Eggs, Milk and a Keyboard: Ingredients Needed To Write for a Food Review

By Kimberly Johnson

I’ll admit it…I’m a foodie. I watch the culinary shows (even, The Chew). I download the instructional videos. I will spend my next-to-last-dollar on a cookbook.

Last Sunday, I perused the aisles of a local mega bookstore and ooh’d and ah’d over Lidia and Ming. And just before I got hungry, I forked over the cash for Jamie’s Kitchen (Jamie Oliver) and Paula Deen’s Southern Cooking Bible.

At home, my kitchen turned into a full production set that would rival the one on Food Network. I tried out Paula’s Tomato Pie recipe. The ingredients were simple: four tomatoes, basil leaves, mozzarella, cheddar cheese, and mayonnaise, to name a few. The tools of the trade were modest: a deep dish pan, a grater and the oven. In Paula’s original recipe, she combined grated mozzarella, cheddar cheese and mayonnaise. I substituted plain yogurt for the mayonnaise. The result was a tasty treat that I may fix for brunch. Suddenly, I realized that I am good at cooking, eating and writing. But, I wasn’t sure about selling my two cents to an audience. So I hopped on the Internet to discover ways to write a cookbook review.

The experts offered this advice for the beginner reviewer:

#1: Select two or three recipes from your favorite cookbook and sample them. This way, you can get a feel on the author’s cooking style to write a comprehensive assessment. I cheated. I tried just one: Not Yo’ Mama’s Banana Pudding from Paula’s Just Desserts book.

#2: Explain why the book is unique. That’s what Garrett McCord (blogger with Food Blog Alliance) does with his entries. “For example, how does the author explain the use of ingredients in baking better than other authors? By setting the author and subject apart from the overcrowded world of food literature you detail their importance.”

#2: Discuss the author’s flair, presentation and photo arrangement. Let the reader discover the best (or worse) part of the book and don’t give away too much information.

#3: Identify the format. Be sure to include the title, author, and the general theme of the cookbook. Comment on the quality of the photos.

#4: Summarize your impression of the recipes and cooking style of the author. Set a rating system.

Writing a cookbook review seems like hard work. I’m going put my keyboard and taste buds to the grindstone. And hopefully, I can get someone else to spend his or her next-to-last-dollar on Paula Deen.

Sources: www.ehow.com, www.foodbloggersofcanada.com, www.foodblogalliance.com

Defeating the Blank Page with Misty Berries, Webs, and Fading Outlines

By Amanda Simays

Some people can start typing the beginning of a story and write all the way through until the end. I am not one of those people. Blinking cursors on blank Word documents intimidate me. How do you turn an idea for a scene into a fully-written one? Everyone has to find their own system, but here are a few strategies that work for me:

1.      Warm up by playing with words

Here’s a carefully crafted poem revealing fundamental truths about the dichotomy between nature and civilization in modern society with lots of metaphors about mankind’s philosophical state of being:

Long went the afternoon banquets

Tasting nothing

Hanging the misty berries

Along our still-ensphered home

Cold, pretty eyelids

Underneath rivers of flame ribbons

Never there

Very real

I lied. There are no metaphors in that poem, and it doesn’t mean anything at all. It’s just an exercise I do sometimes to get into the mode of writing. I flip open a random page of a random book on my shelf and write down the last word of every single line on the page. Then I play around with words, stringing as many of them together into a nonsense poem. There’s something fun and low-stress about putting words together in a way at first glance might deceive a fifteen-year-old editor of a high school literary journal into thinking that I’m saying something deep about the emotional turmoil inside my soul. But more importantly, it’s a warm-up—now the part of my brain that twists words and creates phrases is turned on.

2.      Brainstorm webs

I’m not a linear thinker, especially when it comes to creative exercises. Even an outline is too constraining of a medium for me to start out with. So instead, I open up a blank page in my notebook and make a web, jotting down phrases as they come to mind, connecting them with lines, letting my thoughts sprawl all over the page. It’s a lot easier for me to generate thoughts in this manner…there’s no pressure to start at the beginning and go through until the end. Only after I’m done this exercise do I turn my notes into a sequential outline. I try to fill up an entire page when I do this because 1) it pushes me to generate more raw material than I might otherwise do, and 2) filling up an entire page with notes like this aesthetically looks really cool. 

3.      Let the outline fade into a story

To me, this is the easiest way to solve the blank-page-anxiety problem—simply start with a page that isn’t blank. I take whatever outline or notes I have and copy and paste them into a new document. Then I flesh out my outline, adding in every detail that comes to mind, plugging every scrap of dialogue or piece of imagery into the appropriate spot. I keep doing this, adding and adding, until suddenly I’m not just writing phrases but sentence fragments…then whole sentences…and then eventually the outline starts to morph into properly-written scene. For me, this is the coolest part about writing. It’s like watching those “behind the scenes” DVD extras for an animated movie where they show a cartoon animal drawn in pencil morph into a full-color, smooth-lined animated sequence.

An Upside-Down POV

By Kim Byer

Betty Edwards, author of Drawing on the Right Side of the Brain, teaches her art students to turn photographs upside down in order to trick the mind’s eye while they’re drawing a portrait. Seeing an upside-down nose and philtrum allows the right side of the brain to accurately capture shadows and lines without the pesky left hemisphere insisting a nose is made up of two vertical lines with two dark circles along its bottom edge.

When I create a logo, illustrate a cartoon character or layout a Web page, I flip my designs upside-down to note spatial gaps, channels of white space and linear slants that I wouldn’t otherwise have noticed. This process is similar to editing. Of course in writing, turning pages or storylines upside down is a conceptual technique, not a physical act.  

In Naomi Epel’s The Observation Deck, she suggests flipping over ideas, plots, or character traits—in fact, seeking any opposite in your literal writing practice or story that allows you to write with a different perspective. Write on a computer? Write by hand for a day. Does your heroine always do the right thing? Have her screw her life up in a single, imploding paragraph. If you’re writing a non-fiction piece with point of view, give the opposite viewpoint. Or, put your outline in reverse: Start with the baby and end prior to the pregnancy.

Perspective-shifting devices work well for single creative sessions. In the next day’s session, when you’re back in the groove of your original storyline, you’ll find your right-side-up point of view refreshed and your focus renewed.

7-38-55

By Amanda Simays

If a Snapple iced tea cap tells me that average humans eat eight spiders in their sleep, I can roll my eyes and move on. But it’s harder to dismiss a statistic that I’ve had drilled into me during three separate job-related trainings, through speakers, handouts, quizzes, and public speaking videos.

I’m talking about the 7-38-55 rule, the one that states that 7% of communication is the actual words we use, 38% of communication is the tone we use, and 55% of communication is our body language. And I just couldn’t believe it.

I’ve lived through enough misconstrued text messages and emails to attest to the fact that tone and body language play a vital role in communication. But accounting for 38 and 55%? Really?

My hang-up over this statistic connects to my writing. I sprinkle details about tone and body language into my dialogue, but for large chunks I rely solely on the quoted words to deliver my message. If this 7-38-55 statistic were true, it had some scary implications. Theoretically, the dialogue I wrote often communicated only 7% of what I meant.

The more I thought about it, the more ridiculous that seemed. Did the 7-38-55 rule mean that writers should spend 93% of dialogue text space describing tone and body language? Or did it just mean that with every single statement a character spoke, I needed to illustrate the tone and the body language so the reader could understand what I meant?

According to the way my trainings presented the 7-38-55 theory, readers would only get 7% of what I intended if I wrote:

“I am so fed up with your attitude!” Jane said.

Add some body language for almost two-thirds of the gist (62%):

“I am so fed up with your attitude!” Jane said, stomping her feet.

Then all I would need to do is throw in a helpful adverb to acknowledge the tone, and then the readers get 100% of the message:

“I am so fed up with your attitude!” Jane said angrily, stomping her feet.

Ohhhh….now they get the point.

The 7-38-55 rule bugged me enough to do some research, and I found several websites exposing the “7-38-55 myth”…a frequently misquoted statistic. The 7-38-55 rule originated with an experiment conducted by psychology professor Albert Mehrabian, and the numerical conclusion only relates when you’re forming a like-dislike attitude of the speaker, not whether you understand the message. Bottom line: no official scientific study ever claimed that the words you use comprise only 7% of the information you communicate.

I like to partially blame residual effects of being brainwashed by that statistic for times when I don’t trust the words on the page to stand on their own, overusing adverbs, obtrusive speaker attributions, or clichéd body language. On the other hand, there is a kernel of truth buried in the 7-38-55 rule—the fact that I can’t rely completely on the quoted words to portray meaning. I still have to remember to visualize how my characters act, what faces they make, how their voices sound, and what they think about while they speak.

Finding the balance isn’t easy, and it’s something I’m working on. But I’m relieved to know that I can count on the words I use in dialogue for more than 7% of the legwork.

Revising & Whatnot

By Lisa Lopez Snyder

I’m at that stage of revision where I’m taking workshop feedback on my short fiction and making decisions: Do I cut this sentence? Should I move this part up, move that back? What’s a better, stronger word? Does this make my character more authentic?

Revising can seem like trudging up a long hill you just slid down. But does it always have to feel so daunting? I guess it means you need to feel the pain to get to the joy.

Writing always seems so much easier, and with a few handy mantras by my side, I usually feel spurred forward. There’s the straightforward Nike slogan, “Just Do It.” Another one is my own: “It doesn’t write itself.” I admit, they are admonishments, but they work for me. So…why not put together something to help with revisions?

Here are a few ideas. See what you think, and if you have any more, please comment. I need some help up the hill!

• Start in the middle and see what happens.
• You’re more than halfway there.
• Tell me what it’s like to be that character in that scene.
• Read it aloud.
• At least there’s a story to work with.
• That wasn’t so hard.

Conferencing

By Debbie Yoho

In the late '70s, I was lucky to participate in USC's First Draft of the Writing Project for teachers. The graduate course lasted only two weeks, but the Project met all day, every day. We learned by doing, striving to become better teachers by first developing our own writing skills, then stepping out of the process to track and discuss our personal journey. We learned how to transform writing instruction in our classrooms from a battlefield of grammatical errors, spelling mistakes and bleeding red ink, to a nurturing laboratory for communication and self-expression.

Our work was noisy. When we weren't writing, we were paired up reading our stuff aloud to each other. We called this "conferencing."

Conferencing is the key! We learned that published authors always have at least one partner to reflect on the writing, so that the written word can coax two minds closer and closer together in the direction of an intimate, shared experience—writer and reader developing a mutual understanding of what the words mean.

Our Writing Workshop meetings offer one way for writers to conference with one another. However, I find that the bi-monthly meetings are not enough for me. So I have enlisted a friend. She reads my manuscript a few chapters at a time, and then meets with me once a week to talk about it.

We don’t discuss the challenges of point of view, continuity or the need for more dialog. Instead she re-tells the story back to me, reflecting what stands out to her, what conclusions she is drawing, what she "sees between the lines", what strikes her as unusual or confusing, contradictory or distracting.

I am free to ask questions to draw her out: "What picture do you have of the mother?" "How do you think the boyfriend felt?" "What do you think will happen next?" "Describe the interaction between these two characters."

If what she tells me matches what I meant to convey, I have crafted a piece of writing that achieves my purpose with at least one reader.

I chose my conferencing partner carefully. She is analytical, articulate, brutally honest but constructive, and she is interested in tracking and contributing to my growth as a writer. My friend functions as my writing teacher by communicating with me about her experience as a reader, a thrilling process.

Sacrifice and Robotics

By Mayowa Atte

You have a story, a dollop of your inner pudding that you have decided to share with the world. You have outlines, notes, character bios, plot sketches and countless late night/early morning/during showers/during meals/during anything ponderings. More importantly, you have words -- a line or ten thousand of blessed prose that you are sure will destroy the reader’s world and make it anew. There is only one problem; you can’t seem to write enough, can’t make significant progress, can’t finish.

Why is it so hard to finish? Two dragons guard the road to writing productivity; the first is a lack of time to write. With day jobs, night jobs, families, friends, church, lovers and pets it’s a miracle that anyone ever finishes a draft. The other is the writer’s mental attitude; there is enough time to write but you don’t feel like writing. Maybe you are like me and your writing productivity mirrors your love life, or you want to spend your one free hour watching the Lakers. The truth is that there will always be something else, someone else, and someplace else that needs or demands your attention.

How do you finish then? How do you reach the half-naked pleasure of that last page? The answer lies in Sacrifice and Robotics. To slay the first dragon, you take one of the many other things that require or demand your attention and you sacrifice it. You wake up an hour earlier every day or stay in instead of going out with friends. You sacrifice a favorite TV show or order takeout instead of making dinner. Maybe you tell your boss that you absolutely have to reduce your overtime (please proceed along this path with caution).

To slay the second dragon, you find your best writing atmosphere (place, time, noise level, etc.) and you write in that atmosphere on an unbreakable schedule (using time carved out with your sacrifices). The goal is to make writing robotic, more than a habit, but an automatic, ingrained activity that you perform whether or not you are in the creative mood, regardless of the state of your love life, or how happy, restless, horny, sad, bored…anyhow you feel. Sacrifice and Robotics.

Why will you sacrifice the things and people that are dear to you? Why will you turn the writing you do for pleasure into another must-do task? The answer lies in another question, why are you writing? Why must you tell this story? Do you need to right a social wrong? Do you want your bodice ripper to be a national guilty pleasure? Do you want additional income or a cadre of adoring female MFA students? Whatever your reason, it has to be strong enough to make these sacrifices worthwhile.

It is impossible to make all these sacrifices or adopt every good writing habit but one or two is doable and will bring immense benefits. On most days in August, I left work on time, went straight to the same coffee shop and wrote for a few hours before going home. That month, I went way over my food budget, gained seven pounds (lost my gym time), frustrated my boss and alienated a few friends and romantic interests.

I wrote more in those 31 days than I had in the previous eight months.