Poster of the Week

What can we say? Between Rhett going shirtless, Scarlett ditching her custom red wrapper for a green one (Happy St. Patrick's Day everyone!) and the useful circle in the right corner informing us that this is not suitable viewing material for children, this Australian poster,  date unknown, kind of speaks for itself, doesn't it? And if ever the adult industry decides to attach itself to Gone with the Wind, they don't need to look far for a poster either...

Image from moviegoods.com.

More Glister than Gold? Exploring Scarlett O'Hara's Engagement Ring

"The ring Rhett brought back from England was large indeed, so large it embarrassed Scarlett to wear it.  She loved gaudy and expensive jewelry but she had an uneasy feeling that everyone was saying, with perfect truth, that this ring was vulgar.  The central stone was a four-carat diamond and, surrounding it, were a number of emeralds.  It reached to the knuckle of her finger and gave her hand the appearance of being weighted down.  Scarlett had a suspicion that Rhett had gone to great pains to have the ring made up and, for pure meanness, had ordered it made as ostentatious as possible."

--Gone with the Wind, Chapter XLVII

Did you ever wonder about the infamous engagement ring Rhett bought for his beloved? Being sure as we are that this topic did keep you up at night, we thought we'd round up a few period rings that could fit the description and let you be the judges. With a few exceptions, we tried to stay as close to the range 1860-1870 as possible. Word of warning, though:  not all of the rings we found fit the description color-wise (or gemstone-wise, for that matter), so, for the ones who don't, you will just have to use your imagination and picture them in the right color. 

So now it's time for you pick your favorite and let us know about it in the comments! Which number is the winner?

Ring 1

Image from rubylane.com

Date: 1860-1870

Stones: Old mine cut diamonds

Material: 18k gold with black enamel engraving

Carat Size: 2.5 carats total 

(0.75 carat center stone and 8 side stones of 0.15-0.35 carats each) 


Ring 2

Image from rubylane.com

Date: 1876

Place of Origin: Birmingham, England

Stones: Cushion cut diamond and garnets

Material: 18k gold

Carat Size: Approx. 2 carats total

(0.4 carat center diamond surrounded by 8 slightly smaller garnets)

Ring 3

Image from rubylane.com

Date: 1890-1900

Stones: Pear-shaped emerald and old mine cut diamonds

 Material: 14k gold

Carat size: 1.5 carats total

(0.75 carat center emerald and 15 diamonds of 0.5 carats each)


Ring 4

Image from langantiques.com

Date: 1865

Stones: Oval cut Burma ruby and old mine cut diamonds

Materials: 18k gold

Carat size: 4.5 carats total
(2.75 carat center ruby and 13 diamonds totaling 1.75 carats 

  
Ring 5

Image from graysantiques.com

 Date: 1880
Stones: Emerald and diamonds
Material: 18k gold
Carat size: Unknown

Rue de la Paix

This week's collage brings us a celebration of Gone with the Wind and old-school Hollywood glamour. It's a pairing that's as perfect as, well, Rhett and Scarlett!  

Gone With The Wind by pappilon♥ featuring heart earrings

Poster of the Week

This week, Poland offers up a monochromatic interpretation of Rhett and Scarlett at the Atlanta bazaar. Oh Polska, why must you come up with the gloomiest Gone with the Wind posters ever? 

Image from moviegoods.com.

The Quotable Rhett Butler: The Giant Antaeus

Well, friends, long time no see, isn’t it? Come to think of it, I should have probably started this post with “How We Do Run On has the pleasure of featuring yet another guest blogger today, one you might remember from many months ago. Please welcome Bugsie, the girl who doesn’t really know fashion!” In my defense, it was not (only) laziness that kept me away from you and our favorite heroes. Moving to a country that values beer above all other things helped too.

But now that I am back, and now that everyone’s favorite series, Doppelganger Dresses, reached its end, I am afraid you will have to put up with my endless analyses of Mr. Butler’s every word again. For those of you who are not familiar with it, The Quotable Rhett Butler is a series that tries to highlight and explain some of Rhett Butler's lines with a focus on the references (historical, literary or mythological) he uses. You can have a taste of the quotes we covered so far here.

The quote I selected for this week belongs to chapter LVII and was a suggestion from our reader Bella:

"'Yes. Tara will do her good,' he said smiling. 'Sometimes I think she's like the giant Antaeus who became stronger each time he touched Mother Earth.'" 

--Gone with the Wind, Chapter LVII

This comes from Rhett's conversation with Melanie after Scarlett's departure to Tara after the miscarriage. Since Scarlett's leaving for Tara had already been described by Mitchell in  quite similar terms in a previous scene ("As she had once fled Atlanta before an invading army, so she was fleeing it again (...). It seemed that if she could only get back to the stillness and the green cotton fields of home, all her troubles would fall away and she would somehow be able to mold her shattered thoughts into something she could live by."), we could say this is a case of a character making its author's symbols transparent.

Antaeus - the character Rhett compares his wife with - was a mythological giant with a passion for wrestling (and killing) innocent passersby. His secret weapon? A privileged relationship with his mother, Gaia, aka Mother Earth. In other words, he drew his invincible strength from the soil. So when he had the imprudence of challenging Hercules to a wrestling match, all the famous hero had to do was keep him flailing above the soil for enough time to drain him of strength and then it was game over for Antaeus. 

It is easy to see how the reference to this legend functions as a good comparison for Scarlett's character. For, while she loses everything or almost everything on more than one occasion, as long as she still has Tara as a refuge, she can survive. But this also raises a question that I want to pose for discussion today. Antaeus'  dependence on one source of strength proved a disadvantage to him in the end. Similarly, while her relationship with Tara certainly had its advantages (both material and psychological), could Scarlett’s attachment to the plantation also prove a weakness in some ways?  What do you think? Consider the period after the war and the lengths she goes to to keep Tara. Wouldn’t it have been easier and perhaps more profitable for everyone if she let go? 

Rue de la Paix

This week's collage continues our look at bridal splendor on the blog--although in the absence of Rhett-and-Scarlett wedding footage from GWTW (sniff, sniff), we revert to Scarlett's first wedding to Charles Hamilton. But unfortunate unions aside, Scarlett still makes a lovely bride, doesn't she? 

Scarlett's first wedding by ~Lotti~ on Polyvore.com

A Slideshow of Bridal Fashions from the Gone with the Wind Era

Although we wrapped up our Doppelganger Dresses series last week, that doesn't mean that we're done covering Victorian fashion here at How We Do Run On! We'll still be bringing you plenty of fashion tidbits from the Gone with the Wind era. Up first is a slideshow of 11 full-color bridal fashion plates, all circa 1867-69, to go along with our earlier look at Scarlett's bridal style for her wedding to Rhett. You see, although that post was chock-full of information about circa-1868 wedding fashions, it had one glaring weakness we needed to correct: the absence of many full-color fashion plates! 

Joking aside, we hope the slideshow below gives you a better insight into the many beautiful dress styles that Scarlett could have worn to become Mrs. Rhett Butler. Check them out and let us know what you think. Which dresses can you see Scarlett wearing?

Poster of the Week

Our favorite couple appear enthralled with each other in this vintage poster, which circulated throughout 1939-40.

Image from moviegoods.com.

 

An Interview with Ellen Brown and John Wiley, Authors of Margaret Mitchell's Gone with the Wind

Editors' Note: Here is the promised interview with Ellen Brown and John Wiley, authors of Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Ellen is freelancer writer and owner of an antiquarian bookselling business. John is the publisher and editor of the Scarlett Letter, a quarterly newsletter for GWTW fans. A longtime GWTW collector, he also holds one of the largest collections of GWTW memorabilia in the private hands. It was a great pleasure for us to talk with Ellen and John about their book, Margaret Mitchell, and the making of GWTW, and we think you'll find their insights very interesting as well. Enjoy! 

1. To kick things off, how did you first become fans of Gone with the Wind? And what continues to fascinate you about Gone with the Wind today?

John: I first saw the movie at age 10, then I read the book and loved it even more. I began collecting memorabilia (especially that related to the book) and eventually began The Scarlett Letter, my quarterly GWTW newsletter. I remain fascinated by how popular the book and movie have been around the world for 75 years. The story of Scarlett and Rhett is a universal one.

Ellen: I first saw the film version when it aired on television in 1976. I was six years old and fell in love with the visual beauty of the movie.

I didn’t read the book until I met John. I was skeptical the book was worth reading, but he convinced me to give it a try. Once I started, I couldn’t put it down. I was amazed by how incredibly rich it is. I liked it even better than the movie and have no hesitation calling it literature.

2. Tell us a little about your book. What was your inspiration for starting this project?

John: Our book is a biography of Margaret Mitchell's novel, not of Miss Mitchell herself. As such, it tells the story surrounding Gone with the Wind up to the present day. We were inspired to tell the life story of Gone with the Wind when we realized that while parts of the story had been told, the complete history of the book had never been recounted in detail.

Ellen: I wrote a magazine article about John several years ago. During our interviews, he kept mentioning these wonderful stories about Margaret Mitchell’s experiences writing and managing GWTW. When I asked him where I could read about this part of her life, he told me nobody had ever written much about the history of the book or Mitchell’s efforts to manage the literary rights. We decided to team up and tell that story.
 
3. We're a team of co-bloggers, so we're naturally inclined to ask this next question. What was the process of co-authoring a book like? How did you to decide what you wanted to cover, and who would research and write what?

John: I had done a great deal of research over the years just out of my interest in Gone with the Wind. After Ellen and I did a week or two of new research, we decided how to split up the writing. After working up drafts, we exchanged chapters and made comments on each other's work. We then traded again and repeated the process. Eventually, we sat down in person (although we talked and e-mailed dozens of times a day!) and went over almost the entire manuscript line by line, so it was a real joint effort. Several people have commented that the book reads “seamlessly,” and we are proud of that!

Ellen: John has spent the last several decades researching Gone with the Wind, so I had some serious catching up to do. I spent several months reviewing the Macmillan and Mitchell papers to get up to speed.

In terms of writing, John has a full time job so of necessity the bulk of the initial drafting fell to me. However, he was a constant presence and we regularly exchanged drafts. We spent many days around my kitchen table reading the draft chapters aloud word by word to make sure we had the voice right. 

4. What do think the most significant challenge was that Margaret Mitchell faced in terms of managing her GWTW empire?

John: At first, I think it was dealing with the overwhelming publicity and the feeling that many in the public had that they almost “owned” her. Later, the copyright issues (piracies and protection) became her biggest challenge.

Ellen: I would say managing the overseas publishers. She spoke no foreign languages and yet had to fight a constant round of attacks in countries all over the world. She rolled her sleeves up and figured it out. In the long run, these challenges became her greatest successes.

5. What role to you think Margaret Mitchell and her legal battles played in influencing later reforms to U.S. copyright laws?

John: Margaret Mitchell's unending battles brought to the forefront the difficulties faced by U.S. authors who were not protected by international copyright law. When Congress became aware of all the issues she dealt with (her brother, Stephens Mitchell, testified before a Congressional panel) helped push the United States to join the Berne Convention.

Ellen: Mitchell’s experiences paved the way for American authors to have successful careers overseas. Congress saw what she went through and fixed an unworkable legal system. Although she didn’t live to see it happen, she was very proud of the work she had done to publicize the inadequacies of US copyright law.

6. One of the most interesting revelations in your book how strained the relationship was between the Marshes and Macmillan at various points in time. Overall, what's your assessment of how Macmillan handled its duties as GWTW publisher? Do you think they treated the Marshes fairly?

John: While Macmillan (usually Harold Latham) seemed to have misled Margaret Mitchell on several occasions (the movie rights, the British rights, etc.), overall, I think the company did a great job in promoting Gone with the Wind. Alec Blanton, the Macmillan advertising executive, was a master of promotion. In the end, Macmillan was probably the best possible publisher for Miss Mitchell.

Ellen: It is hard to speak in terms of Macmillan as an entity since there were so many people involved. Overall, I think the firm did well by the Marshes – especially, of course, Lois Cole – but the couple had very valid grounds for complaint against certain actions taken by George Brett and Harold Latham. I don’t imagine though that she would have been treated any better by another publisher.

7. Your book offers so many new insights to the history of GWTW. What were you personally most surprised to learn from your research?

John: I was most struck by the sheer volume of work involved in protecting the foreign copyright. And when you realize that she and John Marsh (and Margaret Baugh) did this all from their small apartment in Atlanta (not the large international city it is today) and while the entire world was at war, it is simply amazing what they accomplished.

Ellen: I was surprised and amazed by Mitchell’s business smarts. I had had the impression from some other sources that she put herself in the hands of the men in her life and retired to a dark room with a compress over her eyes. To the contrary, she was smart as a whip and an extremely hard worker.

8. If Margaret Mitchell was alive today, what do you think her assessment would be of how the Stephens Mitchell Trusts have managed the business of GWTW?

John: She would be extremely pleased. I think the fact that her will was broadly written was intentional on her part. She made her wishes known to her husband and brother, but she knew better than to tie the hands of her executors by forbidding certain actions in her will. Had she still been alive in 1975 when her brother first began exploring an authorized sequel, I think she would have reluctantly agreed it was the right move to make. At that time, the copyright was going to expire in a few years, and she would have taken whatever steps necessary to protect her story.

Ellen: Terrific question. She would undoubtedly be proud of how her estate managed to renegotiate the movie contract and has protected the copyright all over the world. I think she might have a little bit of heartburn over the authorized sequels, but she was a practical woman and would have understood the estate’s reasons for pursuing the sequels.

9. This year heralds the 75th anniversary of Gone with the Wind. How would you describe GWTW's impact on pop culture today?

John: Gone with the Wind is woven into the very fabric of American pop culture. Writers and everyday people make constant references to characters and lines from the story – and these references are immediately recognizable by people the world over. The novel and film, taken together, remain the most popular entertainment phenomenon of the 20th century.

Ellen: A recent newspaper article claimed that Gone with the Wind was fading in popularity and had not found an audience among today’s young people. I could not disagree more! If Twitter and Facebook are any indication, young people today enjoy Gone with the Wind and are as engaged with the characters as those of us with a few years under our belt. I don’t see the fascination fading any time soon.

10. What do you think the future holds for GWTW? Will we see another authorized sequel? How much longer do you expect GWTW to retain its copyright protection?

John: Currently, the copyright on the novel expires in 2031. That could change if Congress extends the copyright again. Either way, the GWTW Literary Rights office will continue to exert some control over the characters because of the copyright on the two authorized sequels (Scarlett and Rhett Butler's People)

Will there be another sequel? That's certainly possible, but I tend to think not. As for the future of Gone with the Wind, I think people all over the world will continue to read the novel and watch the film as long as we face hardships in life ... and as long as there is a “tomorrow” and a new beginning to look forward to!

Ellen: The copyright expires in 2031, but I would not be surprised to see it extended again. As for another sequel, hmm, I predict that the estate will not authorize one any time soon.

Rue de la Paix

And the Oscar goes to... Gone with the Wind! Just in time for the Academy Awards tomorrow evening, we've got a collage that recalls GWTW's legendary Oscar success.

Academy Awards by rhedesign on Polyvore.com

Doppelganger Dresses, Part 25: Scarlett's Green Striped 'Honeymoon at Tara' Dress

I'm sad to say that today marks our final entry in the Doppelganger Dresses series. However, we've definitely saved our very best match for last! We've uncovered the dress that Walter Plunkett almost certainly used to create Scarlett O'Hara's "Honeymoon at Tara" costume. And doppelganger is absolutely the appropriate word in this case--the period style, which we discovered in an 1866 edition of Godey's Lady's Book, is a near-perfect match for the romantic cream and green striped dress that Scarlett wears to stroll the grounds of Tara with Rhett.

You'll notice, though, that Walter Plunkett did make two visible changes to the historical gown, changing the color of the stripes and modifying the bodice slightly. Other than that, the dresses are mirror images of each other. You'll find the dress after the jump. Check it out and let us know what you think! 

Also, now that our series has drawn to an end, be sure to check out our side page, Walter Plunkett and the Costumes of GWTW, to find a complete archive of the Doppelganger Dresses posts, along a link to our Plunkett bio post and a slideshow of Walter Plunkett's GWTW costume sketches. 

Thanks for reading; we loved working on this series for you!

Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood

Editors' Note: As we first mentioned several months ago, there's a wonderful new book out about Gone with the Wind. Today we're thrilled to bring you our review of Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Later this week we'll also have an interview with authors Ellen Brown and John Wiley, who will join us on the blog to discuss their book. Thank you to Ellen and John for their generosity and kindness in sharing their book with us!

 

The market for Gone with the Wind books is a rather crowded one. You can find (and have probably read) plenty of biographies about Margaret Mitchell, accounts about the movie's production and a handful of books on GWTW memorabilia. But, until now, there hasn't been a complete account of the history of Gone with the Wind, the novel. And that's exactly what Ellen Brown and John Wiley give us in their fascinating new book, Margaret Mitchell's Gone with the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. 

In A Bestseller's Odyssey, Brown and Wiley examine the publishing phenomenon of Gone with the Wind, from the novel's earliest days to its whirlwind success in the 1930s and 1940s to its enduring popularity in the modern era. Immaculately researched and addictively readable, A Bestseller's Odyssey offers tremendous insights--many of them reported for the very first time--about the unique twists and turns of GWTW's publishing history. In vivid, captivating detail, the book illustrates Margaret Mitchell's personal, well, odyssey of managing her famous novel, a journey with enough plot twists and colorful characters to rival Gone with the Wind itself.

Brown and Wiley's skillful narration gives the reader no less than a front row seat to see GWTW history unfold. You experience the surreal and overwhelming GWTW-mania that ensued upon the novel's publication, completely ending forever the quiet life of Margaret Mitchell and husband John Marsh. You get the inside scoop on the sometimes tense standoffs between the main actors in creating the GWTW phenomenon--Macmillan Publishing, David O. Selznick and the Marshes. You see Margaret Mitchell battle to protect her novel's copyright from thieves and opportunists across multiple continents. You explore the inner workings of the Mitchell Stephens Trusts and why they ultimately decided to authorize official sequels.

As longtime Gone with the Wind fans, we were completely enthralled by A Bestseller's Odyssey. We cannot recommend it highly enough to anyone who has even a remote interest in GWTW. This is a truly definitive account of GWTW the novel, a fascinating read for both casual and fervent fans alike. And for us passionate Windies, the book not only provides a great look at GWTW's publishing history but is chock-full of tantalizing new morsels of information that offer to change the way we look at MM and GWTW.

Have we peaked your interest? Here's just a small list of some of the awesome things you'll discover in A Bestseller's Odyssey: 

• What MM really thought happened to Rhett and Scarlett after the conclusion to GWTW
• Captain Rhett K. Butler's middle name, according to MM
• MM's thoughts on whether Melanie ever suspected anything between Ashley and Scarlett
• The plot line to an obscure (and hilarious) continuation of GWTW published by an American magazine in the 1940s
• Full plot line summaries for the three aborted GWTW sequels by Anne Edwards, Emma Tennant, and Pat Conroy

Sounds good to you? Well, then go out and buy the book today! And be sure to stay tuned for our Q&A later this week with authors Ellen Brown and John Wiley.

Poster of the Week

As opposed to last week's rather eclectic poster, this week's offering - a lobby card from 1968 for the movie's 1967-8 U.S. re-release - keeps it simple and sweet, with a tender honeymoon moment in rich colors.

Image from moviegoods.com.

Doppelganger Dresses, Part 24: Scarlett's 'Lost' Saratoga Dress

Today, the Doppelganger Dresses series takes a look at one of Walter Plunkett's costume designs that didn't make the final cut of Gone with the Wind. Known as the Saratoga dress, the costume was conceived for a scene featuring Scarlett traveling to or from the northern watering hole (a odd plot, to be sure, given how little mention there is of Saratoga in the novel). 

Personally I consider it a shame that the Saratoga dress didn't end up in Gone with the Wind. It's a rather pretty and whimsical dress, one that seems very much in keeping with Scarlett's style from her Mrs. Butler years. Wouldn't it have made a nice addition to the honeymoon sequence, for instance?  

But, alas, the Saratoga dress was destined to be 'lost' from the final film reel of GWTW. Fortunately though, we have at least found its historical precedence. You'll find our period inspiration on the other side of the jump. What do you think of the fashion plate? And would you liked to have seen the Saratoga dress featured in GWTW yourself? 
 

Poster of the Week

This French poster (date unknown) features a rather eclectic mix of scenes from GWTW. We've got Rhett and Scarlett embracing, convicts toiling away at the lumber mill, Scarlett shooting the Yankee, an unused take of Scarlett flirting with the Tarletons, Scarlett at the bazaar, and a few scenes of Melly thrown in for good measure. Phew, that's a lot going on in one poster!

Image from moviegoods.com.

A Very Victorian Valentine's Day Card

A poor card choice for Rhett.

Happy Valentine's Day, everyone! Whether single or attached, we hope your day is a wonderful one filled with the people you love. In the spirit of the holiday, we're bringing you a look at Valentine cards of the Gone with the Wind era. So we hope this post will answer that burning, age-old question that haunts every Gone with the Wind fan: what kind of Valentine card could Rhett Butler have sent Scarlett O'Hara? 

The answer? Well, you'll be pleased to know that Rhett would have had any number of card selections at his disposal. So he could have selected a Valentine to precisely align with his current sentiments towards Scarlett, whether they be sentimental, bawdy, nostalgic, or combative. You see, by the 1850s Valentine cards were a booming business in the United States--more popular and plentiful than Christmas cards, in fact--and eager publishers printed cards for every possible market demographic. 

There were frothy, sweet cards for young lovers to exchange. There were sedate cards embossed with benign messages like 'friendship' and 'constancy' to bestow on acquaintances or family members. And then there were cards that appealed to a more earthy clientele, cards featuring comic scenes, bizarre creatures, or vulgar puns. Through it all, though, one thing was certain: then, like today, Valentine cards were an important part of commemorating Valentine's Day.

This 1869 article from Godey's Lady's Book nicely captures of the phenomenon of the Valentine card during the period:

"The great event of this month among lovers is St. Valentine' s Day. It is a day of pleasant and innocent excitement in the way of sending Valentines through the post. The ring of the door-bell on that day causes a great flutter among the ladies of the household. All is laughter and gayety, and if anybody is disappointed, she should put the best face on the matter possible. Already the store windows are profusely decorated with masses of highly-colored pictures representing cupids, nymphs, nuptials, verses, beautiful damsels, hideous deformities, and, indeed, every species of creature which the fastidious mind of the artist has conceived. All tastes can be gratified. There must be, we imagine, a large sale for this kind of goods, as every year brings forth an increased quantity."

--excerpted from Godey's Lady's Book, February 1869

As we end our look at the Valentine cards of the Gone with the Wind era, we'd like to leave you with a slideshow of twenty beautiful Valentine cards circa 1850s-1870s--any of which could have very well been Rhett's choice for Scarlett (provided he didn't choose to go the mocking or vulgar route, of course). Happy Valentine's Day!

Still haven't had enough Victorian Valentines? Check out the galleries on The Scrap Album for a great selection of both sweet and not-so-sweet Valentines.

Doppelganger Dresses, Part 23: Melanie's Twelve Oaks Dress

To me at least, one of the very best visual moments in Gone with the Wind comes when Scarlett first encounters Melanie Hamilton at the Twelve Oaks barbecue. For the two women serve as such a study in contrasts. Scarlett is daringly dressed in her inappropriate green sprigged dress, while Melanie tranquilly glides onto the scene in a modest, ruffled gray frock. The two leading ladies' costumes serve as a perfect symbol to demonstrate their divergent personalities, a clever bit of characterization by Margaret Mitchell and one that Walter Plunkett effortlessly translates onto the silver screen. 

And today we're pleased to bring you Melanie's Twelve Oaks barbecue dress in our latest installment of Doppelganger Dresses. Both Mitchell and Plunkett deserve kudos for the historical accuracy of Melanie's dress. Fashion plates of the era are filled with gray or steel blue dresses with ruffled trims. After the jump, you'll find two period fashion plates that we thought were especially representative of Melanie's costume. Check them out and let us know what you think!

Poster of the Week

This week, China brings us its version of the most famous GWTW poster image of all time. Enjoy!

Image from movieposterdb.com.

Heroine Love!

Do you guys remember Erin Blakemore, whose book The Heroine's Bookshelf came out  a few months ago? Her book in general and her chapter on Scarlett in particular made quite an impression on us back then, and now Erin is back with an awesome event at her blog! Through the first weeks of February, she's celebrating Heroine Love by inviting bloggers to write about heroines they love. Head out there to check out our post today, the suit of great contributions so far and the prizes you can win! Oh, and alternatively, keep in touch with the event and The Heroine's Bookshelf road to bestsellersdom here, on Erin's Facebook page.

http://theheroinesbookshelf.com/

Rue de la Paix

This week's collage gives us a modern update of Scarlett's iconic barbecue dress. Enjoy!

Gone with the wind by raluca7794 featuring bootie heels