Editorial Excellence Award

Talese Reflects on a Long, Passionate Publishing Career

Nan A. Talese is flanked by A. E. Hotchner to her right and Anne C. Heller and BIO President Will Swift to her left.

Nan A. Talese is flanked by A. E. Hotchner to her right and Anne C. Heller and BIO President Will Swift to her left.

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.”

Nan A. Talese Wins Editorial Excellence Award

BIO president Will Swift looks on after presenting Nan A. Talese with the Editorial Excellence Award.

BIO president Will Swift looks on after presenting Nan A. Talese with the Editorial Excellence Award.

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.

BIO Honors Nan A. Talese

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.

talese2In 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.

Event Honors Segal, Explores the Biographer’s Craft

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.

Panel Discussion
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.

Segal’s Influence
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.

 

Segal Receives Editorial Excellence Award

Jonathan Segal received the second annual BIO Editorial Excellence Award on November 4 at an event titled How Great Biographies Get Made and Why They Matter. Carl Bernstein presented Segal with the award, and the evening featured a panel discussion with several biographers who have worked with Segal. TBC will present highlights of that discussion and Segal and Bernstein’s remarks in the December issue. The event was co-sponsored by the New York Society Library.

A video of the evening is available here.

 

IMG_1051 (1)

Bernstein (right) presents the Editorial Excellence Award to Segal.

IMG_1055

Bernstein and Segal are joined by panelists Eric Lax, Paul Hendrickson, T. J. Stiles, and Kate Buford.

The Latest News from TBC

Segal Shares Thoughts on Biographies

Mentoring: A Report from Both Sides

 

Jonathan Segal to Receive 2015 Editorial Excellence Award on November 4

BIO_Segal_WebJonathan Segal, editor of six Pulitzer-Prize winning books, will receive BIO’s second annual Editorial Excellence Award on Wednesday, November 4, at a special event, “How Great Biographies Get Made and Why They Matter.” Segal and five esteemed biographers who have worked with him will explore how major biographical works are conceived and crafted, and how a gifted editor can make the difference between a good biography and a great work that has a significant impact.

Presenting the award to Segal, a vice president and senior editor at Knopf, will be Carl Bernstein, journalist and author of the best-selling biography of Hillary Clinton, A Woman in Charge.

The evening also includes a panel discussion with:

  • Paul Hendrickson, author of Hemingway’s Boat and a winner of the National Book Critics Circle Award and two Heartland Awards
  • Eric Lax, former president of PEN USA, a BIO Advisory Council member, and the author of Woody Allen
  • T.J. Stiles, another BIO Advisory Council member and winner of both the Pulitzer Prize and a National Book Award and the author of The First Tycoon: The Epic Life of Cornelius Vanderbilt and the new Custer’s Trials: A Life on the Frontier of a New America
  • Panel moderator Kate Buford, BIO Board member and the author of Native American Son: The Life and Sporting Legend of Jim Thorpe and Burt Lancaster: An American Life, both edited by Mr. Segal.

Light refreshments will be served, and the books listed here are available for purchase prior to the event at the Corner Bookstore, 1313 Madison Avenue at 93rd Street. Books will not be sold at the event.

The event is at Temple Israel, 112 East 75th Street (Park/Lexington), New York, and begins at 6:30 pm. It is open to the public and tickets are $35. They can be purchased here.

This celebration of Mr. Segal’s editorial career was planned by Kate Buford, Gayle Feldman, Anne Heller, and Will Swift and is co-sponsored by the New York Society Library.

 

Branch Keynote Talk and Biographers in Conversation Highlight BIO Conference

Almost 200 established and aspiring biographers immersed themselves in their craft at the Sixth Annual Biographers International Organization Conference, held June 6 at the National Press Club in Washington, DC. Amidst the various panel sessions, attendees also saw Taylor Branch receive the 2015 BIO Award. Branch is best known for his trilogy about Martin Luther King Jr. and the civil rights movement, known collectively as America in the King Years.

BIO President Brian Jay Jones presents the 2015 BIO Award to Taylor Branch.

BIO President Brian Jay Jones presents the 2015 BIO Award to Taylor Branch.

The Accidental Biographer
In his keynote address, Branch called himself an accidental and partial biographer, as he used the life of King and others to tell the story of the civil rights movement, which he called “the last great uprising of citizens’ idealism that really changed the direction of history.” Branch wanted to better understand the movement and address what he saw as problems with the existing books on it: They were “analytical and abstract” with an emphasis on interpretation. Branch wanted to “feel its power, which for me was personal and quite deep.”

But before and while immersing himself in what would become a 24-year endeavor to better understand and then write about the movement and its makers, Branch worked as journalist, ghost wrote the memoirs of Watergate figure John Dean and basketball star Bill Russell, and spent hours recording the thoughts of an old friend who just happened to become US president: Bill Clinton. Branch recounted some of the recording sessions that would form the basis of Branch’s The Clinton Tapes: Wrestling History with the President. Clinton wanted to document the history of his presidency as it unfolded, and his sessions with Branch remained secret through the president’s two terms. For Branch, the sessions gave him the chance “to get the fullest record that historians will one day have” of what daily life was like for Clinton in the White House.

Clinton and Branch had worked together in Texas during George McGovern’s 1972 presidential campaign, and they often discussed political idealism. Branch thought he “had a better chance to influence [US politics] toward integrity as a writer than in politics.” With his King books, he explored the citizens’ idealism he saw in the civil rights movement, the reaction to it, and its lasting effects. He said, “The civil rights movement set things in motion that are still benefiting our country today, including same-sex marriage…. The civil rights movement forced people to break down their emotional barriers against dealing with what equal citizenship really means in everyday life.”

Branch chose to depict the movement in as personal a way as possible, to fight the urge in the United States to “reinterpret history wherever race relations are involved.” As an example, he cited the textbooks he read growing up in Atlanta, which taught that the Civil War had nothing to do with slavery. Many history books, Branch believes, deal with what a culture is comfortable talking about. Telling the personal stories of the people of the civil rights movement in a narrative history, Branch hoped, would preserve some of the uncomfortable facets of race relations in the United States, thus providing a more accurate history.

brinkleythomasThomas and Brinkley in Conversation
The conference events kicked off in the morning with a plenary breakfast session called “The Art and Craft of Biography: Evan Thomas and Douglas Brinkley in Conversation.” Between them, the two have authored biographies on a wide range of figures who helped shaped the twentieth century, from presidents to Walter Cronkite. They engaged in an easy dialogue as they explored some of the challenges they’ve faced during their careers.

For Brinkley, one challenge came when writing about Rosa Parks. When she made her historic refusal to leave her bus seat, about a dozen or so people rode with her. But when Brinkley did his research, he interviewed 55 people who claimed to be on the bus that day. “Everybody in Montgomery was on Rosa Parks’s bus,” he joked. “I had no idea who to trust.” Brinkley also had personal access to his subject and saw firsthand her willingness to help others, something that made writing the Parks book “probably the most moving personal biography” he’s done.

Following that observation, Evan Thomas said he had just finished a biography of Richard Nixon, and the president “was not a Rosa Parks.” But Thomas did come to appreciate how hard it was to be Richard Nixon, who was socially awkward and “a powerfully lonely guy.” Nixon’s experiences intersected with the life of another of Brinkley’s subjects, Walter Cronkite. CBS News played a big part in bringing Watergate to the public’s attention, and Nixon wanted to “get” Cronkite, who personally liked Nixon. Cronkite also interacted with another of Thomas’s subjects, Robert F. Kennedy. The newsman, Brinkley said, crossed the line of journalistic ethics when he urged Kennedy to run for president in 1968 because of the morass in Vietnam.

Another topic Brinkley and Thomas covered was how to get the biography subject’s family on board, which can be hard when relatives, especially children, want to preserve their loved one’s image, and their truthfulness might be suspect. Thomas also mentioned the difficulty at times of sorting out key details from extraneous facts—“I wish I had a magic formula to help you figure out what’s important and what isn’t.” Another concern for biographers today: plagiarism, or the accusation of it. One strategy, Thomas said, is to footnote extensively and acknowledge the work of experts in the foreword. Brinkley cited a slightly different problem, of anecdotes that get passed along as truth but without sources to back them up. He relies on double sources when possible to verify information.

After discussing some of the nuts and bolts of the craft, Brinkley ended the session on a loftier and inspiring note. He called biography “the most indispensable art form because in America, we live by individuals… that’s how we process history, through people.”

 

Enjoying the preconference reception, from left to right, are Kate Buford, Barbara Burkhardt, Robin Rausch, Abigail Santamaria, and Sarah Dorsey.

Enjoying the preconference reception, from left to right, are Kate Buford, Barbara Burkhardt, Robin Rausch, Abigail Santamaria, and Sarah Dorsey.

Preconference Events
While Saturday, June 6, saw most of the conference’s events and festivities, on Friday some attendees explored the Library of Congress on private tours. In the evening, BIO members gathered at the Georgetown home of board member Kitty Kelley, where Thomas Mann, formerly of the Library of Congress, received BIO’s Biblio Award. Established in 2012, the award recognizes a librarian or archivist who has made an exceptional contribution to the craft of biography. Mann retired from the Library in January 2015 after 33 years of service.

Also at the reception, board member Will Swift announced that Jonathan Segal will receive BIO’s Editorial Excellence Award this November. Pulitzer Prize-winning investigative reporter Carl Bernstein will present the award and the evening’s events will also include a panel discussion. Look for more details on this event in upcoming issues of TBC.