Showing posts with label romance fiction. Show all posts
Showing posts with label romance fiction. Show all posts

Wednesday, March 6, 2013

UNCOVERING THE PAST & SHINING A LIGHT ON THE HEROINES: Writing World War II Women’s Fiction


By Lise Horton




The series of World War II women’s fiction novels I continue to work on have fostered an even deeper appreciation of the era than I already had. As the niece of a Marine medic who landed on Iwo Jima, the great niece of an aunt who served as a nurse in Africa, and as the daughter of a woman who well remembers the home front life of Victory Gardens, food and gas rationing, black outs and civil patrols, it is not a time in our history very far removed from me (having been born in 1955 – a scant 10 years after VJ Day). First hand recollections instilled a feverish desire to know everything I can about the time, the world, how it began, how we rallied, and how the events changed us.

Since I’ve become a writer, it is not surprising that I gravitated to the period. When contemplating my series of novels, I decided that each book would have as its protagonist/heroine, a woman fulfilling a role that women took on in real life. I came to this decision for a specific reason. All through my life, reading WWII histories, I was continually frustrated by the lack of information on women. A mention here or there, very briefly, of nurses, and occasional references to women in the USO. Aside from the Rosie the Riveter coverage, presented mostly as novelty to break up the important stuff, the most frequent mention of women in wartime was coverage of prostitution.

I started searching because one day my Mother mentioned that her chemistry professor at Skidmore in the early 1950’s had been a chemist working on the atomic bomb at the Los Alamos location of the Manhattan Project – along with some of the most famous scientists in the world. That got me determined to find out more about the other women involved.

Mom also regaled me with stories about her youth during the war. She and my grandparents had a hefty Victory garden and we still have a ration book that my grandmother used. My grandfather was a foreman in the Scranton coal mines and, as such, got additional gas rations because he was employed in the war effort. Neighbors volunteered to be members of the civil patrols. All the kids participated in gathering tin, rubber and the ladies donated silk for parachutes, doing without stockings for the duration so that paratroopers and flight crews could be saved. Women at home scrimped, saved, sacrificed and sent care packages that kept their men in touch with home and what – and who – they were fighting for. No matter who they were, the folks at home did their part and have wonderful stories to be told.



Then I read a book by Janet Dailey, Silver Wings and Santiago Blue, which was a novel about the Women Airforce Service Pilots – the WASPS – who’d taken on the daunting task of plane ferry duty, anti-aircraft gunnery target towing, and the sometimes deadly job of test pilots for the various new aircraft being rolled out to beat the Germans and Japanese in the air wars above Europe and the Pacific. Investigating a bit I discovered a wealth of information.



Reading a biography of Ernest Hemingway, I encountered Martha Gelhorn, one of his wives who reported from many locales, including the front lines, during WWII. This discovery led me to uncover the cadre of female reporters and photographers who were right in the thick of things with the men – despite the battle they had to be permitted, and ultimately, accepted in that role.



Yet again, I was reading a book (I’ve been known to do that ….) called Shining Through by Susan Isaacs. The novel concerned a young Jewish woman who decides to help the war effort and ends up working for the US government and the OSS – the clandestine group that would become the CIA. As a German-speaker, she ultimately volunteers to become a spy in Germany, putting her own life in peril. Lo and behold, I discovered that, indeed, numerous intrepid American women were employed by the OSS (including Julia Child), and while most worked at desks or other, safer duties, many actually were trained and went into occupied territories, a number of them losing their lives.



Once I became enmeshed in the history of the female participants in WWII, and called to mind my aunt’s nursing service, that was another role I investigated. Sure enough, the role of the nurse was a vital one, and many perished in their duties working on the front lines. Early in the war when the generals let Guadalcanal surrender, a number of them were left behind caring for wounded prisoners and these nurses were subsequently captured, and spent the remainder of the war in Japanese POW camps such as Santo Tomaso, under horrific conditions – many of them, along with other internees, dying of disease and starvation.

Bette Midler’s film, “For The Boys” tells the story of a character some say was based on real-life singer Martha Raye and her USO tours during WWII. Lots of other women, famous and otherwise, toured with the USO. Marlene Dietrich for example, though German, was a fervent anti-Nazi and was a familiar USO performer. Soldiers recalled a particular instance in which she, clad in her ubiquitous slacks, helped soldiers get a rolled over Jeep back upright, wiping her hands and walking away afterwards.



Attempting to uncover more of the history of New York City during the War I came across “Over There” and “Helluva Town”, non-fiction titles that covered in great detail the City and surrounding areas during that time. Wouldn’t you know it? While I already knew of the most famous of the WWII female – the iconic Rosie the Riveter – when I read of the plot to sabotage the Long Island Grumman aircraft factory by an American Bund group, which was being funded by money coming in from the German Nazi party, a light bulb went off – how about a heroine Rosie who helps to thwart the plot?

An old movie from my (impressionable) youth, “The Yellow Rolls Royce”, a trilogy of romances involving the title auto. In one segment, a widowed American woman is trapped in Yugoslavia when war breaks out. With her car, her money, and her American fortitude, she aids the Yugoslav partisans in their battle against the Russian and German invaders (falling in love with one, natch). In fact, upon researching, there were many women caught behind enemy lines – including the wives and daughters of missionaries in the Far East. Yet another heroine’s story was born!



So. Why were the exploits of these women so casually dealt with in the histories? I guess because most of them were written by men. But in recent years numerous female historians have uncovered these courageous women and have begun telling their stories. And the self-publishing industry has allowed many, many women who participated to relate their own stories. These first-hand accounts are exceptionally valuable because you are getting the flavor of the times, and the people and details you cannot find as easily in current reports about those times.

It’s been a wonderfully educational experience studying all of the material, and learning of more and more roles American women played in the struggle, and victory, during this conflict. And it just goes to show that ideas come from innumerable sources. For me, I’m well on my way thanks to personal histories, film and fiction, and historical sources. All of this information also means that I can, with luck, help illuminate the history of women in wartime by virtue of my fiction.

Friday, December 21, 2012

Benefactors & Believers

The other day I got the call. My novel made the cut at Carina Press and so I have officially “sold” my contemporary erotic romance.

My first call was to my Mother. She’s been a supporter, cheerleader, critic, beta reader and grammar source since I began to seriously pursue my writing.

My second call would have been to my friend Milton Burton. A writer, an incredible mind, and my biggest fan, I can hear in my mind the big booming voice of congratulations. Sadly, Milton passed away a year ago today, and after nearly five years of support, missed my first publication, and the sale of my first novel.

The third person I told was an attorney at the entertainment law firm where I work. That may sound odd – I told her before I announced it to my RWA NYC chapter mates, or my cohorts on my Yahoo erotic writers’ loop, Let Me Get You Hot & Bothered – but it really is not.
This lady, a wonderful, creative talent in her own right as well as a brilliant attorney, is a member of a select group I came to call My Benefactors. A few years back, she and four other attorneys I worked for pooled their gift one Christmas and gave me a laptop. One of them scoped out the best model, based on what I’d mentioned I was looking for. It was a teary moment and one that I will never forget, because they were all exhibiting their full support for what I was attempting.

That attorney had produced and directed her own documentary while at film school, before law school. Another of the bunch was a stand-up comedian when he wasn’t parsing legal contracts. A third was a screenwriter hawking his own work to Hollywood connections. So they, more than some, perhaps, got me, got my dream and showed me the ultimate in support.

When I gave her the news, she started whooping, yelling, and dragged me out of her office into another attorney’s office to share the news. A third attorney heard the ruckus and came running in, also hugging me in congratulations.

Every single one of the attorneys I work for gave me heartfelt congratulations. Even my one boss who looked askance and asked if I’d gotten a big advance. I have a feeling he was nervous I’d get an E L James deal and leave him high and dry, assistant-wise. It was a delightful way to spend the afternoon.

No one even objected when I was less than functional that day.

Then came the surprise party we were throwing for a paralegal who was off to have her baby. There was cake and cheers, and lots of frivolity.

Suddenly my boss pulled out a bottle of champagne, and they filled glasses and passed them around to the entire department of attorneys and staff, and everyone toasted my book sale.
I hear often of authors, particularly those who write steamy or erotic romance, who have to keep their passion and work secret from employers. Here at my home away from home? Not only have they supported me all along, not only have they cheered my successes as they rolled in, from contests, to completing manuscripts, to sales, but they have told their spouses, who’ve also called to congratulate me. One has offered her husband’s photographic services for my author photo. The attorney who specializes in publishing has offered his help. The Marketing Director posted my news on the Firm’s Intranet calling my book “erotic romance”. My boss also tells everyone that I’m not the first assistant to “make good”, publishing-wise. Because many years ago another secretary stayed late at night to type her book.

She’s a client now: A NY Times Best Seller, with numerous films made of her books starring the crème de la crème of Hollywood talent.

And here at my job, the attorneys for whom I work, and others in the office, all insist they’ll be buying my book the moment it is released, even though they know full well that they’ll be needing those asbestos gloves when they do.

I’m very fortunate that my endeavors need not be hidden. And more fortunate indeed, that my employers are cheering me on.

With good luck, perhaps the success of our genre will make it a respectable pursuit and fewer and fewer authors will have to hide the fruits of their passionate labors from co-workers, friends and family.

For now, I simply thank my lucky stars that I’m already there.


Friday, August 10, 2012

A Muse of Fire: Beware The Ides of March - Shakespeare's Villains & Creating Great Antagonists




“I am determined to prove a villain … plots have I laid, inductions dangerous…So speaks Richard III, one of Shakespeare’s, and dramatic literatures – most villains characters. He is the Rambo of antagonists, and a perfect example of the value of crafting a strong adversary to ensure powerful conflict and a titanic battle for your heroic protagonists.

Richard’s villainy consumes the play and his plotting touches everyone in his sphere, and some, like Anne, who’d prefer to be as far removed from his sphere as possible – a vain hope unfortunately. Yet in true romance style, Richard (though he’s Shakespeare’s protagonist in the play) gets his fated comeuppance – in addition to the various human adversaries, he is ultimately brought low by that classical antagonist: Fate – “A horse! A horse! My kingdom for a horse!

Creating strong, powerful, cunning, dastardly villains or antagonists is a must in romance. Whether in a romantic suspense where the adversary is a real villain with homicide on his mind, stalking the heroine, whom she and her hero must best in bloody, mortal combat, or a fantasy wherein the lovers are up against the power and weight of magical plotting by denizens of a rival kingdom, or a contemporary category story with a hostile takeover adversary who must be bested in the boardroom, the strength of your novel’s villain determines in the large measure the intensity, and strength, of your conflict. Which leads to a riveting story readers cannot put down.

Shakespeare has peopled his pantheon with villainous characters of every stripe: Richard III, Iago, Lady MacBeth and the Mr., Shylock, Brutus, Gertrude and Claudius, Goneril and Regan, and “Measure for Measure’s” Angelo. Men, women, Mother Nature makes an appearance on several occasions (“The Tempest”, “King Lear”) and as is evidenced in “Richard III”, even Fate plays a major adversarial role. These characters present a master class in the crafting of that dark force you must set against your heroic tag team. And further, they provide great examples of classic motivations: Lust for power, greed, jealousy, revenge, lust and that pure Machiavellian sociopathic drive that is such fun. Iago is a wonderfully sinister example as he drives Othello to murder. While Othello commits the crime in a jealous rage, it is the cold calculation of Iago as he plants the insidious seeds that is really chilling.

Lady MacBeth is a mere manipulator by comparison, but while she admonishes her husband to “Screw your courage to the sticking place and we’ll not fail!”, once he has carried out their plan, her resolve disintegrates into madness over the deeds. It is a great example of macabre hand-wringing perfection as she bemoans, “Out, damned spot! Out I say!”.

A more benign villainy is that perpetrated by Lear’s daughters, Regan and Goneril – though in our story, Cordelia would naturally emerge victorious in that sibling grudge match.

Even the whimsical Puck plays the antagonist as he sets humans and gods on a merry love chase in “A Midsummer Night’s Dream”.

Henry VI, as in many an historical romance or sci-fi opera, is up against an entire kingdom, which challenges rouses Shakespeare’s royal hero to towering, heroic heights:

Once more unto the breach, dear friends, once more;
Or close the wall up with our English dead.
In peace there's nothing so becomes a man
As modest stillness and humility:
But when the blast of war blows in our ears,
Then imitate the action of the tiger;
Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favour'd rage;
Then lend the eye a terrible aspect;
Let pry through the portage of the head
Like the brass cannon; let the brow o'erwhelm it
As fearfully as doth a galled rock
O'erhang and jutty his confounded base,
Swill'd with the wild and wasteful ocean.
Now set the teeth and stretch the nostril wide,
Hold hard the breath and bend up every spirit
To his full height. On, on, you noblest English.
Whose blood is fet from fathers of war-proof!

. . .

I see you stand like greyhounds in the slips,
Straining upon the start. The game's afoot:
Follow your spirit, and upon this charge
Cry 'God for Harry, England, and Saint George!'

Set it anywhere you like, that is major conflict and sets the stage for wonderful acts of courage on the part of your hero!

The canon of the Bard on Avon is a go-to-guide for villainy and conflict. Hannibal Lecter is no match for the “crook backed” King Richard himself. So get thee to a library (or B&N or Amazon) and grab a play, any play, and start plotting your OWN dangerous inductions!

If you’d like to take a gander at a broader spectrum of bad guys, there are any number of plays with terrific adversaries throughout drama. The threat of Nazi’s is the crux of Lillian Hellman’s “Watch on the Rhine”, and in her “Children’s Hour, it is a cold and cruel society set against the two young teachers. A town willing to go to extreme lengths figures in Friedrich Durrenmatt’s “The Visit” as well, and again in Tennessee Williams “Sweet Bird of Youth”, as they castrate the anti-hero, Chance Wayne. Judge and jury square off in Ayn Rand’s “Night of January 16”. Ibsen’s Hedda Gabler is a great manipulator. It is the hand of fate, however, who hovers over some tragic folk – Willie Loman in Arthur Miller’s “Death of a Salesman” and Lola and Doc Delaney in Inge’s “Come Back, Little Sheba”. Williams has a great hand at the macabre too, with the driven villainy of Mrs. Venable – who out-villains even the carnivorous pre-teen cannibals in “Suddenly, Last Summer”. Familial adversaries abound, as well, from the classic “Antigone” and “Oedipus”, to O’Neill’s “Strange Interlude” and “Desire Under the Elms”. The classic canon gives us infanticide and that complex murdering mom, Medea. Family dynamics, coupled with addiction and madness drive the characters in O’Neill’s masterpiece, “Long Day’s Journey into Night”. Add: Amadeus, The Petrified Forest, and Glengarry Glen Ross and you’ve made a good start.

Now create villains that make your readers root for your lovers – even as they fear the worst!

Thursday, June 7, 2012

O, For A Muse of Fire: Shakespeare’s Inspiring Love Scenes






Like a Costco of love scenes, Shakespeare has something for everyone. While there is no sex on the page, there is plenty of innuendo. Some rowdy, some sly, some witty, love scenes of every flavor abound from passionate, lusty, or dark, to outrageously funny, poignant, or earnest.


Shakespeare’s lovers are virginal youths, gods and goddesses, attractive opposites, and murderous spouses. The wonder of Shakespeare’s characters in love, coupled with his brilliant language – that can be bawdy, or transcendent – is something you will be struck by again and again. You’ll never fail to find gems within his work that will inspire your own creation of both evocative love scenes and rich characters.

Revisit the most famous, and oft-quoted, of his plays – “Romeo and Juliet” – and you’ll be wallowing in romance, love, desire, and rapturous words of love. He captures with eloquence the youthful energy and passion of the pair. Witness the speeches of Romeo and his Juliet where their impatience and lust are so evident. Romeo’s famous Act II, Scene II speech “But soft, what light through yonder window breaks, It is the East, and Juliet is the sun.”, conveys his emotions and hormones running amuck. And Juliet, as she awaits the return of Nurse, her agitation blatantly clear, bemoans, “O, she is lame! . . . Had she affections and warm youthful blood, She would be as swift in motion as a ball;”. Later, the all-encompassing power of her love is laid out for the reader in Act II, Scene II with its stunning conclusion:


“…Come, gentle night, come, loving, black-brow’d night,
Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night,
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possess’d it; and though I am sold,
Not yet enjoy’d. …”


On the opposite end of the love scene spectrum, you have the witty adult banter replete with sexual innuendo, foreplay if you will, between Kate and Petruchio, in “The Taming of the Shrew”. This famous meeting is a terrific example of Shakespeare’s bawdy bent (Act II, Scene I):


Kate: If I be waspish, best beware my sting.
Petruchio: My remedy is then to pluck it out.
Kate: Ay, if the fool could find it where it lies.
Petruchio: Who knows not where a wasp does wear his sting?
In his tail!
Kate: In his tongue
Petruchio: Whose tongue?
Kate: Yours, if you talk of tales; and so farewell.
Petruchio: What, with my tongue in your tail?
Nay, come again,
Good Kate, I am a gentleman.
Kate: That I’ll try


For the author crafting love scenes reading the plays of Shakespeare provides a bountiful wealth of inspiration.

In addition to his plays, there is also the breathtaking beauty of his poems and sonnets – rife with intense romantic emotions. The most famous, perhaps, Sonnet 18 (“Shall I compare thee to a summer’s day?”), presents a lover’s litany to his lady of all her beloved characteristics. But my personal favorite literally chokes me up. In a few short lines it expresses the all-encompassing power of love:


When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state
And trouble deaf heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess'd,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.


To paraphrase Portia, I rest my case.


P.S. Of course, among the canon of dramatic literature, lovers and love scenes abound. For other tastes, you might try:


“Danny and the Deep Blue Sea” – a great exploration of post-coital emotions by John Patrick Shanley


“Talk To Me Like The Rain and Let Me Listen” – a lyrical outpouring between 2 lovers exposing their deepest longings, by the master, Tennessee Williams.


“Frankie and Johnny In The Claire du Lune” - Terence McNally’s quiet exploration between two strangers, hesitate, ordinary, who succumb to loneliness and longing. This is an exquisite, passionate play, as lilting as the song the title it references.


“Fool For Love” – Again, this Sam Shepard play is sizzling with erotic tension and action between the two incestuous sibling lovers.


“Desire Under the Elms” – Like some other plays of Eugene O’Neill, “Anna Christie” and “A Moon For the Misbegotten”, “Desire”, with its theme of forbidden lust and love, is a deep and dark exploration of the human heart.


One of the most tortured pair of lovers in all of dramatic literature is Tennessee Williams’ very own Maggie the Cat and her husband Brick. The dynamics of familial pressures on a couple, Brick’s tormented secrets, and Maggie’s unrequited lust for her handsome husband are brilliantly explored. And perhaps the universal desperation of lovers’ can be summed up in Maggie’s classic speech:


“You know, if I thought you would never, never, never make love to me again – I would go downstairs to the kitchen and pick out the longest and sharpest knife I could find and stick it straight into my heart, I swear that I would! But the one thing I don’t have is the charm of the defeated, my hat is still I the ring and I am determined to win! What is the victory of a cat on a hot tin roof? I wish I knew . . . Just staying on it, I guess, as long as she can . . . Later tonight I’m going to tell you I love you an’ maybe by that time you’ll be drunk enough to believe me…”

Friday, April 22, 2011

Celebrating A Classic - 75th Anniversary of Gone with the Wind


This year marks the 150th anniversary of the start of the Civil War. Coincidentally, it is also the 75th anniversary of the publication of Gone with the Wind. 75 years after the War Between the States ended, Margaret Mitchell published her only novel; a novel which has become an icon of American literature. It has been called, variously, “one of the most extraordinary phenomena of bestseller history” and “one of the most popular books of all time”, as well as “the most romantic novel in history”. It garnered a Pulitzer Prize for Mitchell, and the subsequent film earned a record 10 nominations and won the Best Picture award of 1939. The book became an instant bestseller, despite an unprecedented price of $3.00.

Gone with the Wind has stood the test of time in the US, but also has remained a bestseller throughout the world. It has been surmised that, perhaps, the themes of the novel are so familiar to anyone, anywhere, because, sadly, war is universal. It has been translated into 40 languages and published in over 50 countries. In Japan, it has been translated and is frequently presented as a stage production. Mitchell herself said that the theme of the novel was “survival”: certainly a timeless and universal one.

The Margaret Mitchell Museum in Atlanta sees visitors from all over the world, who come with stories of their own experiences with war. “Windies” – die-hard fans of the novel and its author – celebrate the book with pomp and relish. This year they are planning a champagne toast at the author’s gravesite to commemorate the anniversary. There have been several sequels, Scarlett by Alexandra Ripley and Rhett Butler’s People by Donald McCaig, as well as the disputed parody novel, And The Wind Done Gone by Alice Randall. Negotiations are also underway for another sequel to be penned. In addition to the frequent Japanese theatrical productions, the musicals “Scarlett” and “Gone with the Wind” have been produced in England.

As with other novels of troubled times, GWTW has earned harsh criticism for its negative presentation of the slave characters and its benign view of the institution of slavery. It seems important to keep in mind, however, that Margaret Mitchell was writing from a single generation’s distance from the cataclysm, and from a locale at the heart of it. Much of her research was based on conversations she heard throughout her life from survivors and participants of the “war of Northern aggression”. The book’s sympathetic tone might rankle now as we view it from nearly a century later. Today’s novels of romance fiction also often deal with sensitive and sometimes controversial topics too, however and come in for their own share of criticism. The books that started it all, the “bodice rippers”, in fact quickly evolved beyond the “forced seduction” scenario in great part because of the outcry over the tacit presentation of rape as something that could be romantic.

Too, the protagonist of GWTW is not a typical romance heroine by any stretch. Scarlett O’Hara will, by her own admission, lie, cheat, steal or kill before she or any of her family go hungry. She is also immature, manipulative, selfish, and covets another woman’s husband until, well, until she doesn’t anymore. Because she has then set her sights on the incomparable Rhett Butler. However, she also embodies many of the de rigueur qualities in today’s heroines: fortitude, bravery, determination, pluckiness (gumption as Ms. Mitchell said), loyalty to home and family, and a zest for life and love.

As for the towering person of Rhett Butler, I find him the consummate romance hero. Despite his shortcomings, he fulfills the number one requirement of a romance hero: He comes through when the need is most dire. Of course, I like my romance heroes mad, bad and dangerous to know and flawed. The better to be saved and converted by a romance heroine!

The tempestuous character of Scarlett, and the novel overall, despite these issues, is unforgettable. Mitchell created a panoramic tale of love, loyalty, heartbreak and lust for life, set against a backdrop of the most devastating events the country has ever faced. The primary characters barely survive – and in fact, a number of them don’t. Characters go from the highest of heights to the most abysmal of lows. Talk about your black moments!

Gone with the Wind is a categorized as a “popular novel”. Certainly I would consider it “women’s fiction”. Today’s romance fiction also falls into those categories yet, in the end, while GWTW is certainly not a romance, by today’s standards (a happy ever after being notably absent for everyone involved) it is one of the most romantic novels of all time. A larger than life hero and heroine, trials and tribulations, historical sweep, passion and as with every romance – painful lessons learned.
Margaret Mitchell’s own words about her book might also sum up a basic romance novel tenet: “I wrote about the people who had gumption and the people who didn’t.”
Despite the differences in length, complexity of narrative, and the most assuredly un-happy ever after outcome, Gone with the Wind might well be considered a progenitor of contemporary romance novels: stories where a hero and heroine meet and fall in love (albeit at different times), face impossible odds on the path to happiness, but who, in the end, are able to overcome the odds and find joy together.

Margaret Mitchell’s novel mirrored her own life in many ways. Her mother died during the 1918 influenza pandemic and she was left to care for her family, Irish Catholic just like the O’Haras. She was an independent woman, choosing to pursue a career in journalism when women were certainly not regulars on the newspaper beat. She suffered through an unhappy first marriage, only to marry the 2nd suitor who had been simultaneously vying for her attention when she accepted the proposal of the first.

Her novel almost never saw the light of day and the tale is legendary in the annals of publishing. While the specifics of the story vary, it is said that after seven years of work she had secreted the manuscript away in a pile of envelopes, in her closet, having no intention of pursuing publication. But when Macmillan editor Harold Latham visited Atlanta in the hope of discovering a new Southern writer (would that this practice was still in place – we could avoid all those rejections and just wait for the editors to come calling!), a mutual acquaintance mentioned Mitchell’s book. Apparently a friend found it humorous to think that Mitchell had written a book and Mitchell, her back up over what she perceived as a slight, marched to Latham’s hotel and handed over her tome. When she later tried to get Latham to give it back, he refused. He’d already begun to read, and had been swept away (couldn’t resist!). The rest, as they say, is history.

Sadly, Margaret Mitchell’s own HEA was not to be. Her life was cut short by tragedy when she was hit by a car and killed at the age of 49.

Gone with the Wind has sold more copies than any other book in history (with the exception of the Bible). It has fired the imagination of other writers who have sought to capture the time, the characters, and the questions of the time. It lives because it speaks to the human spirit of those who struggle against the tides of war. It gives us a heroine who remains unbowed despite all travails. Who never gives up and even as the novel closes, prepares to do battle again for the man she loves. Because, after all, tomorrow is another day!