David Leite

Why didn't I bump into him today? Unless "foie gras" is street language for some sexual transaction, the mention of it would have given me pause.

It make sme wonder what MY mother whispered to me in my cradle that makes me think the guy was selling "steaks." If not, that's one hell of a a funky pimp outfit. David

Hey, I just went for my cardio power walk, which means I shuffled to the local pizzeria for a slice, picked up my mail at the UPS store, and headed back to my apartment, even though it's one of the first true spring days we've had. On my way home, this rather portly gentleman (I can say portly because I'm further to the right on the suit rack than he is) came up to me and whispered, "Hey babe, want some meat." I took a look at his get up, and the bloody white butcher's apron led me to believe and hope he was referring to meat from a quadruped. (I still remember all those years and pounds ago when the only propositions for meat I used to get were for the bipedal sort.) "Great steaks," my butcher friend said. "Fine." Now, do I look that dumb that I would buy meat that most likely fell off the back of a truck? Don't get me wrong; I'm not sitting any moral high horse here. It’s not like I haven’t taken part in tailgate clearance sales before; it's almost impossible not to in NYC. Books, a leather jacket, a ticket or two, maybe. But meat? I shook my head and continued walking. What if I had said yes, I thought. Would he take me into an alley and shake me down first, making sure I wasn't from the FDA? How was I to know this wasn't a sting, either? I looked around and spotted two very jumpy men standing behind a van. Bingo. Either these guys scored with some surplus meat, or someone from nearby Fairway or Citarella is taking full advantage of his lunch hour. As I turned the corner onto my street I thought of the meal that was a head of me: A low-carb Weight Watcher dinner: 5 points. I contemplated going back and haggling, but I kept on. Now if he were hawking foie gras, I might have reconsidered. Anyway, has this ever happened to anyone? Best,

While all the good stuff has been said by others, I thought I would give some realities from my own writing life that may answer some of your question, cookingwithamy. 1. Advertising. I was an advertising copywriter for 15 years, and I know the power a client CAN wield over publications. This isn't an absolute, so Russ and Kathy don't come running after me with knives in hand! But while advertising has never driven the content of my work, it has determined the length and timing of a few of my pieces. For example, I had a piece of mine cut nearly in half. Any kind of craft that went into the article went out the window when it got butchered. I would have loved to have had a crack at it, but I wasn't allowed "because there was no time." Which always made me laugh because I was the guy holding all the cards, if you will: I had the research, I knew the information that would have made that shortened piece--if not sing--perhaps warble a bit better. 2. Poor editing. Now everything that flows from a writer's pen is not gold, we all know that. But yesterday for the fun of it, a friend and I were comparing the original piece I wrote for a publication with the published version. Granted there were a few changes that truly improved the piece, and I was grateful for them. But on the whole, the changes didn't add ANYTHING--clarity, dimension, heft, or knowledge--to the piece. In fact, my friend commented that several phrase that were changed made the piece less precise, less specific, less interesting. This doesn't happen every time, but in the end I was left with an article I'm not happy with. Thank God for Web sites where you can put your own versions up for all the world to see that, yes, indeed, you CAN write. 3. Time crunches. There are times when you simply just have to get it out. Period. Your editor has a hole to fill because some thick-skulled moron of a writer bailed on her, and she turned to you. What do you do? Play prima donna and say you can’t possible deliver 1,000 in 8 hours? No. You say yes, then freak out after you hang up. You do your best and hope no one who regularly reads your work will find the piece. That, or get a nom de plume. But I do think there is some great food writing out there. But like anything in life, you have to find it. How many guys do you have to date until you find a great one? How many off-Broadway shows so you have to slump through until you discover a gem? How many...well, you get my point. Great wouldn't mean much if there wasn't a lot of mediocre to go around. Best, David

FoodMan, When I was a waiter at Windows on the World, we served a killer hazelnut daquoise. The recipe is in Nick Malgeiri's How to Bake. If you get a copy, I think you'll like the cake. It came pretty damn close to the original. Best, David

I agree with Chad. My card has "Leite's Culinaria, Inc." on it, and the title is "food jounalist." I've had no problems or comments from editors. In fact, many of them have commented positively on it.

Susan in FL, Glad you liked the goose. The funny thing is now that I know how to make a goose, after having tested so many, I have NO desire to have one for Chirstmas, yet all my guest are demanding it! Happy Holidays,

Chloe, I was told to be careful about Modesto's book. The recipes were supposedly sent in by her TV audience and printed as is, therefore there isn't the consistency or testing that goes into what we consider a classic book. It's a great resoource, especially sociologically and culturally, but as the bible of Portuguese cooking, it's supposedly lacking. David

Miguel, Is Casa dos Pastéis the same as the Antiga Confeitaría de Belém? David

kitwilliams, Yes it was a bit nasty of me, but I wanted to get my two cents in as fast as possible. The article? In the next month or so, I'd say. I'll drop a note to tell you when and where it will appear. The book...that's a whole other thread!

Hi Guys, I thought I would jump in and maybe (hopefully) clarify a few things: 1. The dough in the pasteis de nata on my site is not the "original" nor typical. My recipe comes from the Azores, and I used it because the real pastry, called massa folhada is very hard to make. (Forgive the misspelling, if it is indeed mispelled; I'm at a small-town library at a WINDOWS computer; don't have my Portuguese culinary dictionary. Also, I can't figure out the freaking diacritcal marks on this machine! I'm a diehard Mac user.) When I was in Lisbon recently, I got a tour of the Confeitaria de Belem, the pastry shop where the "pasteis de Belem"--the mother of all pasteis de nata--supposedly originated. (No other pastry can be called pasteis de Belem because only the pasteis made on the premise can have that name.) I watched the whole pastry-making process, except for the mixing of the custard, because that recipe has been secret for more than a century. Actually, years ago the recipe was given to the family who owns the confeitaria by monks from the nearby Jeronimos monastery. (Fools, the family makes a fortune on these. Their record: 40,000 pastries in one day.) Since then, I have found a restaurant in NYC (Alfama) that makes the closest things to the orginal. Just this week I was there learning how to make massa folhada and the custard with the executive chef. I will be returning several more times to really get the hang of it. This is research for an enventual book and an article. So stay tuned. I will have Alfama's recipe, the history, and all the other good stuff. But let me say that you really have to have patience to makes these little lovlies, because it's a lot of work. And for the record, the pastry used in the orginal is not classic puff pastry. It's a laminated dough, absolutely, but it's made very differently. In fact, the work surface doesn't have to be kept cold, as with mille feuille,nor does the dough have to sit in the fridge for hours in between turns. It's utterly fascinating--creative, too. Also for those people who have the problem of the custard separating, I believe I have that solved, too (at least according the the chef.) David

Trish, Good luck. I'm sure you'll find that your site will help you get your work out there, as well as start creating a brand for yourself. Best, David

Mike, If I’m featuring a recipe in an article, I test it a minimum of three times. It requires that many times to make sure it works and isn’t just a fluke. (Which can happened. There have been plenty of occasions when I hit it right out of the gate. Then I invite a bunch of friends over, and I'm all puffed up over my new creation. We sit down to dinner, and invariably it sucks. Go figure.) I don’t write a regular column, so coming up with new recipes really isn't an issue for me. I do have a friend who writes a column every other week, and I’m always amazed that he keep coming up with stuff. But I think it’s no different that any other kind of writing. To get ideas you have to read everything you can get your hands on, keep an eye out for the unusual or different, and pick the brains of everyone you know. Be annoying—it’s one of the better writerly virtues. David

suzz, It really depends on the editors. and, as you know, they change all the time. Again, I was successful by meeting editors face-to-face; it was easier to get their attention. I also find it easier to develop relationships with new editors, those who have just arrived at a publication. Often times, they’re looking to establish their own stable of writers. Short of that, I would suggest revisiting your queries and seeing if they’re as targeted as possible for the publications you’re interested in. Most newspapers aren’t looking for just another food-news piece from a freelancer; they have experienced staffers and stringers for that. Usually the “Special to [name of pub here]” pieces are something different, personal, or specialized. I’m not familiar with wire services and their payment methods. They tend to deal with hard-news food stories, which is something I don’t write. As far as collaborating, it’s best if you speak to an agent or a literary attorney. There are so many arrangements that can be made, that it’s limited by only your imagination. In fact, I don’t know if I heard the same arrangement twice. But make sure you never represent yourself in negotiations; you could end up being one of those writers they “got for a song.” I think you’d really benefit from the International Association of Culinary Professionals. Best, David

swissmiss, Great job of condensing the book-writing process. The only thing I would add, from a writer's point of view, is to get the best possible agent for yourself. As swissmiss says, an agent acts as a liaison between you and an editor. On top of that a good agent will make it his business to shape your career. Some writers are meant to be cookbook authors, others food writers, still others food historians, etc. An agent worth his while will see your individual gifts and help to gently move you in that direction. He will also work with you to find the best book idea for you at this particular time in your career. And, most importantly, he will protect you and your work, as well as get the best possible price for your proposal. How to find the right editor? Again, go to those conferences. Begin to understand what the whole agent-author relationship is about. Ask other authors whom you admire who their agents are. And, as swissmiss says, read the acknowledgment pages of food books. You see the good agents listed again and gain. Best, David

ChezCherie, Thanks for the information on Tante Marie. Tori's a great teacher, and one hell of a fun lady. And thanks for the kind words. They are much appreciated. Best, David

Steve and fresh_a, I'm happy to answer, especially because so many writer run for hills when the topic of money is mentioned. You can make a living as a food writer. You won't get rich, unless you have a significant platform. (See earlier posts.) Right now the average rates for a beginning freelancer are: Major newspapers: $350 to $600 per article; expenses for recipes not usually covered, but this is sometimes negotiable. Major magazines: $1.00 to $3.00 a word. Recipe testing and expenses are covered. Small reviews and blurbs: $30 to $75 (this is for local as well as national publications.) Web: anyone's guess. It really varies. But have heart; the more well-known you are, the more money you can command. (But we're not talking $10,000 a pop, though.) David P.S. Steve, I'm going to pass on your book-writing question. I'm still in the throes of figuring this out for myself, and I don't want to give wrong or hurtful information.

Carolyn, Thank you for your heartfelt post. I glad that the lecture and Q&A have helped you. And I look forward to being acknowledged in your book! If you have a chance to take a class with Tori Ritchie, do. She often teaches in Napa, and she's quite good. Best, David

Theabroma, This is a good question, and one I can't answer. I don't know the in-and-outs of translation and foreign-language books. I do know there are several editors who post on eGullet and who might be able to help. Why not post a question on the “Food Media” section? One suggestion: Write or call publishing houses that have published English-version of foreign books and ask what the procedure is. Also, check out the International Association of Culinary Professionals. They may be able to steer you in the right direction. I hope this helps. Best, David

BondGirl, This is a very tough topic and merits its own thread. But I’ll give it a shot. Clichés abound in culinary description, as do superlatives and overwrought metaphors. (My favorite: “The corn tasted like the sun.”) In the kind of writing I do, sensory description doesn’t play as big a part as it does, say, in the work of a restaurant reviewer. But nonetheless, a food writer should be adept at conveying her experience without relying on the crutch of clichés. What I do is start out with the ordinary, trite description. Somehow just getting the “shitty first draft,” as Ann Lamott calls it, on paper, I’m freed up. I don’t have to worry about being a hack, because I just did my hacky best. From there, I try to zero in on the senses that are most engaged. Sometimes hearing predominates (thanks to the sharp crack of peanut brittle), or smell will lead the way (because of the musty, clay scent of truffles). Then I try to find every association I can. For example, the floury, eggy taste of raw batter hurtles me back to my childhood when I used stand on a chair at the stove making raisin muffins with my grandmother. I then play around with the associations and see if they can best convey what I’m tasting. Simply stringing together a run of adjectives or adverbs will leave you short. To me the best sensory descriptions are evocative not only of the food or drink at hand, but of the person experiencing it. Memory and voice play a big part in that. The food is almost a jumping off point for a larger, more personal experience. Of course, a reviewer must stick to what’s on the plate, and that’s difficult. His experience is limited to the dishes at hand. Somehow many publications think that there’s no room for the personal in reviews, which is sad. I want to savor the writer and the writing as much as I want to savor the dish being dissected. I wish I could offer you more of a comprehensive answer, but this is the best I can do at this point. Let’s talk in ten years, and I’m sure I’ll have more to say! Best, David

Elie, Your questions make perfect sense. Some stories are assigned, usually after you have a relationship with a publication, many others are queried. My story “A Man and His Stove” was kind of a hybrid. The managing editor called and said that Bon Appétit would like me to write something for its “People & Places” column. (The editors had read my clips and like my style and voice.) She then asked me to submit some ideas. My next two articles for them were assigned and had very specific topics. For other publications, especially newspapers, I continue to query. Just last week an editor from a newspaper e-mailed me and asked for queries. I’ve never been assigned a story from a newspaper editor. Now that I know many editors, a query may be only a five-sentence paragraph, but the idea is still generated by me. I think you never get to the point where all your articles are assigned. I think it’s always a mixture of both. Best, David

pattimw, I read the draft over a few times, make changes, and print out a new draft. This continues until I'm satisfied. If I need feedback, I have a few people I go to for different things: food content, voice, humor, accessibility, and grammar. Husbands and wives aren't always the best choice. After all, we've spent our entire marriages training them to tell us how wonderful we are. Does this sound familiar: "Can't you find one @&^%!%! good thing to say about my [insert hot topic here]?!?!?" Asking your husband what he thinks of your writing is like asking him, "Honey, do I look fat in these pants?" Don't go there! Like with Monica, I'd suggest a writer's group. There you’ll find people who you can trust with your work and who will be fair and critical. Also the teacher can help you in ways the students can't. I’d suggest hiring an editor, but that would be more appropriate for the final draft, not earlier versions. David

Monica, I don't usually suffer from writer's block. My big problem is procrastination, which you can call a block to writing. Those few times that I did have writer’s block, it became clear that there was something wrong with the story. I was being too ambitious or trying to force fit a piece of my “loveliest prose” into a place that it doesn’t belong, and so on. If the block is due to a structural problem in the piece (and it isn’t always easy to figure out why you’re blocked), I start over. I get out a pencil and paper and I outline the story; this usually give me a new take on the piece and I can see where I went sadly astray. If a block is more entrenched, sometimes you have to walk away from the work for a while. (This is why it’s always a good thing to start an assignment the day you get it. The last thing you want is to be blocked two days before the piece is due and you’ve barely started.) Of course, there are those writers who have made careers of being blocked. In fact, they’re more well known for their block than for their work, which makes me wonder if they’re really stuck or are just really good marketers. Fran Liebowitz has been on more talk shows talking about her monumental case of writer’s block than she has been for talking about her writing. (Great work if you can get it.) There were a book I read years ago for psychology class that I enjoyed. It’s called On Writer’s Block. I’m not sure it’s still in print, but it put forth some good ideas. A writers group is always helpful. It’s always comforting to know that other people are as screwed up as you! Best, David

Raynickben I appreciate your point. This is how I see it: A publication’s main goal is to make money. It would certainly go belly up if it ran a five-page, including recipes, about the mealy apple crop in upstate New York. Or a lead feature about a big restaurant town in Texas that serves up some of the worst food in the state. I think you get my drift. To stay alive and to interest readers, a publication and its editors have to choose stories that are evocative, engrossing, and, cliché as it is, appetizing. Readers rely on publications to find the best, greatest, the most flavorful out there. No one would subscribe toa magazine devoted to the merely mundane and mediocre. I think you’re taking issue with the effusiveness of writers, the over-the-topness of their prose. And you have a very valid point. Too many superlatives ruin a story, and eventually, the reputation of the publication. So editors have to walk a fine line: Present lively, interesting stories without alienating readers with fulsome writing. Food news and restaurant criticism is where you’ll find a goodly number of negative/balanced stories/reviews. It’s the nature of the beast: Some restaurants will be winners, others will be duds. I’ve never be forced to write something positive. I’ve always been able to write the way I want, from my point of view. But none of my work is criticism. It’s mostly essay. (Granted you can dump in an essay.) I don’t think any self-respecting, ethical editor would refuse to include a negative review in her publication. But I’m sure she would refuse a negative review that was badly written. Contrary to what all the ranters out there may think, writing a well-written pan is hard. No one wants to read more than a few lines of awful prose about an awful restaurant. It’s all in the craft. There was a review (by a famous critic whose name I forget) of the Broadway play “I Am a Camera” by Christopher Isherwood. (This is the play that “Cabaret” is based on.) The review, which was the proverbial shot heard round the world, simply read, “No Leica.” While it’s pithy, it does show that you can trash anything using good form. I hope this answers your question. I’m sure there are editors lurking out there who can answer this far better than I. Best, David

Hi Claudia, In an earlier post, I mentioned several important elements that can drive traffic to your site. Also visit the homepage of you Web hosting service. Most have pretty sophisticated support pages that offer formatted HTML elements, such as guest books, bulletin boards, etc. Regarding the rights to your articles, it depends on your contracts. Most publications offer First North American Serial Rights, which gives them the right to publish your article first. After a set period of time, the rights revert to you. (Some top newspapers retain all rights. That means they can publish your piece in any form, in any place, as often as they wish, and you won’t make a cent. It sucks, I know. So make sure you’re willing to sign away all claims to your work before signing on the dotted line.) If you don't have a contract, you can do anything you want with your story. On my site, I always post the date and publication of every article and provide a link to the publication. It makes for good relationships. David