The making of my own cookbook

[FrogPrincesse]

Pâte de fruit (fruit paste). There is no accent on the 'e'.

With the accent, it becomes a charcuterie item...

Edited May 24, 2016 by FrogPrincesse (log)

[huiray]

How precise do you need those temperatures to be in practice? (and therefore throughout your recipes)

 

Does it matter that the temperatures are exactly as specified? Not 1 degree more or 1 degree less? If exactly 104 ºF and exactly 223 ºF are required, is there a section somewhere on getting one's thermometers precisely calibrated to NIST standards, say? Elevation of the kitchen (above sea level) where the temperature specified is measured? What is the window of time available to execute the specified next step at those precise temperatures?

 

[gfron1]

Ha! We already caught the pâte issue - an autocorrect where the computer wanted meats not confections.

 

As far as the temperatures, throughout the book I talk about the ideal v. what will work and in most cases what the difference will be. Since the book is written for a mass audience it is assumed that most people will have old school thermometers, not digital, and certainly not calibrated. But as was covered here on eG with the PdF discussion over the weekend, a degree or two isn't disaster, and its an opportunity to figure out how the cook likes the final product (soft or firm). My chocolate friends will cringe when they see the how to temper and how to mold chocolates sections. The instructions are completely accurate, but those of us who take it more seriously will ask why not more specificity...why? because the point of the book is to get people to not be intimidated by foraging, by making PdF, by making chocolate...by cooking. And there are those who will say, but that will lead to failure. I disagree. I think I've found a comfortable line with which recipes can handle some fudging and which need exact.

[Deryn]

5 hours ago, gfron1 said:

The instructions are completely accurate, but those of us who take it more seriously will ask why not more specificity...why? because the point of the book is to get people to not be intimidated by foraging, by making PdF, by making chocolate...by cooking. And there are those who will say, but that will lead to failure. I disagree. I think I've found a comfortable line with which recipes can handle some fudging and which need exact.

 

Speaking of foraging, gfron1, how much explanation do you go into in the book about the 'safety' aspects/basics of same (i.e. the need to be absolutely certain that you are identifying the correct plant, in the correct and safe environment, at the correct time of year, etc. and then always use the correct preparation method ... for instance with things like pokeweed, which must be boiled at least twice)? And to wait (unless you are experienced and certain about a particular plant) at least a week before actually tasting something (reaffirming that you are certain that it is the correct plant) and tasting very sparingly again till you are certain that even if it is a generally safe edible plant (and there are over 120,000 of them in the world but only a few we can buy at the grocery store or even farmer's markets, often for good reason), that you as an individual are not allergic or sensitive to it or some property in it that others may not have a problem with.

 

Just yesterday I was reading something by a guy named Dan Greene (I think - didn't save the link) and while he encourages people to learn to forage (as I know you do, and I do - I love to do it but it does intimidate me to run across a new plant and not be absolutely certain what I am looking at), he pointed out a few things I didn't know - though you probably do. One in particular (I think it was in his article or perhaps one that his lead me to) was the fact that many plants that are technically the same in the northern parts of the US/Canada never have a chance to differentiate because of shorter growing seasons and may indeed look very different from the same plant growing in the south (and that the southern version may also have more than one growing season per year, and that 'place' is also something one must know about - a cactus may be seen growing in water occasionally or perhaps a water plant may be found in what appears to be a sand hole - but both may be what they appear to be nonetheless). Foraging is often not as simple as it may seem in other words - there are rules and there are rules that may be broken in any particular area. It is critical for people to have a specific knowledge of plants in their own area - and a good guide that also comes from that particular area, not a general one or even a website reference - and, if they are new, to go out if possible with a local expert and to watch them actually taste the plant in front of you - so you gain confidence in the safety of that particular plant.

 

I am certain you wrote knowledgably about foraging - and with the intent to have people not be scared of it - in fact, I hope, to inspire them to be excited about the whole prospect and what one can do with foraged ingredients - but, I expect it was a difficult section to write, no?

Edited May 24, 2016 by Deryn (log)

[gfron1]

I stress repeatedly to use local experts who know the local flora, and spend a bit of time on safety and hazards. The focus is on the forageable items that are most accessible, most useful and most safe. The book is consciously not a foraging guide. There are plenty of those out there and most are regionally focused. I offer entry level foraging tips and rules that anyone can safely do. And I focused mostly on items that have online purchasing options and all have substitutions.

 

And you ask if it was difficult. The culling of the list was difficult, not the writing of the remaining. The remaining ingredients are maybe 10% of my repetoire, but what was appropriate for this level of a book.

Edited May 24, 2016 by gfron1 (log)

[gfron1]

It went by without much fanfare, but the book is off to print. My editor doesn't email me daily anymore so I'm lonely   Now my focus is on the tour and sales.

[demiglace]

It's all very exciting, I can't wait to see it in stores. Congrats!

[gfron1]

an eG friend just shared this with me. So true. 

[huiray]

Would your publisher/agent/whoever arrange for the occasional photos from the printer of your book being put together at the various stages? That might also provide a "contextual story" to promote the book, as well as for general interest plus for your own satisfaction.

[gfron1]

that would be really cool. I think its all magic now since its being printed in China.

[huiray]

30 minutes ago, gfron1 said:

that would be really cool. I think its all magic now since its being printed in China.

 

Hong Kong, I would think - as that is where the sophisticated high-tech printing houses are located and from where other publishers have derived their high-quality photo books?  It would be really nice to have pics of the process of your book being printed and put together. Others have documented it, I think - why not ask if it can also be done in your case?

[gfron1]

My front matter says specifically China for what its worth. I still don't know how that would work. My only contact is the editor, who acts as the contact for the publisher, who is housed under the distributor (Perseus) which is where the printing directives are actually performed (If I understand the explanation from my editor). So to go through all of that to some person in China asking for a couple of cell phone pics...not quite sure if that's realistic. I guess I can ask and see what my editor says. I think we would have better luck with one of our Chinese eG members taking a field trip  but I'll ask.

[gfron1]

Sharing the jacket with blurbs:

AcornsCattails_Jacket (NF).pdf

[huiray]

Very nice. Well done!

[gfron1]

And this is how things roll...just got an email from the editor saying top brass didn't like "essays by" on the jacket and they're debating whether to pull her off all together or use a different word. I suggested "contributions by." Their concern is that "essays by" sounds too academic. We had to make it clear from the beginning that she wasn't a co-author...she's a friend, she's said from the beginning that she doesn't care what acknowledgement she gets. We'll see what this last second change results in.

[pbear]

As my mother likes to say, they're not the boss because they're infallible.  No, essays doesn't sound academic.  It sounds literary.

OTOH, as you obviously realize, probably not worth mounting the ramparts over.

[gfron1]

1 hour ago, pbear said:

As my mother likes to say, they're not the boss because they're infallible.  No, essays doesn't sound academic.  It sounds literary.

OTOH, as you obviously realize, probably not worth mounting the ramparts over.

Exactly. At this point...just print the sucker!

[demiglace]

The cover has eye appeal. It would make me stop for a closer look. Love it!

[gfron1]

One of my friends/customers is an agent for an author that every single one of you knows, but he didn't know I was working on a book, and I didn't know what he did for a living until recently. He shared some tips for me, pro bono, and so I pass them along here (edited for privacy): 

Quote

 

Lesson number one…

 

The realities of trade (publishing) are the following:

1.         No public reader is ever considered by publishers when selecting a book to publish. There are no focus groups, no lay readers, just editors and their assistants.

2.         The editor who selects a book has to get the approval of 2+ readers at the publishing house and then the book, if it gets past that hurdle, has to pass the editorial board, a committee decision. And if that passes the marketing and sales board review.

3.         The total pages read by these parties? Perhaps the 1st 5 and last 5 plus a 2 paragraph summary in the case of fiction and a log line (especially a log line now). The first 10 and a summary in the case of non-fiction. A few images and one or two captions in the case of illustrated books.

4.         At sales conference, the very top editors may have 25 seconds to talk about any one book. The other editors are restricted to 15 seconds per book.

5.         In 40+ years, I have never known of any salesman or woman who has read more than 1 book they have on their list to sell.

6.         At Barnes & Noble, 65% of all retail store sales, there are approx. 125 readers going over and reporting on 400,000+ books. Do the math. At best, these readers may read 10 pages, if you are lucky. On-line sales companies have no readers, they rely on the publishers and publishers’ sales’ staff to offer commentary/precis (called flap-copy).

 

Your publisher should have your awards on the front cover. Artwork for those awards needs to be approved by the awarding organizations – YOU need to get this and make Skyhorse use it.

 

The issue here is that publishers have almost NO WAY to effect pre-sales (before pub date) besides putting out a good book and sending out review copies 3+ months in advance in the almost ridiculous hope that

1.      someone, somewhere, will review the book,

2.      someone with an established reputation will offer a glowing blurb to feature on the book cover and in press releases

3.      the media is attracted to the book and would – maybe – possibly – 1 in 150,000 – do something visual on TV (and even then unless books are already in stores, this will prove useless).

Even if you get advance reviews, even if you get good media attention,, as one VP of sales said recently, “The question is whether those reviews turn into sales. It’s not like the old days, where people had to find the book or be shown there was a book out there. Now people see books by topic online, if you bought this you may like that… If someone is reading about a book online or in a magazine or seeing it on TV, they can click on Amazon or BarnesandNoble.com and order it right away. If reviews result in orders, then orders will mean reorders. This kind of coverage only helps if the media outlet has the juice (meaning enough eyeballs of real book buyers).”

 

So, what you as the author have to do is work the other side of the equation that publishers no longer seem able to get engaged in (it is too time consuming for them and they have all cut staff by 85% or more).

 

Ø  Get ARCs (advance review/reader’s copies) – maybe 50 copies of the title

1.      And send these to at least 20 of the similar reputation restaurants and the award people you have worked with already with a personal letter from you (call them beforehand and discuss your need for help and promise to help them in return – brotherhood if the theme here between chefs)

2.      Send 20 to peer reviews, magazines to someone you reach out to personally. This will take at least 30 minutes per person, that’s 10+ hours of calling and contacting. ASK for help, blame the horrible state of publishing and the need for the author to promote new cuisine.

3.      Send 10 to close friends, your best clients and ask them to help. How? Ask them to line up 10 of their friends to buy or advance buy a copy each on Amazon or B&N (online only) and on the day of release, write a review as a recognized buyer.

 

Remember a trade secret: Book chains do a weekly fast-slow sell analysis and toss all the “slow sell” items off shelves or display tables to make room for new arrivals. Yes, that’s right, you have one week to make an impact. Now, cook books are traditionally seasonal and slow-sell… so you need, in addition, to have this conversation with sales and marketing:

 

“I want to make sure my book sells well during the first 3-4 weeks. So I want to ask you to make a co-op advertising deal with B&N and brick & mortar stores. Firstly, I would consider any documented co-op advertising sale to B&N or independent stores to be a “special sale” and therefore subject to a reduction of royalties as per contract. Secondly  if you get a co-op deal that places the book in the window, I would forgo half of my royalties for that special sale when documented.”

 

If you tell [your editor] all the above, she will get nervous that you are going to make her and Skyhorse look bad. And if you do the above they will look bad – but you need them on your side to push sales. The way to handle this is to get started on your own, showing them you are a SUPPORTIVE author, wanting to make her look good. Get them giving you 50 copies (and if they cannot, or god forbid are not making an ARC at all, make them at least create a PDF ARC for you and you can print your own. It is totally worth doing so).

She will appoint a PR contact at Skyhorse – always treat them as if they are your sole PR contact but, similarly, always happen to copy [director of PR]. Make all correspondence with them professional and succinct… no more than 250 words in any email from you.

 

Then whenever you get ANY traction from the three items above, send them a copy, a link and congratulate Nicole and the PR contact on their job well done EVEN if they did nothing. And blind copy [director of PR]. That’s key.

 

Now, in the case of support from fellow restaurateurs – make a big deal of that on all your web sites (FB, Twitter, Spotify, Pinterest, etc.).

 

Lastly, go to all the local book stores and kitchen specialty stores… with the former tell them you would be happy to stage events, like a cook-in, book signing, a book signing at your restaurant where they can set up the book sales, etc. They get copies from Perseus distribution (you need to know that, not Skyhorse directly).

 

For Kitchen supply stores… make an offer of the same, but tell them your fee for doing that would be a 75% commission on all books sold and you will supply books (you can get cases of books plus UPS shipping from Skyhorse at 60% off – I hope, that’s what we negotiate for authors). In case of ANY signing, make a poster from the front cover WITH all the blurbs and along the bottom the time, date and signing event. Poster size will vary by store demand but make this as large as possible.

 

Sales of book in your restaurant should be author’s prices copies with your markup. Watch the Amazon cheapest price and match.

 

Phew, that’s it. Hope this helps.

 

 

[gfron1]

I really like Upwork! I know there is some controversy among my designer friends, but it allows me as a consumer to get fresh design because of cultural differences. I had a woman in Bangladesh design a digital poster for me to use on social media.

[Alex]

Nice poster!

 

I'll just miss you in Albuquerque -- I'm planning to be there all or most of the week of October 16. And Indianapolis is a little too far away for a comfortable overnight road trip. Are you planning to add any other dates -- Chicago, maybe? (You probably know about Iliana Regan and Elizabeth Restaurant.)

[gfron1]

1 hour ago, Alex said:

Nice poster!

 

I'll just miss you in Albuquerque -- I'm planning to be there all or most of the week of October 16. And Indianapolis is a little too far away for a comfortable overnight road trip. Are you planning to add any other dates -- Chicago, maybe? (You probably know about Iliana Regan and Elizabeth Restaurant.)

I know Iliana well and look forward to eating at her place before I open my new one. I want to see what folks are doing with midwest forage since mine is much more southwest. And depending on how the book does I may do a second tour, but for now I'm exhausted with the list that I have.

[cyalexa]

@gfron1  I didn't see St. Louis dates on your webpage. I will be there for a veterinary conference (at Purina) Oct 7-9 and could my visit a couple days on either side. 

[gfron1]

I haven't set a StL date yet, but it won't be that early. Since I'll be living there by the end of next week I figured I don't need to rush it after that grueling tour. I want to refresh and tie it into my new restaurant.

[cyalexa]

Sorry I'll be too early. Maybe I'll hit you up for some restaurant recommendations.