Live Chat
05.24.2012
33
answers
GASTROGNOME Brian Halweil
Editor / Publisher
Edible East End / Edible Manhattan, Edible Brooklyn
Location Sag Harbor, NY
Website www.edibleeastend.com
About Brian Halweil is the editor of Edible East End and co-publisher of Edible Brooklyn and Edible Manhattan magazines. He is also a senior fellow at the Worldwatch Institute, where his work has focused on organic farming, biotechnology, hunger, and rural communities. He is the author of Eat Here: Homegrown Pleasures in a Global Supermarket, and he lives in Sag Harbor, New York, where he and his family keep a home garden and orchard, and raise oysters.
chat ended at 13:28 pm EDT
...but check out a recap below!
  • Q:
  • Any final advice for aspiring food writers / editors / publishers?
  • A:
  • It's been said before, but to become a better writer, you need to write. I'd say the same for editing and publishing. Getting as much practice and on-the-job experience as possible is always a good idea. You don't need to launch a magazine to be entrepreneurial in this respect. My grandpa was in the printing business for 70 years and I remember him saying that certain things just became intuitive and templated in his mind. And of course he had the benefit of experience and wisdom. It is the same for any aspect of publishing (or any career, I suppose). Food writing and publishing is an exciting space that I think will contiue to grow as more Americans devote more time and money, and place more value, on food and drink experiences. There should be many career opportunity niches that emerge.

    Thanks everyone for the great questions and the chance to think about our shifting food publishing world.
  • Q:
  • What does it take for a writer to become someone you'd put on your 'roster' for commissions or regular contact?
  • A:
  • These are folks we've worked with more than once because we like their writing and pitch ideas, they hit deadlines, and they are generally easy (fruitful) to work with. Many of our writers are also significant folks in the food and drink community (winemakers, farmers, chefs), who may not write fulltime, but they are great writers, and we like their non-writer perspective on things.
  • Q:
  • When it comes to fundraising for a magazine I am looking into publications on tradepub.com, what other resources would you recommend in order to develop a financial strategy? Thank you.
  • A:
  • That's a tough question. When we were preparing to launch we spoke to as many publishers/magazines/newspapers in our area, to get a sense of the landscape. That sort of planning is part of what Edible Communities helps provides to Edible publishers, which is very helpful.
  • Q:
  • What food publications / media do you read on a regular basis? Who do you think has the best editorial content?
  • A:
  • I read lots of stuff in bits and pieces (Saveur, Cooks Illustrated, the occasional magazines put out by Slow Food international). I'm a big fan of the food sections/food writing in The New Yorker, The New York Times, and The Atlantic. I really like reporting/writing on food from earlier generations. I've been reading Joseph Mitchell's essays about the South Street Seaport and other food writing he did for the New Yorker. I love anything Mark Kurlansky writes, and just finished his biography of Clarence Birdseye, the "father" of frozen food.
  • Q:
  • Out of curiosity, what's the going rate for writing an article for an Edible Publication. Is it the same for each one? Or different based on the Editor / Publisher?
  • A:
  • It varies around the country. Some pay by the word. Others a flat rate. As an example, we pay $225 for a feature (1000-1200 words) story at Edible East End. Edible Brooklyn and Manhattan have higher per word pay rates.
  • Q:
  • How many pitches do you get over the course of, say, a month? What percentage of content do you commission, and what percent comes from pitches?
  • A:
  • I might get a dozen or more pitches each week at Edible East End. Most (probably 75%) of our stories are commissioned. We have a big stable of writers we work with, and like to work with, and they are constantly pitching us as well.  
  • Q:
  • Oh! Well I'm still curious how you define New York food personality, from your perspective as an editor?
  • A:
  • Folks in New York who are defining and shaping food culture for other New Yorkers. These might be farmers or chefs or movers and shakers in the realm of food politics.
  • Q:
  • How would you define a 'New Yorker' food personality?
  • A:
  • I meant "New York food personality". Sorry. 
  • Q:
  • Have you ever been stumped for ideas for an issue? If so, what do you do about it?
  • A:
  • We have not had that problem, and often say there is a limitless supply of good stories all around us. Sometimes I'm stumped for words, and I generally try to just plow through it. 
  • Q:
  • We're inspired by your work. Who were the folks that inspired you most along the way?
  • A:
  • Joan Gussow, Wendell Berry, Michael Pollan. Farmers and food activists I've met over the past few years. 
  • Q:
  • Hello there. Do you have any Edible issues and/or articles of which you are most proud? If so, which ones and why?
  • A:
  • I recently looked back at some of our first issues of Edible East End and I'm very proud of a lot of what was in those issues, simply because we were chronicling new businesses and new ideas that are now--just five years later--well established in our community. I got to interview Anne Saxelby over a couple of years as her business grew for a profile of her that I'm proud of. Ditto for a profile I wrote of Joan Gussow a couple of years back. I'm proud of stories that put a New York food personality in a national or international context. 
  • Q:
  • Can you tell us a little bit about the major differences between editing and publishing - what the main responsibilities are, or different skills required for each?
  • A:
  • In a nutshell, editing is the assembling the content for an issue. Publishing is the selling of advertsing or the generation of revenue to be able to publish that content. There is some overlap from a planning and strategy perpsective, but the two roles are best kept distinct. 
  • Q:
  • Brian, thank you as well for sharing your knowledge. What key elements does your work environment have for you to be productive?
  • A:
  • A superfast internet connection and minimal noise. I have worked in a home office for a bunch of years, so I kinda got out of the habit of working in loud settings with many people around to distract you. 
  • Q:
  • Hi Brian. It's so great to hear about your current work. To get some background, what did you study in college? And did you ever anticipate this is how you would make a living?
  • A:
  • My major was Earth Systems (an interdisciplinary major), with a minor in Biology. I wrote for the school paper, but I didn't think I would make my living writing until I got my first job. 
  • Q:
  • How does one go about "pitching" an article to a publication?
  • A:
  • GFJ here; check out the answer to Brian's first LIVE CHAT question (scroll down to the bottom of this page) to see an answer to your inquiry.
  • Q:
  • What are your thoughts on the trend of e-magazines? Do you think electronic publishing is a good platform for those wanting to dabble in edible publishing?
  • A:
  • I don't have enough experience with e-mags as a user, but I see them becoming more ubiquitous. The ultimate format--tablet, browser-based, etc.--is still getting worked out. It can be a lower-cost proposition for dabbling in publishing, but not always. We feel that our print readership will remain, but we are constantly shifting into the digital space. 
  • Q:
  • I'm a student interested in working in magazines (but not settled on a college major yet). Do you have any insight on what kind of experience (in school or out) would help me land a job in editing or publishing?
  • A:
  • In the food magazines space, I'd say working at a food business (whether a farmers market or farm or restaurant) is essential. Of course, it's good (essential?) to have some writing experience, which means writing as much as you can, and trying to improve your writing. Any on-the-job experience you can get at a college publication or some local publication would be an asset as well. And it's good to have a basic knowledge of photography (even if you're using your iPhone camera).
  • Q:
  • Would you mind sharing where you see your experience at Edible taking you in your future?
  • A:
  • Honestly, it's hard to say at the moment. We have some expansion plans in the region, but wondering how we can do it in a way that it truly adds to neighboring communities. And we are pretty focused on how the print magazine translates to the digital space and the "live space" (or our events). We are blessed with a constantly-growing trove of content and I also think about ways in which we can compile and curate readers on specific topics we've written on--from local seafood to food literacy to spirits culture.
  • Q:
  • We hear a lot about your Edible responsibilities but less about your work with Worldwatch. Tell us about it. What's the breakdown of how much time you spend on each job?
  • A:
  • I worked at Worldwatch from 1998 to fall of last year, when the last big project I was working on came to an end. (Check out that project, on innovations to reduce hunger and poverty, at nourishingtheplanet.org.) My Edible work was taking up at least full time and I couldn't continue to work at Worldwatch. I am still a senior fellow there and in contact with my colleagues and might do work with them in the future, if the opportunity arises.
  • Q:
  • Hi Brian! Thanks for doing this. Do you have a preference for editing vs. publishing?
  • A:
  • Editing, for sure. Writing is what I love to do. As a novelist friend told me recently, he writes because it allows him to use a part of his brain he would not use otherwise. He also said it gives it him great joy and satisfaction. (That said, publishing is intensely creative and satisfying too. But I prefer the edit side.)
  • Q:
  • Do you think there is a saturation point for Edible magazines? Or do you see the potential for them to go international?
  • A:
  • Great, and provocative, question. I don't see a saturation point on the horizon for America, or Canada (there are several Edibles published there). The model has shown appear in little towns and big cities, on the coast and in the Heartland, in red states and blue states. If there is community support and interest, which I imagine exists in hundreds of distinct communities around the country, then there is room for that many Edibles. And, yes, there is potential to go international. In fact, there is already lots of interest and some plans. (Stay tuned.)
  • Q:
  • How far in advance do you put an issue together?
  • A:
  • Some of our content is scheduled a year or so out, but we put most of the issue together 2-4 months out. It varies.
  • Q:
  • What do you look for in a pitch that would make you publish that article?
  • A:
  • As our submission guidelines note, we are looking for different sorts of pitches than most pubs (food or otherwise). We are glad to hear about the new and noteworthy, but beyond that we want stories to have some deeper context--give a sense of a broader movement, trend or shift in local culture. And we like writing that is packed with info, hyper descriptive and has well-reported quotes. 
  • Q:
  • What's the best way to get in touch with the new Atlanta publisher as a writer?
  • A:
  • I'd say check back at edibleatlanta.com to see any updates. And you might join Edible Community's email list. They announce new launches.
  • Q:
  • I see you're an avid gardener. What's growing in your backyard right now?
  • A:
  • The garlic is forming scapes. We have covercrops of vetch and buckwheat that are pretty well established. Fava beans are about 12 inches tall. Raspberries, blackberries and blueberries are flowering. We are currently getting lettuce, radishes, kale and there might be one more cutting of asparagus out there. And eggs from our ducks. We haven't planted any summer stuff yet. 
  • Q:
  • How much interaction do you have with other Publishers / Editors from other Edible Publications? Is it fairly collaborative, or do you all operate independently?
  • A:
  • Although all the Edibles share the same mission--to chronicle their local food and drink commmunity--the publishers are a diverse with some being more interactive than others. There is a very active listserv that all members are part of--where ideas, tips, crises, dreams--are aired and shared. For us personally, we interact with the other Edibles in New York, New Jersey and Connecticut regularly. I was just flipping through the latest Edible Jersey, in fact.
  • Q:
  • You work on Edibles in the East End, Brooklyn, and Manhattan. Do you travel a lot or work mostly from home?
  • A:
  • I work mostly from home, although I do get out for reporting, meetings with our partners in the community and other work stuff. I commute into New York City usually once a week for Edible reconnaissance there.  
  • Q:
  • Should I want to start an Edible publication in my area, what is the average amount of time and money I should budget to launch.
  • A:
  • The time you'd need to budget is a tough question. It depends a lot on your background and skills, what role in putting out a magazine you would want to play (editor, publisher, ad sales person), whether you would be doing this alone, etc. When we launched Edible East End, it was me as the editor, and my biz partner as the publisher. We put out 4 issues a year and both did it as part time endeavors. I'd estimate we each spent 15-20 hrs/week during the couple of weeks when we were putting an issue together. Each Edible pays a licensing agreement to Edible Communities, which gets you assistance and support in launching, and makes you part of the community of publishers (also a great asset). The current price for the license agreement is $95,000, People usually pay a $35,000 down payment and ECI will finance the remaining $60,000 over six years. New magazines often run at a loss for the first few issues, but the Edible publishing model is pretty efficient and with modest ad support from the community, the magazine can be profitable. I would encourage anyone interested in launching an Edible magazine (a great thing) to get more info here: http://www.ediblecommunities.com/content/start-your-own/start-your-own-edible-magazine.htm.
  • Q:
  • Is Edible East thinking about extending to say Atlanta?
  • A:
  • Edible Atlanta was published briefly and then it stopped publishing. I am told that there is a new publisher who is relaunching it soon. It is a perfect community for it.  
  • Q:
  • What was your first big break in your food writing career?
  • A:
  •  I had been pitching the New York Times Dining section for a while (like two years), with no success. Sam Sifton was the editor at the time and he always got back to me with a prompt and considerate "no." But then I ended up pitching the oped desk on some similar stories with more of a policy or activism spin, and they accepted. My first Times oped was about Whole Foods Market opening up across from Union Square. (Read it here: http://www.nytimes.com/2005/03/06/opinion/opinionspecial/06CIhalweil.html) After that piece came out, I was able to use that as a clip and I ultimately got some writing gigs with the Times Metro/Region section, including a bunch of food stories I had originally pitched the Dining section.  
  • Q:
  • What is one thing that you do in your daily work that might surprise people?
  • A:
  • Eating quickly at my desk, or forgetting to eat lunch at all. Sometimes it just happens. 
  • Q:
  • What is the most appropriate format for pitching an article to an Edible Publication, and to whom should I pitch?
  • A:
  • We list our submission guidelines here: http://www.ediblemanhattan.com/about/submission-guidelines/. Pitches can be short and fine to include a few pitches in a single mail; we will be able to see quickly if we are interested. And, as noted, we are sorry we can't reply to every pitch.

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