Food Writing
A Weekly Ezine
Volume VI, Issue 16
June 16, 2009
www.food-writing.com
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For writers who love food and food lovers who
write. Subscribe and Unsubscribe instructions are found at the end of the
e-zine. Our subscribers' privacy is important, I will not sell or share e-mail
addresses or names with other businesses or publishers. This newsletter, in its
entirety, may be shared via e-mail and on lists. Thank you!
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"When one has tasted watermelon, he knows
what the angels eat." – Mark Twain
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In This Issue:
1. Editor's Note: Summertime and the Living
is…Frenetic
2. OVERCOMING MISTAKES by Pam White
3. WHY WE DON'T WRITE OUR BOOKS by Suzanne
Falter-Barns
4. Food Writing Jobs and Markets
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VISIT WWW.FOOD-WRITING.COM FOR EMAIL COURSES,
EBOOKS, AND MORE
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1. Ed Notes: Summertime and the Living
is…Frenetic
When my children were small, summer was fun. We
would go on picnics, head to the swimming pool, take walks, visit the zoo, and
simply hang out at the house with friends. Now, they all drive and work. They
also seem to have lots of money as they pop in and out with new clothes on,
tickets for concerts, and plans to eat out (something I haven't done for a long
time). I would probably be feeling overly nostalgic but we put the screens in
the front windows today (the house is 160 years old, and so are the windows, so
it's a production indeed).
Far from feeling as if I were sitting in
solitude, writing away, I've listened
to children chatter as they walk up and down the
sidewalk, church bells in the distance, and an undetermined amount of snippets
of people's conversations as they drive, ride or stroll by.
Tomorrow will come soon enough and we'll be
running in and out ourselves as we continue to ready ourselves, the house, the
cottage, the yard, and the old windows for the season. But for now, this very
minute, I am sitting in my living room listening to happy chatter from the neighborhood
children, and feeling very peaceful.
Uh-oh, I just heard a car door slam. That means
it's time to light the grill and finish the salad before my `children' take off
for exciting, frenetic lives of their own.
Cheers,
Pam White
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You'll find list after list of the information
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I still have these one-on-one courses available.
Read about all of these unique courses here:
The Art of the Restaurant Review
http://tinyurl.com/62ndz4
(If you've taken this before and want to go
through it again, let me know. I'll send the lessons for free.)
Query Letter Secrets
http://tinyurl.com/ojpjd8
Pitch That Column
http://tinyurl.com/qz39tn
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2. OVERCOMING MISTAKES by Pam White
I am a fast typist. So fast, that often I have
difficulty deciphering my own
typos. As long as I'm writing in my journal
that's just fine. But what kind of
an impression do I make if I send out a query
with letters transposed and
smattered with misspelled words?
Sometimes the mistakes we make in our writing can
make the difference between getting published and getting the heave-ho.
As readers of this ezine know, I am far from
immune from injecting errors into my writing. After talking with so many
writers about this particular problem, I realized it might be a good time to
clear the air about how to avoid mistakes, and what we can do if the mistakes
happen anyway.
Editors do understand that mistakes happen. They
do not like to see them, but can overlook the typo if the idea is highly
suitable for their publication. But if you've made the mistake, what can you do
to try and fix it before you and your pitch are tossed aside?
- Admit it. You wake up in the middle of the
night and realize you did not
include links to published clips with your query.
Send a second email with a new subject line. In this email, admit that you
forgot to send the requested clip URL's. Then make sure you copy the original
query WITH the links into your email. This way the editor need only keep the
copy of your final query.
- Try humor. It may not work, but if you've
really made a glaring mistake (like addressing the email or letter to the wrong
person OR the wrong publication), you can try to overcome the flub by offering
an apology, or sending a card. At least that way you have a chance of being
remembered as the funny one and not the clueless one.
- Send in a correction. If you've sent in a
finished article, and realize you've
misspelled an interview subject's last name, then
call, FAX or email the editor as soon as possible. You want them to correct
your error before it is printed. If your work is published online, corrections
can likely be made quickly; once an article is printed, then it's stuck, and
you've made an editor look bad and insulted a source.
- Hire help. For $25 an hour, you can hire a
professional proofreader. For more, you can hire a virtual assistant who can
proofread all your queries and articles.
- Take a class. You don't have to actually go
back to school. You could find an online course on editing or proofreading, or
you could study on your own. To understand the fundamentals of writing, study
`The Elements of Style' by Strunk and White. If you want to write well, you
should read `On Writing Well' by William Zinsser. These are both core books
that writers need to study and continue to use as resources.
- Show gratitude. You will meet editors that will
work with you and help you grow. Lower your defenses and listen to their
advice. And if they call to tell you about a mistake you made, and that they
corrected, show gratitude and appreciation. Then do better next time.
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Make Money as a Food Writer
Available at Amazon.com here:
http://tinyurl.com/kl4lfp
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3. WHY WE DON'T WRITE OUR BOOKS by Suzanne
Falter-Barns
In the ten years that I've taught people how to
get on with their books, I've
noticed a phenomenon that I'll call
"Author's Block." Would-be writers can,
indeed, sit down and work when pressed to it. The
problem is that they're not so sure they want the pressure of being an author.
But they do want to. But they don't. And so on. Ah, the agony of getting on
with your book.
Well, I'm here to diffuse that situation with a
list of what I think are the key
reasons we don't immediately set down to write.
Perhaps this will help the next time you find yourself polishing doorknobs
instead of sitting down to write.
* We lie to ourselves about why we can't write
the book. We think our stalling is about lack of time, or too much pressure at
work, or not enough solitude in the evening. But guess what? Chances are a
deeper, darker reason may be at play, like `I'm not supposed to be bigger than
Mom' or `What if this thing really takes off?'
* We fear the impact our book could have.
Sometimes when I coach writers in my self-help author's crash course, I'll ask
them what's impeding progress. And after some probing, it will come out that
they're afraid of the big exposure a book can have if it takes off. I'm here to
assure you that should that happen, (and chances are your book will not unleash
wild mobs of millions) you will be able to handle it. How do I know? On that
deep level where psyche meets karma, you won't create a reader more than you're
ready to receive.
* We think our book doesn't matter, so why
bother? One writer I know put this so succinctly: "I've tried getting up
at 5AM to write, and staying up late, and leaving my home, but none of it
works. I have this tired feeling that none of it's going to amount to a hill of
beans." In fact, writing and publication can be an entirely
self-determined activity these days. If the publishing pundits don't go for
your book, there's always self-publishing and e-books on your website. In other
words, your book does matter, and you really have no excuse.(Acid test: if the
book keeps on patiently urging you to sit down and write it for months and even
years, chances are you'd better do it.)
* We think we don't know how to write a book.
Guess what? Neither does any other first time writer. And that may be a
wonderful thing because you don't come in with a carload of expectations and
demands from your process. You're just open, like… well, a nice blank book. All
you really need is your intuition, and the will to write your book as honestly
as you can.
* We have no support. You need someone in your
corner, cheering you on, to get through the long and somewhat tiring process of
birthing a book. That's why my Self-Help Author's Crash Course is not an e-book
(believe me, it would be easier!) but a 12-week teleclass series. Because these
writers need a place to show up and be accountable for their progress. They
need someone to keep saying, `Yes, you really can do this." That's how
tricky and difficult our minds are when it comes to big challenges.
* We're afraid we'll run out of material. There
isn't a writer out there who
hasn't had this fear. And I'm here to say that if
you just stay loose and open, and willing to receive the ideas, they will show
up. All you have to do is commit – really sit down, and begin to bring that
book into being – and the work will magically appear. Sometimes it won't flow
that easily, and sometimes it will scare you with it's speed and power. But it
will, indeed, show up.
* We think `Who am I to write a book?' And yet,
you are the perfect person to write your book, because you're the one chosen to
receive this material. (You don't have to be spiritually inclined to believe
this.) I personally believe that books are given to us when we're ready to
receive them… and when we do, our lives are changed by that process.
* We fear uncomfortable moments. Ah, but that's
the most exciting thing about writing your book. You will be given challenges
and lessons that just seem untenable along the way. And if you're committed
enough, you'll rise above them and so become stronger in the process. This is
especially true for self-help books: we write what we need to learn.
I'm here to urge you to just get on with your
book. Not only do you deserve it –so do we.
ABOUT THE AUTHOR: For more information on how you
can find the support to turn your book idea into a publisher-ready book
proposal, go to
http://www.howmuchjoy.com/selfhelpbook.html
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4. JOBS FOR WRITERS
JOBS
Writer, Food and Health site, MN
http://minneapolis.craigslist.org/wri/1191254371.html
Freelance health and diet blogger, telecommute
http://newyork.craigslist.org/jsy/wri/1223866010.html
Editorial Intern, Foodie Site, NYC
http://newyork.craigslist.org/mnh/wri/1213382989.html
Copywriter, Italian Wine Merchants, NY
http://www.mediabistro.com/joblistings/jobview.asp?joid=90096&page=1
Restaurant Critic, Village Voice, Ft. Lauderdale,
FL
http://www.journalismjobs.com/Job_Listing.cfm?JobID=1062223
Freelance Food Writers for Dining Guide, Various
Cities
http://losangeles.craigslist.org/lac/wri/1213272944.html
MARKETS
FOOD NETWORK MAGAZINE
www.foodnetwork.com/magazine
1700 Broadway, 30th Floor
New York, NY 10019
Editorial Contact: Tsaelinger@hearst.com
Ten to 20 percent is freelance written. Send
newsy, fun ideas. Be creative when coming up with food pitches. Do not ask for
an assignment; instead pitch the best idea you have. All sections deal with
food:
Food News – up to 250 words on food trends.
In the Know – one page story on expert coverage
of using kitchen gadgets/tools and beyond.
On the Road – one page on an unknown ideal
restaurant with a specialty.
Party Time – Decoration, party themes and ideas.
Most of the magazine is written in-house.
Pay starts at $1 per word.
Send all pitches in a concise and professional
email.
SAVEUR
www.saveur.com
15 E. 32nd St., 12th Floor
New York, NY 10016
Saveur publishes articles for its audience of
readers who have a serious passion for food and eating. Its coverage of food is
global, so dare to think beyond your corner of the world. Covers home cooking,
street vendors and the best culinary experts out there. Avoid trend spotting
and think family traditions, culture. Show your depth of understanding in your
pitch. Most pieces published in Saveur are freelance written. Break in by
pitching the FARE section with a piece up to 450 words. Also try for the BOOK
REVIEW or MEMORIES sections that accept pieces up to 1000 plus words.
Read several issues to get a feel for what the
editors buy. Show your knowledge of the topic you wish to write about. Always
pitch your ideas and offer detail, possibly recipe ideas, and focus.
Send pitches by email with published clips. Pay
is $1 per word.
RELISH
www.relishmag.com
341 Cool Springs Boulevard, Ste. 400
Franklin, TN 37067
Editorial Contact, JMelton (at) pubgroup.com
Recipes: CFloyd (at) pubgroup.com
This monthly newspaper insert is all about how
America feels about food- they love it. Issues highlight classic dishes, how to
eat locally, quick meals that zip from prepare to sit down and eat, and party
time tips. Each recipe needs to have a personal story behind it. Readers run
the gamut from food fanatics to people who can't find their own kitchens. The
sections "Entertaining" and "Good Food Fast" are most open
to freelancers. Also think of a new way to celebrate traditional holidays and
pitch that. Write a story of up to 400 words and add three recipes to go with
it – that's the norm for Relish's articles. Check out the Front of the Book for
brief opportunities. 90 percent of Relish is freelance written.
Send queries via email. Pay rate is $1 per word
or $100 per recipe.
BACKPACKER
2520 55th St., Ste. 210
Boulder, CO 80301
www.backpacker.com
Contact: look for appropriate editor for what you
wish to pitch. Use the
editor's firstinitiallastname (at) backpacker.com
Think food as it applies to hiking, backpacking,
camping, outdoor activities. One of the front-of-the-book sections is `Skills'
which is open to food and fitness type pieces, and offers a better way for
writers to break in than pitching a full-length article and piece run from 100
to 1500 words. No pitches on personal vacations. They look for dramatic story
telling, a new look at something outdoorsy. Email detailed pitches to editor.
Up to 90 percent of magazine is freelance-written. Pay is $1 per word for FOB
pieces. Rates for features can be higher (but feature writers are expected to
be outstanding.)
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"On the subject of spinach: divide into
little piles. Rearrange again into new piles. After five or six maneuvers, sit
back and say you are full." – Delia Ephron
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Food Writing is copyrighted by Pamela White, 2009
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