Random Cool Things: Ask the Agent

(Hat tip to Tattered Cover, via Twitter)

Andy Ross’ Ask the Agent is not only a site that’s useful in educating writers about the business we’re in; it’s also a repository of fascinating nuggets about the careers of heavyweight publishing figures and the writers with whom they’ve worked.

Today’s entry, an interview with legendary editor Alan Rinzler, is no exception:

Andy: Can you tell us some memorable stories about some of the great writers you discovered and edited?

Alan: Working with Hunter Thompson, the Prince of Gonzo, nearly killed me, and did leave permanent scars that I hope are not life-shortening. For three of his books (Fear and Loathing on the Campaign Trail, The Great Shark Hunt, and the Curse of Lono), we stayed up all night for weeks doing terrible stuff and taping our interviews, which we then transcribed and edited into book form. Discovering Toni Morrison was really something. Claude Brown had just written Manchild, which was hugely successful and still sells 43 years later. He had a big crush on his English teacher at Howard, Toni Morrison, then a cute divorcee with two small sons who were working as face models in the advertising business. She lived in a tiny house on the landing flight pattern at JFK Airport so when the jets thundered over us a few hundred feet up, the cups and glasses would all rattle. Claude wanted to marry her but she kept him at arm’s length, until finally admitting she had “this novel” she’d been working on for years that turned out to be The Bluest Eye and the rest was history. Toni has become such a diva now, however, that I have to admit she stopped returning my calls a few years ago. Oh well. Dylan was impossible to edit, going on and on, but Andy Warhol was a peach. Every idea I had was “fabulous” and we’d put it in his “Index Book”, including pop-ups, early plastic recording of group grope interviews, “terrific art”, photos, spin-out balloons, a 3-D cover and other mixed media bells and whistles we’d brainstormed and slapped together at his silver-foil “factory”, while dodging 24 hour film crews and the first generation Velvet Underground.

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