On November 7, BIO presented its fifth annual Editorial Excellence Award to Tim Duggan, editor and publisher of Tim Duggan Books, an imprint of Crown at Penguin Random House. The Biographer’s Craft will have a write-up of the evening’s events in December. You can read Duggan’s remarks on accepting the award here.
Editorial Excellence Award
Biographers International Organization will present its fifth annual Editorial Excellence Award to Tim Duggan, editor and publisher of Tim Duggan Books, an imprint of Crown at Penguin Random House. Please join us on Wednesday, November 7, at 6:30 p.m., for wine, hors d’oeuvres, and a celebration of Tim Duggan’s work on behalf of his authors, with a discussion of the pleasures and challenges of editing, and of the state of the art of serious biography and nonfiction. The event will be held in New York at the Fabbri Mansion (also known as House of the Redeemer), 7 East 95th Street.
BIO founder James McGrath Morris (Pulitzer: A Life in Politics, Print, and Power) will introduce Duggan. Other speakers will include David Michaelis (Schultz and Peanuts: A Biography; N.C. Wyeth: A Biography), who is currently working on a biography of Eleanor Roosevelt, and Adam Begley (The Great Nadar: The Man Behind the Camera).
Duggan founded his eponymous imprint in 2014 after working for many years as an executive editor at HarperCollins. Authors he has edited include Timothy Snyder, Michiko Kakutani, Adam Begley, Daniel Mendelsohn, Mark Singer, Madeleine Albright, Michael Kinsley, and Brenda Wineapple. The books he has published include winners of the Pulitzer Prize, the National Book Critics Circle Award, and multiple finalists for the National Book Award.
Duggan is a member of BIO’s Advisory Council, a fellow at the New York Institute for the Humanities at NYU, and a member of the Council on Foreign Relations. Previous winners of the award are Robert Gottlieb, Jonathan Segal, Nan Talese, and Robert Weil.
Although this event is free, advance registration is necessary. Please click here to register.
By Dona Munker, TBC New York Correspondent
On November 8, Robert Weil, editor-in-chief and publishing director of Liveright, an imprint of W. W. Norton, received BIO’s fourth annual Editorial Excellence Award. He joins Nan A. Talese, Jonathan Segal, and Robert Gottlieb, as winners of this honor. Introduced by one of his authors, Thomas Jefferson biographer Annette Gordon-Reed, Weil said that he thinks he may have become an editor because editing fulfills “a yearning to rescue and nurture.” The evening, which also included a panel discussion, was cosponsored by the Leon Levy Center for Biography at the City University of New York Graduate Center. Follow this link to view his speech and hear Gordon-Reed and five other biographers Weil nurtured share what makes an editor legendary.
Robert Weil, editor-in-chief and publishing director of Liveright, an imprint of W. W. Norton, will receive BIO’s fourth annual Editorial Excellence Award on Wednesday, November 8, at the Leon Levy Center for Biography in New York.
Weil’s celebrated publishing career began in 1978 at Times Books. He became senior editor at St. Martin’s Press in 1988; a decade later, he moved to W. W. Norton as executive editor. Named to his present positions in 2011, he is dedicated to editing books of consequence.
Weil will speak on “Biography as Reclamation.” He will be introduced by Annette Gordon-Reed, author of “Most Blessed of the Patriarchs”: Thomas Jefferson and the Empire of the Imagination and The Hemingses of Monticello: An American Family, winner of the National Book Award and the Pulitzer Prize.
- Ruth Franklin, winner of the 2017 National Book Critics Circle Award and BIO’s Plutarch Award for Shirley Jackson: A Rather Haunted Life
- David Levering Lewis, winner of the Pulitzer Prize in 1994 and 2001 for both volumes of his biography of W. E. B. Dubois
- Max Boot, author of the forthcoming The Road Not Taken: Edward Landsdale and the American Tragedy in Vietnam
- Yunte Huang, winner of the 2011 Edgar Award for Best Critical/Biographical Book for Charlie Chan: The Untold Story of the Honorable Detective and His Rendezvous with American History
We learn by stories,” Nan A. Talese said, and when it comes to biography, “the story of the person’s life should be interesting and carry the reader along.” That was just one of the insights Talese imparted from a 50-year career in publishing, many of those years spent helping dozens of biographers bring their subjects’ stories to life.
Talese spoke just before accepting BIO’s third annual Editorial Excellence Award, which recognizes the contributions of outstanding editors—as nominated by BIO members—to the publishing of biographies.
The October 5 event at the New York Society Library began with an introduction by BIO member Anne C. Heller (who played the key role in organizing the evening and ensuring its success, in collaboration with members Kate Buford, Deirdre David, Gayle Feldman, and Will Swift). Talese worked with Heller on her biography Ayn Rand and the World She Made, and Heller noted that Talese’s books “are known both for their literary excellence and for their physical beauty.” She praised Talese for “the extraordinary judgment, taste, skill, dedication, and, in my case, patience, Nan has brought to her literary calling.”
A. E. Hotchner followed Heller and recounted working with Talese on Papa Hemingway, Hotchner’s account of the novelist’s life and Talese’s first major biography after coming to Random House from Vogue as a young editor. Hotchner described going into her tiny basement office—a broom closet that included a desk and two chairs—and her first words: “I think we should change the title.” She also advised him to put more of himself in the book, as Hotchner and Hemingway had been friends. As Talese later explained, she suggested edits while also drawing more out of Hotchner, and they ended up cutting 20 percent of the original manuscript and adding a new 20 percent. Papa Hemingway went on to become a perennial best seller.
Hotchner and Talese worked together on several other books, and Hotchner noted her eye for detail, sometimes questioning a single word choice, and her swift and careful attention to the manuscripts she receives. Most gratifying, he said, was hearing Talese describe a manuscript as “wonderful.” He said, “She says wonderful better than anybody else.”
Talese spoke next, offering her recollections of some of her experiences with Hotchner. At their first meeting, which included several other editors, she admitted, “He thought that I was going to bring them coffee or something; he certainly didn’t think that I was going to be his editor.”
Talese also discussed some of the other noteworthy books she has worked on, including Thomas Keneally’s Schindler’s List and the challenges she faced negotiating the finances of the book with Keneally’s lawyer. Talese wanted the book badly, and she said she became a “pest” as she worked to close the deal. Talese also recalled the difficulties she and Deirdre Bair had in securing rights to Saul Steinberg’s art for Bair’s biography of the cartoonist.
Talese and Bair worked together again on Bair’s new biography, Al Capone: His Life, Legacy, and Legend, published last month, and Bair joined Talese to address what Bair called the “nuts and bolts” of editing and publishing biographies. Asked what she looks for in a book she publishes, Talese said she focuses on three questions: Does the writer use language well, is the writer a storyteller, and does the writer tell the subject’s story with such passion that people will want to read it.
When Bair brought up the popularity of celebrity biographies and wondered if there is still a place for deeply researched books on serious subjects, Talese said people do still want those “big” biographies. At times, though, such books are reviewed so well, “people think they’ve already read the book” after reading the reviews.
Reflecting on her career, Talese said she was not truly qualified to be an editor when she first came to Random House, and her first job was looking for typos. But she was grateful to be there, saying, “I couldn’t believe I was being paid to read….To this day I love it just as much.” With her job, “you live in another world, you learn of another world.”
Following the Q&A, BIO president Will Swift presented Talese with her award, noting the importance to biographers of skilled—and passionate—editors like herself, as they “help us become more than we dreamed we could be.”
Biographers International Organization gave Nan A. Talese its Editorial Excellence Award at the New York Society Library on October 5. Almost 100 people turned out to honor Talese, including several of the authors she has worked with over the years, such as Judy Collins, Anne Heller, and A. E. Hotchner. Other guests from the publishing world included Sonny Mehta, Louis Begley, Robert MacNeill, and Robert Caro, who called the event one of the great literary evenings in New York. Talese joins Robert Gottlieb and Jonathan Segal as winners of the Editorial Excellence Award.
Biographers International Organization will present its third annual Editorial Excellence Award to the legendary editor Nan A. Talese, senior vice president of Doubleday and publisher and editorial director of her own imprint, Nan A. Talese Books at Doubleday, at an evening reception on October 5 in New York City.
In the course of fifty years, Nan Talese has edited and published some of the most distinguished biographiess and nonfiction works of our time, including A. Alvarez’s enduring classic, The Savage God: A Study of Suicide; Thomas Kenneally’s Schindler’s List; Phyllis Rose’s Josephine Baker in Her Time; François Gilot’s Matisse and Picasso; Benita Eisler’s O’Keeffe and Stieglitz; Antonia Fraser’s Marie Antoinette; many books by Peter Ackroyd, including The Life of Thomas More, Shakespeare, Chaucer, J. M. W. Turner, Newton, Poe, Chaplin, and London Under: The Secret History Beneath the Streets; and Deirdre Bair’s Saul Steinberg and the forthcoming Al Capone: His Life, Legacy, and Legend, among many others. We spoke with Nan briefly about the experience of editing biography and what she looks for when considering the acquisition of a book.
TBC: Can you provide us with a telling example of how working actively with an author improved one of the biographies you published?
Talese: The best example may be the first biography I edited, A. E. Hotchner’s Papa Hemingway (1966). The author and I sat together with the manuscript. I pointed out scenes that seemed less interesting than other scenes or that did not contribute to the reader’s understanding of the character of Hemingway. I asked him questions: “What is going on there? What do you want to convey?” and he answered and I would say, “Put that in!” We ended by cutting one fifth of the manuscript and adding another one fifth in.
TBC: What do you look for in a proposal or a manuscript?
Talese: The first thing I consider is whether the subject is well known and well respected, and what the crucial scenes were in his or her life. What caused a subject to change his mind or direction? Then I look for whether the author has a gift for storytelling and whether the writer’s voice transfers his or her passion to the reader and the page. I look for the ability to tell a powerful story while being very careful to stay within the facts.
TBC: What are editors looking for today?
Talese: Fortunately or unfortunately, there is a great deal of interest in pop stars and in celebrities of all kinds. This is cyclical, and—if fifty years of editing is any guide—this interest will go and come again.
If you will be in or near New York on October 5, do consider joining Nan and a number of the biographers she has published for an evening of lively conversation. The event takes place at the New York Society Library, 53 East 79th Street, at 6:30 p.m. and is open to the public.
Buy tickets here.
About 150 people from the publishing and cultural worlds of New York City turned out on November 4 to honor Jonathan Segal, winner of BIO’s second annual Editorial Excellence Award, and to hear some of the many biographers he’s worked with extol his dedication to his writers and the books they create.
BIO board member Will Swift acted as MC for the evening, and he began by noting the “extraordinary loyalty” Segal engenders in his writers. That loyalty is reflected in part by how long writers choose to stay with him. Panelists Paul Hendrickson, Eric Lax, and T. J. Stiles, along with moderator Kate Buford, have almost a century of combined experience working with Segal.
Before the panelists sung Segal’s praises, they addressed the issue, “How Do Great Biographies Get Made, and Why Do They Matter?” Buford began by asking the writers how they get their ideas. Stiles said he looks for strong stories that address some moral question of right and wrong. His subjects tend to be morally compromised in some way. Lax is drawn to people whose lives pose questions—questions he’s compelled to find answers to. He said the subject has to be someone “you’re willing to live with for the time it takes to do that.” Lax, whose subjects have included Woody Allen, also talked about the difference of writing about living and dead subjects. Since the former’s life is still unfolding, “You can be much more surprised by the living person than the dead person.”
For the process of writing, Hendrickson saw it as an act of discovery: “Where a book starts out is not where a book is going to end up.” Biographers need to be willing to follow where the story they uncover takes them, he said.
Of course, that process depends on what kinds of sources the biographer uncovers. While writing about Jesse James, Stiles had no diaries, no internal sources, to work with. For that kind of book, putting the subject in a historical context provided some of the plot. Writing about Cornelius Vanderbilt, many of Stiles’s sources stressed the subject’s business dealings, so that shaped the book. Stiles said, “Make a virtue out of what your material is.”
The panelists also examined the role of morality in capturing a persona. “Part of what moves me forward is trying to understand the underlying morality [of a subject],” Hendrickson said. Lax said one of his goals is to try to understand the person underneath the persona, their values and what drove them to live the life they did—“the intangible things that make a person a person.” The writer’s own sense of morality factors in, too. Stiles said writers should treat their subjects with “simple decency” and “honor the three dimensional humanity” even with subjects who commit bad acts.
The panelists spent time discussing their lengthy relationships with Segal and what makes him such a great editor. Buford recounted Segal’s exhortation to “think harder” and to control tangents—bring the story back to the subject. Hendrickson described Segal’s role in helping him find the focus for his book on the civil rights era, Sons of Mississippi. Hendrickson also praised Segal for his patience and letting the author work at his own deliberate pace.
Segal doesn’t want to just help produce a book that will sell; he wants his authors to be better writers. Segal relies on an intuition that tells him something is wrong. To solve it, Stiles said, “He doesn’t tell me what I had to do, but where I had to do it.” Lax had a similar view: Segal wants to help authors produce the best book they can write.
The Editorial Excellence Award
As he introduced Carl Bernstein, who gave Segal his award, Swift condensed the thrust of the panelists’ comments into a simple observation: Segal “loves all authors.” Bernstein then described his relationship with Segal as the two of them worked on Bernstein’s biography of Hillary Clinton. Segal, with a background in journalism, knew the story was still unfolding, and he didn’t hector his author to speed up the writing process. Bernstein came to see that “Jon is interested, above all, in the truth. And the book isn’t there until he thinks you’ve reached the truth.”
Bernstein commented on the collaborative nature of working with Segal. He encourages authors to dig deeper, and then helps shapes the writing, but in the end, “it’s still your work, but you know it is your work that has come from a place you couldn’t have reached on your own.”
Accepting his award, Segal said he was deeply touched and humbled. He traced his career in publishing, starting as a journalist at the New York Times. He recounted reviewing a children’s book for his first assignment, and for another story, approving the headline “Man Kills Self, Then Wife.” An editor at the paper suggested, “The quality of your writing is such that you might want to try editing.” That comment set Segal off on the path that led him to touch the careers and lives of many biographers. The writers, he added, have enriched his life as well.
The evening’s event was coordinated by BIO board members Kate Buford, Gayle Feldman, Anne Heller, and Will Swift, and co-sponsored by the New York Society Library. A video of the complete ceremony is available on the library’s website.