David Leite

Um, I don't know what that is. But see what I mean? Point made. I didn't know what it is was, either. I had to interview ten esteemed James Beard award-winning restaurateurs, and all of them mentioned Taillevent (a classic restaurant in Paris). I was clueless. I finally got up the nerve to ask one of them, and she gracious told me all about it. So one down, ten million to go. That's the only way to look at it, otherwise you freak yourself out and you'll never get anything done! David

tanabutler, Personally, I find people who toss out their food and wine knowledge for the sake of showing off to be odious and tiresome. The upside is I usually get a good ten minute's worth of cocktail chatter out of recounting the meeting. (This is usually accompanied by several rather good impressions.) But when I meet someone who truly knows her stuff and it's not meant to impress but rather to inform, I'm in awe. Of course, my first instinct is to crawl into a corner and nurse my quickly dwindling fragile self-esteem. While I’m nodding away furiously, I make all kinds of promises to myself to read the entire Larousse Gastronomique in one sitting and to farm myself out as a scut to any chef who will have me. Then I usually get over it and utter the most powerful words I have: "I'm sorry, I don't know what that is." I find that when I'm in over my head, and I'm talking to a truly knowledgeable food person, admitting ignorance isn't looked upon as a genetic defect but rather as a chance to teach. And I've learned quite a lot in those situations from some very good teachers. Now, if the person looks at you with slitty eyes and fairly screams, "Darling, what do you mean you don't know all the dishes that were served on opening night of Taillevent," you have my permission to accidentally spill your glass of wine on him. And you get extra points if the wine is red. Double points if you try to mop up the stain with you napkin, which just happened to have the remains of a greasy mini crabcake topped with red-pepper coulis. David

pattimw, Be very careful when using the Internet for research. It's a great tool, but there's a lot of sloppy, inaccurate information floating around out there. I use the Web for initial research, to gather titles of books, addresses, travel info, general food facts, etc. But I always make sure that I cross reference with reputable sources. And some of those sources can be found online—site that belong to universities, companies, publications, etc. Just be vigilant. When you use anything from another writer, you shoud always attribute. In the case of a recipe, the name usually goes under the title. This is how I do it: Lemon Cake by Ina Garten from Barefoot Contessa Parties! Ideas and Recipes for Parties That Are Really Fun (Clarkson Potter, 2001) Makes two 8-inch loaves Always include the publisher and year of publication, if it’s a recipe from a cookbook. If it’s a recipe that you got from someone, then this is fine: Lemon Cake by Ina Garten Makes two 8-inch loaves If the person owns a restaurant, you may want to include it, too. Best, David

Elie, Your questions are great. Sometimes I take for granted that everyone knows these terms. A query is a letter or e-mail that presents an idea to an editor to see if she’s interested (hence "query”). It contains a lead, which hopefully engages the editor, and information about the idea (how you'll do it, who you'll interview, etc.) It closes with a brief synopsis of your writing experience. A clip is a published article. It's called a clip because you cut or “clip” the article out of the publication to add it to your portfolio. A manuscript is a completed article that's ready to be published. Editors are very, very particular about how a query should be sent. Some prefer snail mail, others e-mail, others fax. It's always good form to call and ask the best way to send it. Hope this class inspires you to start writing. Best, David

jersey13, When you include recipes in an article, it doesn't mean that the article has to be about the recipes. Granted, many feature stories consist of a 200-word lead and ten recipes. But other pieces use recipes as an illustration or a counterpoint. For example, profiles of chef or cooks often include recipes, but they aren't the thrust of the story. Look at some of the travel/food pieces in Bon Appétit, Saveur, and Gourmet. The recipes illustrate the story, are examples of that country’s cuisine, but they don't weigh down the piece. Publications such as Fine Cooking and Cook's Illustrated are teaching magazines. They take readers by the hand and teach them techniques, so the corresponding text needs to be explanatory and self-referential. Very good point. I’d add that you should get your pieces professional outputted on an Iris printer (I think), or some printer that creates sharp, glossy prints. That way when you make color copies, they will be top quality. One tip that was given to me: If your articles are in color, copy them in color. It makes for a better clip package. If I’m not mistaken, the download is time dated, meaning it works for only 30 days. After that, you need to buy it. But it’s a great way to see if you like the software without having to put out. Money, that is. FWIW, I think FrontPage sucks. I couldn’t wrap my head around it, and I’m pretty good with this kind of stuff. Best, David

Neil, Thanks for using the article. And thanks for all the proper attribution. So many people use content from the Internet and never give credit. Hell, one guy actually used the content of one of my articles and put his name on it. Ouch! Great idea about the alumni magazine. I would have never crossed my mind. David P.S. Didn't you have a question that you sent me prior to the class?

Ed, It's not a matter of writing opinions that people like; as long as you have a strong voice, you can praise of pan anything, and people will read. Take Bourdain, for example. I can't think of a more misanthropic writer (sorry, Tony), but what he writes is compelling. You may balk at what he says, but you have to give him credit for presenting it in a fresh, inimitable way. Think of voice as branding. Lexus has a very different brand image than, say, Volkswagen. What works for one won't work for the other. And how each brand communicates to the public is different. (This is all coming from my advertising background.) Once you discover your voice, your brand, everything you do—from articles to columns to business cards—should have brand cohesiveness. It takes awhile, sometimes a long while, before you find your voice. Writing classes and workshop are a good place to start. Any new writer need feedback. For example. I took a fiction course once, and I wrote several pieces. The comments I kept hearing over and over again is that I use humor well and that I write very good dialogue and characters. I took that information and have tried to use it in my writing to strengthen my voice. I hope this helps. David

Tammy, I use business cards all the time. I attached them to paper queries, hand them out at a food events or at lunches with editors or publishers. I also have an electronic signature for my e-mails that is similar to my card. Bottom line, use business cards. But like everything else. make it memorable. I know of people who hang onto business simply because they love the design. Remember, it's another piece of communication. Best, David

In his post, Bruce Cole metioned his site, but didn't include its name. Have I not taught you people anything?!! Have I not stressed the importance of self-promotion?!! Geesh! His site is Sauté Wednesday. Bookmark it today. David

Ed, Absolutely. You'll find out very quickly if you can write; readers on the Web are very vocal. By writing the newsletter, you'll gain experience and expertise. In time, if you write well and your subscription list grows, you'll have something to show editors. One word of advice: Take a look at similar newsletters and see how you can carve out your own niche. If you're offering up the same information as others, why will readers go to you? The answer is simple: Present the same content in such a compelling way, and in an appealing voice, that you become the source for food, wine, and travel information. You can also flip the entire genre on its head and do something no one has done before. It’s hard, I know. But people do it all the time. Best of luck. David

pattimw, alacarte, and ChocoKitty, The word from almost every food editor is that culinary training can't hurt. But that doesn't mean you have to spend $30,000. You can cobble together a very good education from lectures; classes; being a mentee; and reading, reading, reading. I was always paranoid that I couldn't write a word until I knew everything there is to know. But I soon found out that's not very profitable. So I decided to focus on one topic (Portuguese food) and began learning all I could. But I was wobbly about a few subjects, so I turned to the experts, which helped me make sure my writing was up to snuff. One tip: The faster you learn to be a good researcher and fact checker, the better off you'll be. So, definitely get an education, but do it in a way that works for you. How did I become interested in food writing? Well, I love to eat, and I love to write. I decided I had enough of writing about underarm deodorant, penile dysfunction, the Democratic party, and toothpaste. So I tried my hand at food writing. I had this need to write about my family, especially my grandmother. I never thought I would write more than one article, but when I saw my byline, I was hooked. Becoming a food writer just kind of happened to me. It was a bit Forrest Gumpish, really. Speaking of culinary education, I had to do some pretty fast learning back then, because I began querying everyone about everything. So for a while there, I was in over my head. But sometimes I think that’s the best way to learn: Throw yourselves to the lions! pattimw, yes, now that editors know my writing and are familiar with my site, I am being solicited for work, which is a great feeling. It makes the whole process a lot easier. ChocoKitty, getting a writing partner can be tough. You have to find someone who is willing to devote time to you, as you are to her. And she has to be someone you trust. An admired member of a writing class is good choice, as is a writing or career coach—Toni Allegra helped me a lot. You don’t even need a writer to do what I suggested. Find a friend who is willing to support you. Call or e-mail him and tell him you’re going to write for one hour without interruption. When you’re done call or write back. What this does is create accountability. Somehow we’re less likely to disappoint a friend than ourselves. (I learned this exercise, as well as many other things, from Toni.) But if you’re looking for someone to comment on your work, make sure he’s someone whose opinion your respect. And about getting Toni to bring me in as a speaker at The Symposium for Professional Food Writers? I trust her implicitly, so if it’s meant to happen, she’ll call, which I hope she does someday. Best, David P.S. A note to everyone: I’m trying to answer your questions as quickly and comprehensively as possible. If I missed a question or don’t answer one as fully as you’d like, please post it again. I’ll do my best to get to it.

Hi Tammy, Thanks for being a loyal reader of my site. Good question about an introduction letter. To be truthful, I've written only one and that was to Bon Appétit, in response to Barbara Fairchild’s request for clips. (Again, please don’t send anything to her. Always call the magazine and ask to whom you should submit your clips.) But I would suggest starting the letter by introducing yourself and explaining that you would like to write for the publication. Then follow with a summary of your writing experience, which in your case is considerable. Include five of your best clips and add that you would like to know if there's anything else you can do to assist the editor in evaluating your work, such as additional clips, a reference, etc. Then close by saying you'll give a call or drop an e-mail in a month or so. Then resist picking up the phone until then! Remember, your clips speak for themselves. They're the most important part of that packet, aside from getting the editor’s name and title correct and making sure the letter is letter perfect. And clips vs. a manuscript? If you have clips, send them. And if an editor has really messed with your copy and you think your original copy is better, attach it to the clip and write a small note explaining why. The only time I suggest sending a manuscript is when you don't have clips, or if you've been, say, a financial writer for years, and you want to move into food writing. But in both cases, make doubly sure the manuscript is great and perfect for the publication. This is your one and only chance to shine, so don't blow it. Best, David

Steve, No, there certainly isn’t enough good work to go around, and, yes, a writer has to really stand out. Editors of major publications and of important publishing houses are always searching for the next M. F. K. Fischer, Jeffrey Steingarten, Elizabeth David, Amanda Hesser, etc. Moral: Being a great writer is always the easiest way to gain entrée into the inner circle. To be a good writer, though, a person has to know his subject, his craft, and the business of getting work. This can’t be stressed enough. You can be a great writer, but if you know diddly about food, you ain’t going to get published. Likewise, you can be a walking encyclopedia of food knowledge, but if you can’t string together compelling sentences, you won’t see your name between the covers of major publications. And if you’re a wonderful writer who knows a lot about her subject but doesn’t have a business head, ditto on getting published. So it’s a trinity of elements that makes for an outstanding writer: Skill, knowledge, and business acumen. One thing that can help a writer stand out from the rest is to find a niche and work like hell to master it. That was the first piece of advice given to me. Melanie Barnard, a writer for Bon Appétit and a prolific cookbook author, led a panel about breaking into the business: Finding a niche was the point she hammered home. I took it to heart and began a one-man crusade for Portuguese cooking. Soon I was getting into publications with pieces about Azorean cuisine. Being an expert is a sure way of getting work. And when editors know that you’re the “Portuguese guy” or the “chocolate woman,” they seek you out, instead of the other way around. I’ve said this before, but it bears repeating: Develop relationships with editors. When you speak to an editor at a party, conference, food event, etc., you make an impression. Your personality, charm, intelligence, and knowledge come through (for better or worse). Editors are smart people. They’re skilled at sizing up a writer, and they’ll be evaluating whether you’d be a good fit for their publications. So be prepared and know what you want to say. One thing they teach at business conferences is the “elevator speech.” Imagine you have only 20 floors worth of time with the editor of your dreams. What would you say that would sum up who you are, what you do, and what you can do for her? I thought this was a bunch of bull until I tried it. I gave myself 30 seconds to sum me up, and I couldn’t do it. It took time to craft “my speech.” It may be a simplistic exercise, but it does point up the fact that most of us have diarrhea of the mouth, and we blather on when we should be making every second count. Also, if you’re going to an event and you know an editor or writer you admire will be there, do your homework. Look over the previous few issues of the editor’s publication or do some digging into the writer’s career. It will give you something to talk about, and it will show the editor you know how to do a bit of research—a sign of a good writer. It’s all about being prepared all the time. A writer should spend as much time promoting herself as she does writing. And I don’t mean beating a drum or wearing a sandwich board. What I mean by self-promotion is anything that keeps you visible. My day is divided in half. The mornings are when I turn outward and spend my time e-mailing editors and publishers, working on my site, sending out queries and notes, posting on eGullet, inviting editors to lunch, writing my e-newsletter, and so on. The afternoon is my writing time. It’s when I turn inward and focus on my assignments. The next day, it’s the same thing. This combination of external and internal work, of spreading the “gospel according of you” and doing the work at hand, keeps your career and your business moving along. Eventually, you’ll get noticed. Lastly, you can break the rules to get to an editor as long as you know the rules you’re breaking. Sure it’s okay to toss a three-sentence query at an editor over his private cell phone while he’s running to his cardiologist. But you better be sure you know what you’re doing. You better know whether that editor takes verbal queries. You better make sure you know your stuff inside out so that if the editor is intrigued you can capsulize your idea in those all-important 30 seconds. And you better pray you have a kickass funny answer when he asks you how in hell you got his private cell-phone number. Again, it’s all in the preparation. And although I think of myself as an outrageous kind of guy, I wouldn’t risk breaking the rules with a new editor unless I knew her threshold for improvisation. Newspapers are supposedly easier to get into, and that’s how I started. Lead times are very short, sometimes almost nonexistent, so a writer could in theory send in a query in August about truffle season. And because the turn-around time is shorter with newspapers, a writer can get paid faster (usually), as well as build up a clip file more quickly. Of course, online writing is even more immediate. Web sites can turn around a story in the time it takes the writer to write it. That’s the upside. The downside is most sites don’t pay well, if they pay at all. But clips accumulate very fast when you write for the Web. So, the short answer: If it’s clips you’re after in a hurry, online and newspapers are you’re best bet. A query letter is a writer’s greatest tool. A well-written one can open a lot of doors; a poorly crafted one can end up as joke fodder at the next staff meeting. There are lots of books out there about how to write the perfect query letter. I remember reading a good book by Lisa Collier Cool. I think it was titled “How to Write a Perfect Query Letter.” There’s a formula to follow that’s pretty standard: 1. Greeting. Make sure you correctly spelled the name of the editor. And make sure you have her right title. If you don’t know it, call the receptionist at the publication. 2. Grab them. The first paragraph is where you entice the editor. I prefer to treat this as if it were the lead to the actual story. And in some cases, I’ve used the beginning of a query for the opening of the article. Make this paragraph compelling, startling, interesting—anything to make sure the editor will read your second paragraph. 3. Lay it all out. Once you’ve grab the editor’s attention, you have to explain your idea. Be clear and concise. Show by how you present your idea that you know the voice and point-of-view of the publication. Outline the whole article in just a few sentences. This includes who you’ll interview, where you’ll go, and most importantly: Why you? Why are you the perfect person to write this story? Do you have some connection to the topic (as I do with Portuguese food)? Do you have contacts that other writers don’t? Do you have an expertise that makes you uniquely qualified? 4. Boast a bit. Close the letter, which should be no more than one page, by telling something about yourself. This isn’t the place to dredge up childhood traumas but rather to summarize your writing career. If you’re new, don’t try to hide it. List related experience, if you have any. If not, just say that you’re starting out and you appreciate the editor’s time and consideration. 5.Contact. Funny enough, writers will angst over a query letter then forget to give contact information. Make sure you list your telephone number, e-mail and snail-mail addresses. To be blunt, some of us have a way with words, some of us ain’t. But that doesn’t mean you can’t learn to write well. I’m confessing this for the first time in public: I sucked at writing until I was in my early thirties. When I entered college and took the English placement test (the one that determines whether or not you can skip freshman English), I got a C+. And when I had to write all those stupid papers for English class, I never got an A. Or even an A-. I simply sucked. I think it was all my journaling that helped improve my writing. It certainly wasn’t reading, because I hated to read until I was an adult. But, of course, becoming a skilled writer doesn’t mean you’re a good writer. One of the best ways to learn to write well (not just technically well) is to attend a writing class or group. By reading other people’s work, as well as writing your own and getting feedback, you learn what makes a good essay, or article, or book. The different elements are broken down—exposition, plot, narrative arc, dialogue, character, etc.—so that you get a better understanding of what makes a piece of writing work. And I suggest you take classes in fiction, nonfiction, screenwriting, and in any and all forms and genres because it will inform your work. My most disastrous gaffes? Hmmm. Well, in one of my first articles, which was about tea, I must have gotten a bit creative with geography because I made it plain and clear that China was not a part of Asia. In a piece about champagne, I let my spellchecker do my work for me, and I ended up spelling Veuve Clicquot as Verve Clicquot, and it was published as such. At a writer’s conference, while chasing after an editor, I fell down a short flight of stairs. (Damn those new shoes!) When introducing myself to the group at the same conference, I forgot the name of my Web site. For one article, I had to interview this very important person, and I never turned on the tape recorder. So I had no record of our one-hour interview. I had to call under the guise of checking quotes (something you NEVER do), and I re-asked some of the questions. Shall I go on? David

Kim, Your post reads like Bon Appétit's writer's guidelines. Everything is as you said. Bon App’s goal, from what I can gather, is to find good writers they can cultivate relationships with and whom they can turn to when they need stories those writers write. For instance, I don’t think any editor there is going to turn to me for a feature with ten recipes; it’s not what I do well. Victoria von Biel is still the executive editor. And she's the person clips should be sent to, unless a writer makes a connection with another editor. The best place to break into Bon Appétit, or any big publication, is the front of the book: "Saveur Fare" in Saveur; "News & Notes" in Food & Wine; "Starters" in Bon Appétit; and "Good Living" in Gourmet. It's very hard to break into Cook's Illustrated, unless you're an amazing cook and intrepid scientist. I'm interviewing Chris Kimball, founder and editor-in-chief, for my Web site, and I'll be curious to hear what he has to say about breaking in. Taunton's Fine Cooking requires a similar kind of writer, and from what I gather many of the people in this forum are of the writerly rather than the cookery persuasion. Writers shouldn't forget about Sunday supplement magazines such as Parade, which has one of the largest circulations around. But you have to have a very targeted idea. I can't help out here because I don't know what they're looking for. Men's magazines often have a column devoted to food, and women's magazines are bursting with food articles, but they're light on the writing and heavy on the recipes. I think that pretty much covers the gamut of publications. If you've never written for a specific magazine, you should call or write for the writer's guidelines. They can save you a lot of time and pain from slamming your head against the wall. One last thing: Every writer who's serious about his or her career should bookmark Sauté Wednesday. It's without a doubt the most comprehensive food directory around. It lists all the sites of newspaper sections, international newspaper sections, sustainable cusine, food professionals, chefs, food writers, food magazines, food science, food sites, dining out, food blogs, wine, and recipes. It's a must for anyone who needs to ramp up quickly on what's out there. David

Tanabutler and fifi, I'm genuinely touched. It’s so gratifying to know that my site and all that goes into it has an effect on people. As both of you know, when you're sitting alone at a desk day in and day out, you lose perspective. You have no idea if what you’re doing makes sense to a visitor. You both bring up a very good point, and it’s one that I think all people who are about to embark upon designing a Web site should heed: Remember the end users. Put yourself in their shoes; imagine how they, visiting for the first time, would react. Is the site easy to navigate? Is it appealing to the eye? Does it have a cohesive graphic point of view? And most importantly, does it, as fifi said, reflect the personality of the owner? Tanabutler, you also touched upon a topic that I neglected to mention: design. Having been in the arts all my life, I kind of take it for granted that everyone has a good eye. Yes, poor design is a real problem with so many sites. I have to chuckle at some of the sites that lead the list on Chef2Chef’s 100 Top Culinary Sites. They’re appalling. I don’t want people to get discouraged, though. DreamWeaver has some built-in templates that are beautiful and have good color palettes. All a newbie has to do is drop in text and upload it. I think the big problem is when people decide to create a site from scratch. That’s when you see the really awful designs and blaring neon colors. And I agree that if a writer isn't comfortable with design, the templates offered in DreamWeaver and by some ISPs are the way to go. About the runners up in last year's Web site competition, you can see their sites here. This year's winner and runners up haven't been published yet. (Speaking of user-friendly sites, I spent twenty minutes trying to find this link using Writer’s Digest own search engine. Nothing. I went to Google, and it found the link in seconds.) >>“You know who you are, Mr. "I Have Your Cookbook."<< Tanabutler, you have peaked my interest! Is this meant for me? Best, David

Steven, You ought be an interviewer with the questions you ask. Regarding queries vs. manuscripts, I think it’s a toss up. I know some editors who don’t mind getting a full manuscript if it has a laser-like focus and is right for their publications. Editors know that new writers are in a catch-22: They need clips to get into a magazine, but they can’t get clips unless they're in a magazine. Other editors hate manuscripts. But before eGulleteers go off and start banging away at their computers, I’d suggest calling or e-mailing an editor and asking if he minds a full manuscript. Or request writer’s guidelines. Lots of magazines have them, although not as many as before. I also recommend joining mediabistro.com. The site has a section called “How to Pitch,” which is filled with interviews with editors from all kinds of magazines. A new writer can get a head start by going there first. Here's the upside of submitting a manuscript, albeit in an unusual setting: I was speaking to Ruth Reichl at a party a few years back, and she told me of a man who approached her in Barnes and Noble. He simply handed her a manuscript. (Why he was walking around with a manuscript at the ready, I’ll never know.) She was a bit dumbfounded, but accepted it. She liked it so much, she published it. I think it was about mangoes, or some such fruit. So, hey, you never know. I think writing for free is a viable option for a new writer. Sometimes a publication has no money, but it’s an opportunity to get a clip. I know some writers balk at the idea, but I find it’s usually the ones who aren’t getting too much high-paying work. I’m all in favor of mixing paid and unpaid work. It gets an authors name out there. Hell, about one-third of my site is unpaid writing. (Someday I’ll get around to paying myself. ) As I said in my lecture, one of my columns written directly for my site got into Best Food Writing 2001. That pays a small honorarium, which was a pleasant surprise. But more importantly it gets my name and the name of my Web site out there—a crucial thing when you’re trying to build a career. And even when a writer is established, I think it’s important to give back. All of us have benefited from the generosity of others, and it’s only fair to pass that on to newcomers. As far as outlets for unpaid work, good question. I know no big publication will take unpaid work. I asked Margo True, deputy editor of Saveur, if she would accept a free article. She said that if an article is good enough to be in the magazine, the author will get paid. That aside, I think smaller publications, neighborhood newspapers, college newspapers, newsletters, and, as you said, Web sites and Webzines are good venues. eGullet and the Daily Gullet are perfect places for a writer to start out. What many eGulleteers may not know is that editors from major publications lurk on the site. So a writer’s work does get read by influential people. Another place a writer can get published, and get paid a small sum, is the essay sections of newspapers and some magazines. My very first essay, which had nothing to do with food, was submitted to The Providence Journal. I was thrilled when it ran, and I received something like $25. But what’s interesting is several people actually tracked me down and called to say they enjoyed the piece. (This was before e-mail. Yes, I’m that old.) So if a writer has a keen eye, she can find places everywhere to write for free or for a small recompense. David

Diabolo, I’ll admit I had a bitch of a time making the transition. I didn’t actually leave advertising, it left me. In early 2001 I finished a freelance job and expected to get a call in a few days for another. That’s how it was for seven years: You go from job to job and ask for an obscene amount of money. Later that year, I had major surgery and I was out of commission for the rest of the year. In the meantime, the economy tanked. I couldn’t find work anywhere. The Pollyanna-Shirley Maclaine part of me thought this must be the universe’s way of pushing me into food writing fulltime. I would have been content to do both for a few more years. To be honest, making it financially was hard. I went though all my (substantial) savings while recuperating and while trying to find other advertising work. I even started pulling from my IRA. But now things have gotten better. I’m getting steady work (actually more than I can handle), and I’m making more money per article. But to really make it in the field, you have to be a multi-tasker. Some food writers teach cooking classes. I teach writing classes. I coach some people in how to make the writing business work for them, I even help people build Web sites. I got a great freaking agent, David Black, and I’m working on a book proposal. I work my Web site six was to Sunday in order to build a bigger platform for myself. I attend every food event possible, talk to as many people as I can without getting hoarse, and I’ve broken the bank taking editors to lunch. But the moral is all this is starting to pay off. My advice to you: Keep your day job and work the hell out of your night job (aka food writing). If you keep plugging away and learn the craft, it will pay off. I believe you’ll eventual be able to make the transition. But I would say make sure you have enough money to support you and your family for one year. And during that year make all those relationships you cultivated while doing the grueling 9 to 5 grind work for you. In short, set it up so that when you do fly solo, you have resources, support, and contacts. Best, David

fifi and Suzanne, Editors and writers. Usually they’re considered enemies. I have to admit, just about every relationship I have with an editor is a pleasant one. I think it has a lot to do with “The Rules.” I’m pretty meticulous with queries and copy. I make sure that everything is in order, that the piece is written well and flows nicely. Because I’m so neurotic, and I always believe an editor will hate my work, I tend to go overboard. But working the piece until it says what I want it to say, making sure the grammar is correct and the structure is sound, and delivering it a day before it’s due, makes for good relationships. Recently, I was asked to breakfast by the executive editor ofBon Appétit to discuss a story I have in the upcoming Christmas issue. I was so certain that I was going to be fired that I e-mailed her about whether this was going to be a good discussion or a bad discussion. Good, she said. And in fact, it was. There was only a small transition that had to be fix, and I was given another assignment. I write this for two reason: 1.) If you follow “The Rules” and make sure you dot your I’s and cross your T’s, you’ll be in good shape, and your editor will love you. 2.) That it’s totally normal to freak out grande-style every time an editors calls you. It’s part of the game. Now, I have been privy to copy of established “star” writers before it was sent to editors. With one, I was in awe; her copy was amazing. With another, I was shocked to see how poor his piece was. It’s as if he dashed it off and expected the editor to make it work. That’s when strain and tension seeps in, and that’s when a writer feels her copy is butchered and when an editor feels grizzled because she has to do all the work. You’re the writer, and it’s your job to write well and fulfill the assignment—from tone, style, manner, even word count. But the most important thing is to find editors who get your work. You have a style that’s all your own, and if you’re true to it, you’ll be limited in where your work can appear. Not every publication will want your writing, and that’s okay. Cultivate relationships with editors and publications that can do your work justice. Also, ask editors out to lunch. I’ve been surprised by how many editors took me up on my offers. And then at lunch you can ask any question you wish about how they see their publication (or publishing house), how you can break in, how they see your work fitting in. It’s worth a try. All they can say is no. Suzanne, regarding copyediting a writer’s work, it’s a tough call. As you know, I’ve had my brush with copyediting a manuscript, and you walk a fine line between augmenting a writer’s voice and completely obliterating it “in the name of correct grammar.” One think you can do, and it is very time consuming, is to read previous works by the author. This can clue you into her style and voice. Also, the stronger the voice, the easier it is to shepherd it though the process of copyediting. It would be pretty damn hard to mess up a piece by Steingarten or Trillin. Their voices are so distinct and so strong that you naturally fall into their rhythms, cadences, and word choices as you edit. Unfortunately, many writers rely on the copyeditor to give shape, style, and voice to a piece. My advice is after your first cursory read through, decide then and there if you can be faithful to the writer’s voice. If you can’t, return it. I think any editor would respect your decision. Better to back out early than to screw up a manuscript. I hope this answers your questions. David Suzanne mentioned that she “looked over” my interview with Amanda Hesser before it was published. What she’s not saying is that she fixed some grammar problems and inconsistencies—in record time. She copyedited the entire piece faster than I could look it over myself. I mentioned in my lecture that early in my career I hired an editor to help me get my copy in shape. Well, I suggest that anyone who needs help, hire Suzanne. She’s an excellent copyeditor and line editor, and she can help you if the only thing you remember about grammar is that “it’s ‘i’ before ‘e’ except after ‘c’.”

Elie, I've had many exciting assignments. But I’d have to say the most exciting was the piece for Bon Appétit, "A Man and His Stove." It was my first essay for a national, well-respected food magazine. For whatever reason the piece just pour out in one draft—which is rare. There was no rewriting or editing. The only thing I changed was the name of Chihuahua Lady. I had originally called her Miss Chihuahua. A friend read the piece and was emphatic that Chihuahua Lady was funnier. I agree. I also really enjoyed interviewing Amanda Hesser. It was a new form for me, and, as usually, I threw myself into the project without an iota of sense or how to do it. The hardest and least pleasant piece I wrote was about the difference between French and American butter for Pastry Art & Design. I had no problem with the editors or the publication. What made it so unexciting was that it was a reported piece, which I had never done before. I had to call about two dozen people, interview them, transcribe the interviews, then piece the article together. There was little room for style. And my voice would have been very inappropriate for the publication. So I was bored by the reported and felt stymied because I couldn't write the way I like to. David

Maggiethecat, Glad you found the information helpful. I know it's a bitch to find time, but if you wrote just one page a day, you'd have 365 pages in a year. That's novel length. One thing that has proven useful is to make a pact with another writer. Call her and tell her your sitting down for 30 minutes of unadulterated torture. When your done, call her and tell her you accomplished your mission. Or better yet, send her the work. This is what I did to get through two particularly loathsome articles. It worked. David

Chad, I'd stick with the tried and true. Although the CD is great idea, you run the risk of an editor not having a CD drive. Also, most editors are so harried that the last thing they want is to have to open a package, pop a CD in their computer, and hunt for the work. Remember, make it as easy as possible for an editor to read your work. Lastly, viruses abound, and an editor might be leery of the CD. That being said, it might be worth your while to burn a few, and when you talk to an editor, ask her or him which format they prefer. Some like e-mail, others only want snail mail. You just might find a forward-thinking editor who would prefer a CD. David

Steve, Thanks for the kind words; I'm glad you got something out of the lecture. And I’m really glad I took copious notes when I attended those conferences. They have kept me, and now hopefully eGulleteers, in good stead. Regarding building a Web site, I like Chad's idea of an exchange. I know of another writer who did the very same thing and is quite happy. Of course, you can go the traditional—and expensive—route of hiring a Web designer/master, but I find that unnecessary and counterproductive. Many designers understandably want to show off their talents, and often times the result is a Web site that’s way over designed, with lots of bells, whistles, and Flash elements all over the place. As a writer, you need a simple, clean site that’s accessible to everyone. I learned this the hard way. For awhile there I was feeling that my site was stodgy and flat. So I added all kinds of neat things, and I got a backlash from readers. I had forgotten there’s a whole world of people out there who don’t have cable connections or even 55k modems. So I removed the fluff and I now keep it simple. That being said, most anyone can create their own text-driven site. I used Dreamweaver software, which is manufactured by Macromedia. I didn’t and don’t know a thing about coding and HTML, but the software is so intuitive, and the tutorial so clear, that I had a site designed in no time. One tip: Make sure you have you entire site laid out on paper first. I was so eager to get my site up and running that I decided I was too gifted and fabulous to bother with a paper layout. Hubris, thy name is David. Well, I ended up having to redesign my site three times. That’s a freaking lot of wasted time. If people don’t want to bother with a software package, many Internet service providers (Earthlink, AOL, etc.) offer simple-to-use Web templates that are perfect for writers. All you have to do is plop in some text, upload it, and you’re in business. I’m familiar with Earthlink (it’s my provider), and they have some pretty impressive templates, And best of all, their tech support is outstanding and free. Some important things to include on your site: 1. An e-mail link on every page. Readers tend to be impulsive, and if they find something they like—or hate—on your site, they want immediate access to you. Supplying an e-mail link on every page eliminates the frustration of their having to hunt for an address. 2. A guest book. Granted, you want your site to be a cyberportfolio so that editors can read your work. This is especially helpful when you have few published clips. But you also want to make sure you attract as many readers as possible. By building a large database of readers’ e-mail addresses, you’re also building a platform for yourself. A platform is nothing more that a vehicle to reach an audience. When book editors are considering you proposal, they always look for a platform. Some lucky bastards have TV shows, à la Bourdain. Others have radio programs, such as The Splendid Table with Lynne Rossetto Kasper on MPR. While still others have a library’s worth of books they’ve written. We poor suckers who are just starting out have nothing. Building a following on your Web site is a powerful negotiating tool when you’re dealing with book editors. Plus, it’s always fun to have fans. CAUTION: Never harvest e-mail addresses from other sites or anywhere on the Internet. It’s poor form to so that, plus you’re creating SPAM. Every one of my 8,000 subscribers came via my guest book. 3. An easy-to-find and easy-to-use index of your work. I recently judged the writer’s Web competition for Writer’s Digest. I was last year’s winner, so I was asked to take a look at this year’s finalists. Many of them made it nearly impossible to find their work. They got trapped in bells-and-whistles hell, and style won out over substance. Visit my index. It’s clear, easy to find (the navigation bar on top is on every page), and offers up a description of each article so that editors and readers can easily find something that interests them. Well, that’s it in a nutshell. David

Now, before anyone says a word, I'll admit there are a few typos in my lecture. (That's why it's never good to edit yourself.) Yes, I do believe that everything you write should be letter perfect. But do as I say, not as I do. David P.S. Now bring on the questions!

CWS, what you need is to get your own show on TVFN. That would put all your free-radical energy and rantings to good, and might I add entertaining, use. But they'd have to bleep you all #!%^! time .

Dear swissmiss, Felice, VivreManger, Bux, and KathyP -- Sorry for not responding sooner. For some reason my subscription to this thread isn't working. I just checked in on a whim, and what to my drolling mouth doth appear? All these wonderful recommendations. Thanks so much. I'm begining to plot out all these spots on my map. This way we'll have all kinds of great places scattered throughout the city, so that no matter where we find ourselves, there will be good eats nearby .