaline in our system can also damage arteries and even the heart itself.

So, while you may have known that being grateful is good for your health, you may not have known the specifics.

Ryan says that gratitude also keeps us current because “. . .when we experience a sense of gratefulness, we are usually contemplating some present circumstance.” We stop thinking about any past failures or future worries; thus, Ryan explains, “we are brought up to date with ourselves.”  In other words, we can’t harbor opposite emotions at the same time. We can’t be both happy and unhappy in the same moment. I suppose we could flip back and forth; but to Ryan’s point, if we’re practicing and truly focusing on being grateful, we won’t be focused on what’s wrong in our lives. She recommends we practice being grateful daily. I found all this information rather insightful.

Gratitude also cures perfectionism, according to Ryan. As a self-described perfectionist myself, I am particularly excited by this prospect. First, Ryan quotes Sarah Ban Breathnach who reminds us that after creating the earth, even God declared it “very good” not “perfect.” I don’t think she’s suggesting God is less than perfect. I believe her point is that He would not expect us to be.

Ryan points out that “. . . perfectionism is born of a sense of inadequacy, of lack,” and that “. . . gratitude counteracts it by tapping us into the experience of abundance.” Again, if we’re focused on what we’ve accomplished versus what’s yet to be done, we are less likely to feel inadequate and better able to resist the urge toward perfectionism.

Another surprising gift of gratitude is that it draws people to us and helps us keep them in our lives. “When we are grateful,” says Ryan, “we exude happiness and that makes us magnets that draw people toward us.” It’s true, I believe. Don’t we all prefer to be around upbeat, happy people? Of course, we all complain occasionally, but no one likes a constant whiner or an overly negative person.

And the last one I’ll mention is how gratitude can release us from the ‘gimmes.” According to Ryan, consumer debt and personal bankruptcies are “. . . at the highest level in U.S. history.” I didn’t research the accuracy of that fact, but I do know we are a culture of consumers and credit card debt. Rarely does a week go by at my house without at least one Amazon delivery. Ryan’s suggestion is to not buy anything new, except for food, for two weeks. During that time notice what you liked about that shirt or other items you already own. Focus on what you have. Ryan claims this gift can help us get “. . . off the consuming treadmill so many of us are caught on.”

The second half of Ryan’s book, which I did not discuss, details how to cultivate and create an attitude of gratitude all year, along with daily practices that will deepen your journey into a more joyous life.

May you have a wonderful, happy, and more grateful Thanksgiving.

WHAT IS GOOD WRITING THESE DAYS? By Penny Hutson

 

Don’t we all know what good writing is? It’s certainly not repeating too many words or using too many of the same words in the same sentence. That’s what I’ve always been taught and taught my students when I was an English teacher, teaching English for many years. Not using incomplete sentences, either. And you should never start a sentence with a coordinating conjunction like “and” or “but” or use a preposition like “with” to end a sentence with.  Anyone annoyed yet?

Okay, maybe that was a bit over the top. However, as a former English teacher trained in avoiding such writing faux pas, I wonder if I notice them more than the average reader. For instance, when I pick up a novel with a ton of repeated words, cliches, or adjectives, I stop reading it and likely refrain from reading other books by the same author. Perhaps that’s unfair, but with so many excellent books and a limited time to read them, I can’t justify spending it on poorly written ones that I truly don’t enjoy. I find myself getting annoyed, often ruminating aloud, “How many times is she going to swallow or bite her tongue? No, his eyes didn’t flash. That’s not even possible!” I believe you get the idea.

Yet, when I look at many of the best sellers and award-winning novels on the market today, I can’t help but notice how often these devices are used. It appears that a vast majority of readers don’t care about such things; and the writers (and publishers) are raking in big bucks to the tune of millions. According to several sources, James Patterson and John Grisham are worth over 800 and 400 million dollars, respectively. They are among the top-selling authors today, but they are certainly not alone. Many others are earning close to or as much and with worse writing, in my opinion.

So, what gives?

Now, I’m not asserting that either Patterson or Grisham are terrible writers whose works don’t deserve to be in print, although I’ll admit I’ve seen many whose publication successes are quite mystifying to me. I have read several books by Patterson and Grisham, including some of their young adult novels, and I enjoyed them. Truth be told, they manage exciting plot lines, interesting stories, and compelling characters even with all the cliches and what I’d call average writing. In fact, it makes me wonder if I’m overly concerned with such things in my own writing, when it appears that most readers in our current society don’t seem to care about or perhaps even prefer such writing.

Of course, I know there’s always been a difference between good literature, like the kind we read in high school and college, and what is often called junk or pulp fiction. You know the kind - those steamy romances, swashbuckling adventure, or detective mysteries essentially telling the same story over and over except with different characters and settings. We know they’re not winning any Pulitzers, but we love reading them anyway. However, there appears to be so much more of the latter being published and purchased today.

So, I’m asking you, as writers, how much do you worry about such things? Do you think readers today care more about the story than the writing itself, perhaps even preferring that style of writing over the more polished, literary kind? Essentially, I’m asking if you think “good writing” has been replaced. What else could explain the enormous profits made by those publishing works without it? I’d love to hear your responses.

STORYTELLING AND THE ART OF THE MYSTERY GENRE by Penny Hutson

Storytelling likely existed well before recorded history, but the traditional mystery genre is actually quite new compared to some of the earliest stories. Homer’s Illiad and the Odyssey, for example, are generally dated in the late 8^th to early 7^th century BC.  Written in verse, these poems detailed the exploits of all the heroes and heroines, kings and queens, gods and goddesses in the Trojan war, and later King Odysseus’s travels home from the war.

Rarely were stories told or written about the common or everyday folk. Chaucer’s Canterbury Tales were one exception, but they were not written until the 14^th century. Even the few Shakespearean tales of the seemingly ordinary folk like Prospero or Sly included kings, dukes or other noblemen and women. The infamous bards of the Middle Ages dabbled in local lore and legends, but still told of larger-than-life figures who were well known by their audiences. Robin Hood, William Tell, and the Pied Piper came to mind. Those storytellers were also well-versed in the local gossip and scandals of the Royal Court of the day, as well as tales of the heroes in myths and legends such as Hercules or King Arthur. Interest in folklore, tales about the common people, didn’t begin until the late 1700s in Europe, and then later bloomed when the Brothers Grimm published their fairy tales in 1812.