was not a writer but a movie producer whom she met at a dinner party hosted by the writer Marie Brenner. The producer told her he was going to California for the trial of the strangler of his daughter. As solace, Brown suggested for him to keep a diary and his report (headlined Justice) proved the launch of the long magazine career of Dominick Dunne. Early pieces such as Dunne's cover story on accused murderer Klaus Von Bulow and Los Angeles arrivistes like Candy Spelling, and the use of provocative covers transformed the prospects of the magazine. In addition, Brown signed up among others Marie Brenner, Gail Sheehy—who wrote a series of widely read political profiles including a cover story on Mikhail Gorbachev—Jesse Kornbluth, T.D. Allman, Stephen Schiff, Lynn Herschberg, Peter J. Boyer, John Richardson, James Atlas, Alex Shoumatoff and Ben Brantley. The magazine became a mix of celebrity and serious foreign and domestic reporting. Brown persuaded the novelist William Styron to write about his depression under the title Darkness Visible, which subsequently became a best-selling nonfiction book. At the same time, Brown formed fruitful relationships with photographers Annie Leibovitz, Harry Benson, Herb Ritts, and Helmut Newton. Annie Leibovitz's portrayal of Jerry Hall, Diane Keaton, Whoopi Goldberg and others came to define Vanity Fair. Its best known cover of this period was in August 1991 featuring a naked and pregnant Demi Moore. Three stories appeared in Vanity Fair which helped the magazine gain attention and circulation: Harry Benson's cover shoot of Ronald and Nancy Reagan dancing in the White House; Helmut Newton's portrait of accused murderer Claus von Bülow in his leathers with his mistress Andrea Reynolds with reporting by Dominick Dunne, and Brown's own cover story on Diana, Princess of Wales in October 1985 titled The Mouse that Roared. Those three stories from June to October 1985 saved the magazine after a year when rumors were rife that it was to be folded into The New Yorker. Thereafter sales of Vanity Fair rose from 200,000 to 1.2 million. In 1988, she was named Magazine Editor of the Year by Advertising Age magazine. Advertising topped 1,440 pages in 1991 and with circulation revenues, especially from profitable single copy sales at $20 million, selling some 55 percent of copies on the newsstand, well above the industry average sell through of 42 percent. Despite this success, occasional references later appeared to Vanity