A Quote by Wylie Dufresne
I've seen cookbooks from lots of great chefs that have been disappointing. A book, to me, it has to have a story. Some of these people, they open a restaurant, and one year later, there's a cookbook. There's not much of a story yet.
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My husband wrote me love letters while I was on location in Canada and pregnant. They turned into being about food, and it turned it into a cookbook. He called it 'The Tuscan Cookbook for the Pregnant Male.' It was kind of genius. When I took it a book agent, he was like, 'Men don't buy cookbooks.'
For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.
When I first started writing cookbooks, I remember thinking to myself, what makes me think I can write a cookbook? There are these great chefs who are really trained. And, as I started, I realized, actually, what is my lack is actually exactly right, because I can connect with - cooking's hard for me. I never worked on... And that's why my recipes are really simple, because I want to be able to do them.
I love cookbooks. I certainly have my fair share at home, but I'm a really funny cookbook person: I don't really ever cook out of cookbooks. I like cookbooks for the commentary or the pictures or the history.
The secret to 'Year One' is that it's a Jim Gordon story. It's a great Bruce Wayne story, don't get me wrong, but Jim Gordon is the focus of that book. To me, that's the stronger emotional arc. It's not that the Bruce Wayne stuff isn't masterful, because it is, but it's Jim's book.
I love cookbooks for completely different reasons. I love 'The Harry's Bar Cookbook' and Marco-Pierre White's 'White Heat' for their feel. For pure learning, Gray Kunz wrote a great cookbook, 'The Elements of Taste', published in 2001. The first time I read Charlie Trotter's, the Chicago chef's first cookbook, I was blown away.
Restaurant Man is kind of the story, an unabridged story of what happened in my life, the good bad and ugly. Some people might glean some life lessons. It is honest, not written as a press release.
'Restaurant Man' is kind of the story, an unabridged story of what happened in my life, the good bad and ugly. Some people might glean some life lessons. It is honest, not written as a press release.
You just want to find a story that grabs you and that you've never seen before, but somehow you can't imagine it not existing. It's like a good book. What makes a good book is hard to say. I don't know. I just look for something that grabs me. I don't have a way of looking for a project, and I don't know many people that do. It's just year to year, and what's going around and what's there.
Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'
What I often do in my work is to take a great story, such as the Odyssey, the search for the Grail, the story of Jesus, or the story of the great peacemaker who helped create the Iroquois Confederacy in the 15th century. I then use these tales as templates upon which to weave psychological and spiritual exercises which allow us to open ourselves up to the larger venue of a story.
I kind of think of engineering like the chefs at a restaurant. Nobody's going to deny chefs are integrally important, but there's also so many other people who contribute to a great meal.
I read the story and reread the story, but I still could not find the universality that the little Irishman had spoken of. All I saw in the story was some Irishmen meeting in a room and talking politics. What had that to do with America, especially with my people? It was not until years later that I saw what he meant ... I began to listen, to listen closely to how they talked about their heroes, to how they talked about the dead and how great the dead had once been. I heard it everywhere.
There are some books that refuse to be written. They stand their ground year after year and will not be persuaded. It isn't because the book is not there and worth being written -- it is only because the right form of the story does not present itself. There is only one right form for a story and if you fail to find that form the story will not tell itself.
Tell me a story.
In this century, and moment, of mania,
Tell me a story.
Make it a story of great distances, and starlight.
The name of the story will be Time,
But you must not pronounce its name.
Tell me a story of deep delight.
I just noticed I've been writing lots of female-led things. Two of them haven't been announced yet, but the big Greg Capullo book I'm doing is a female-led story, and I'm doing another series with John Romita which is a female-led story as well.
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