Tag Archives: food writing

An Employment Epistle

Dear R.,

It has only been six weeks since that napkin-crumpling, tear-stained breakfast with you at the Z-7 Diner, but it feels like years have passed. My job was on tenterhooks; I needed to find a new one or soon join the swelling ranks of the unemployed. Murmurs of a double dip recession were getting louder. I had so many questions and too little time. What do you do with a gastronomy degree anyway? Why is it that the sustainable, “socially responsible” organizations are the ones offering only unpaid internships? How do I land a new apartment lease in the highly competitive NYC real estate market if I can’t demonstrate an income? I am a fighter, yes, but this city is one who fights back. And I was determined to go down in a Viking pyre of glory.

So I started reaching out for help. I talked to old friends’ drinking buddies, lingered to chat with the cheesemonger, shook hands at conferences. I cyberstalked people whose jobs I wanted in ten years and wheedled them into grabbing coffee with me. I emailed you on a whim because—I don’t know—it seemed like you’d made some valuable mistakes before, and you weren’t hesitant to talk about them.

Most of all, I talked to myself. I said that I wanted to write. You asked one innocent yet oh-so-probing question that morning that stuck with me: why should anyone read what I have to say? How do I gain credibility as a writer? After all, you don’t have to bill yourself as a writer to be one. Dan Barber’s platform is his role as chef-owner of Blue Hill; Marion Nestle is a professor at NYU. I let that one marinate, as I searched for roles that would give me a soapbox.

Along the way, I made some incredibly naive mistakes. There was the time I asked a teacher if he would serve as a reference for me. He flatly turned me down. After all, I’d written a publicly critical blog post about the university that he served. There was the time I got rejected for an interview with a publicity agency. Though they were impressed by my cover letter, after Googling me, they’d stumbled across the aforementioned blog post and decided I was too risky a prospect—what if I decided to “write an angry tirade” about them? It turns out that being a writer with opinions is perceived as a threat. For the first time, people were paying attention to what I had to say, and I didn’t want them to.

Things happen in stochastic ways. Maddening weeks went by, as I sent out dozens of resumes into a void of silence. I kept rewriting my cover letter. I applied for unpaid internships and jobs that I was overqualified for. They never replied. I considered going back to economics research. Finally, I sent in an application to work as a sales representative at W&T Seafood, a second generation seafood distributor in Brooklyn. When I met the manager, we hit it off with the immediate chemistry that children born of immigrant entrepreneurs share.

She thought I was smart and would fit into the company handily. The problem was, I wasn’t all that interested in sales. I did, however, have other talents that could be harnessed. W&T was looking to expand some of its PR and marketing initiatives, projects that I was eager to tackle. Would they hire me for a position that didn’t exist yet? We gave it a few days of thought and one updated job description later, I was officially on board as the business development and communications guru.

So there you have it. Kids, the surefire way to get a job is to interview at a company, confess that you’d rather do something else, and then work with them to come up with the perfect position for you. I now have a new role as the voice of W&T, a vehicle that allows me to write with expertise on sustainable seafood. I’ve learned how to negotiate a salary and how to identify companies I wouldn’t be a good fit for. I’m 3 for 3 with jobs that allow me to bike to work and don’t require dressing up. I feel like a winner.

This euphoria won’t last. But I felt the need to capture it—right now at 6 am—to bottle it for the next time I’m in a panic. It’s a potent homebrew of optimism built on proactive perseverance.

Feel free to take a sip when you need it.

Thanks again,
C

Why I’m Never Going to Make It as a Writer

Corby Kummer, august senior editor for the Atlantic and one of my all-time idols, thinks my writing is shit.

Fine, he didn’t say it exactly like that.

Kummer was teaching a weeklong writing workshop, and everyone had submitted second drafts of essays on food. One by one, he whisked us into the hallway for individual conferences, then periodically returned to give comments to the entire group. All day, I had a nagging feeling that something was wrong. Why wasn’t my piece being read out loud to the class? Why was it at the bottom of the pile?

Wendy was one of the lucky ones. Her first paper was so perfect that her “revision” was to write another paper.

For the second paper, Kummer told her that he had no comments. It was perfect, again.

I congratulated her on her double win. Then I went back to doing what I do best—worrying while looking happy about it.

Bells tolled. My afternoon stupor was interrupted by Emily’s shoulder tap. “Hey Crystal, he wants to see you.”

In the vending machine alcove, Kummer was marking papers with a vengeance. I glanced at mine, lying on top of a trash can. It looked oddly clean and blank.

“You’re an expert writer, but you’re too self-conscious.”

Kummer looked at me, eyes framed under a furry blanket of hair. He continued.

“I read some of these lines and think, ‘Would you say that in speech?’

“Take this part, where you talk about dropping a lobster into boiling water: ‘The sucker will thrash and create a lively ruckus.’

“It’s like you’re detached and having these self-conscious remarks. You’re so incredibly aware of what you’re doing that it’s distracting. You just sound…Writerly. With a capital W.”

Did I mention that Kummer rejected me for a writing fellowship at the Atlantic three months ago?

I needed to defend myself.

“When you tell me to use monosyllabic words, I feel like it strips away my writing. Maybe I like using long words in daily conversation!”

Kummer gave me a skeptical look. “Shall we go through this piece from the beginning?”

I nodded. I needed to pee.

“You have moments that flow. This part about adding ‘fistfuls of julienned scallions, ginger and garlic’ is nice. Oh, and I can’t believe I missed this the first time—‘Atop a clinical ad seeking sperm donors, I gently placed the cutting board’– that is such a lovely detail.

“This reference to Hades, I just don’t think you would say that in speech. Did you really mean to say that?”

I twitched on the inside.

“Maybe I’ve been reading too much Jane Grigson [a writer who uses lots of classical references]. I don’t know, I was working on this at 6 am.”

“Oh my.”

“Well, it was better than writing it post-party.”

Kummer gave me a look. I am not sure if it was sympathetic or admonishing.

He went on. “Are you familiar with David Szanto? He had the same problem.”

David is a writer who taught at the beginning of the year. He is also a former student at the university, and my go-to advisor for all matters related to writing.

“David used to say, ‘I can write this piece with 3 different tones. What would you like to see? ’

“I guess I want to see you develop a consistent voice. What do you sound like?”

I looked at Kummer and stammered, “Don’t you see? I feel incredible pressure to write whatever you want me to write.”

“But that’s exactly it, I want to hear you.”

I started to cry. God, I hate when I do that.

“What if I am a pretentious person who loves high-falutin language?” I asked.

“You would call yourself a pretentious person?”

“Do you see the shirt that I’m wearing?” I waved at my body. “It says, ‘Bad grammar makes me [sic].’ If you called me pretentious, I would not be offended.”

Kummer’s face wrinkled with a smirk.

“You know, back when I was younger, people called me pretentious too. So I can relate.

“Writers have a way of hiding behind a façade, and you can’t really get to know them. It’s like they have something to protect. They want you to see a certain aspect of themselves, or maybe they’re too embarrassed to show their true selves.

“I want to see who you really are.

“This line—‘stop being a pussy and just kill the damn thing.’ I think that’s you. That’s who I want to hear.

“Now, I really wish I could read more of your writing. I’m curious about what your voice really is. After working with David for a week, I think he really nailed it down.”

He handed me a blue tissue. I wiped my nose less than gracefully.

“You know what, David thinks my writing is great.”

“Of course, I’m not surprised,” Kummer replied.

“I am sorry that I have made you upset.”

I waved him off between sniffles. “No no, it’s all right, I really appreciate your honesty.”

“Okay fine, then I’m not sorry that I made you upset.

“I am being so harsh because I want you to go to that next level.

“I spent half my time copyediting the rest of the class’ papers. In terms of copyediting, this is flawless.

“You’re an excellent writer—you’ve made yourself into one—and you’re ambitious.”

Maybe he was making that up entirely.

I bet he hates that I used the word “august” to describe him in line one.

I don’t care.

An Introduction to Wine Journalism

Wine journalism. Is it a public service, or simply pretentious nonsense? What forms does it come in? Does anyone pay attention to this stuff anyway? Who is the target audience?

On this gray November day, we were greeted by the warm presence of Richard Baudains, a wine writer for Decanter who has also contributed to the Arcigolo Gambero Rosso guides Vini d’Italia (Wines of Italy) and Vini del Mondo (Wines of the World). He hails from the Channel Islands (an archipelago between England and France), but has spent the last two decades living and drinking in Italy.

There are many opinions on the role of wine journalism, and we examined a series of quotes from wine writers with varying interpretations of the role. There is the Elitist Expert, who wrote, “I’ve been tasting wines now for over forty years and I like to think that through my articles I can help my readers to appreciate the subtleties of one of the finer things in life.” There is the Public Defender, who said, “Do you know how many chemical additives are permitted in a wine by a European food regulation laws? And what about the illegal additives? Wine writers should be raising awareness of these issues.” There is the Writer of Convenience, who commented, “I used to be on the sports page, but I got fed up with all the travelling and staying up all night to file my copy for the morning editions. Wine is great. A very laid back scene and super hospitality.” And naturally, there is the Passionate Amateur, who enthuses, “I just adore wine, in all shapes and forms. I love tasting it and I love writing about it and I want to share my passion for it through my blog.” People write about wine to affirm their own prestige, to express joy, for money, for free, to spread knowledge, to omit it, and for all sorts of reasons in between.
Continue reading An Introduction to Wine Journalism

A Flight of Fancy: France’s Poulet de Bresse

A month has passed since I was last in France (my how time flies!), but I’m still milking those experiences for class projects. Our trip to a Bresse chicken farm was particularly memorable, so I converted that into a magazine-style piece that I will submit for evaluation.

A Flight of Fancy: France’s Poulet de Bresse (727 kb)

On Food Writing

Before you ask, no this isn’t a photo of me, it’s the daughter of a family friend, picking Asian pears in the orchard.

“People ask me: Why do you write about food, and eating and drinking? Why don’t you write about the struggle for power and security, and about love, the way others do?

They ask it accusingly, as if I were somehow gross, unfaithful to the honor of my craft.

The easiest way to answer is to say that, like most humans, I am hungry. But there is more than that. It seems to me that our three basic needs, for food and security and love, are so mixed and mingled and entwined that we cannot straightly think of one without the others. So it happens that when I write of hunger, I am really writing about love and the hunger for it, and warmth and the love of it, and the hunger for it…and then the warmth and richness and fine reality of hunger satisfied…and it is all one.

I tell about myself, and how I ate bread on a lasting hillside, or drank red wine in a room now blown to bits, and it happens without my willing it that I am telling too about the people with me then, and their other deeper needs for love and happiness.

There is food in the bowl, and more often than not, because of what honesty I have, there is nourishment in the heart, to feed the wilder, more insistent hungers. We must eat. If, in the face of that dread fact, we can find other nourishment, and tolerance and compassion for it, we’ll be no less full of human dignity.

There is a communion of more than our bodies when bread is broken and wine drunk. And that is my answer, when people ask me: Why do you write about hunger, and not wars or love?”

-M.F.K. Fisher, Foreword to The Gastronomical Me