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From YouTube: Cookbooks with Bruce Weinstein & Mark Scarbrough
Description
Bruce Weinstein and Mark Scarbrough discuss how they craft quality meals and recipes for their cookbooks. They also discuss the process of authoring cookbooks. Mark and Bruce are business and life partners who written upwards of 30 cookbooks including their latest, "The Kitchen Shortcut Bible".
A
I,
don't
and
so
we're
gonna
talk
tonight
since
there's
two
of
us
and
since
we
right
we've
written
31
books,
well,
I
just
turned
in
the
31st
says
you
heard
yesterday
and
since
we
do
this
not
then
those
are
the
ones
from
us,
not
counting
the
ones.
We've
ghosts
written
for
celebrities
and
no
I
cannot
tell
you
who
the
celebs
are.
There
are
confidentiality
agreements,
some
of
them,
except
for
dr.
Phil.
B
B
A
It's
true,
and
these
days
a
lot
of
chefs,
give
writers
credit
on
the
book
or
not,
but
there
it's
a
negotiation,
and
we
just
wanted
to
talk
a
little
bit
about
what
happens
in
you're
writing
a
book
how
you
negotiate
between
the
chef
and
the
writer,
because
it's
actually
a
difficult
negotiation,
because
what
chefs
want
to
do
in
case
you
don't
know
it's
not
what
normal
people
want
to
do
and
what
normal
people
want
to
do.
Often
conflicts
with
what
writers,
the
idealists
in
the
room
think
they
ought
to
be
doing.
A
A
Here's
a
way
to
use
goat
cheese-
you
may
have
never
thought
of.
You
can
turn
Chev
into
a
chocolate
truffle
take
six
ounces
of
semi-sweet
chocolate.
Then
you
melt
it
afterwards.
You
mix
in
six
ounces
of
goat
cheese
and
about
two
tablespoons
of
maple
syrup,
we're
gonna.
Let
that
cool,
you're,
gonna
roll
it
in
cocoa,
candy
making
seems
hard,
but
this
is
really
not
hard
to
do.
Plus
it's
just
the
kind
of
thing
that
you
bring
out
and
everyone
loves
it.
B
C
B
A
But
the
thing
that's,
the
truth
of
the
matter
is
and
that
what
why
we
play
those
videos
too,
is
because,
honestly,
if
you
just
watched
on
Chow,
you
would
have
no
idea
actually
I
mean
we're
kind
of
pulling
it
out
for
you,
but
you
have
no
idea
who
was
actually
the
chef
and
who
was
the
writer
of
those
two
videos.
They
look
like.
Basically,
the
same
things
going
on.
A
People
are
cooking
and
they're,
standing
there
and
they're
making
something
and
it's
all
jump
cut
and
all
this
kind
of
stuff-
and
you
wouldn't
actually
know
the
difference
between
what's
going
on
now.
Of
course,
we
see
it.
It
jumps
out
to
both
of
us
because
again,
like
Bree,
says
I
used
to
microwave.
He
said
things
like:
oh
it's
another
hour
till
it's
220
degrees,
Fahrenheit,
and
that
kind
of
thing,
so
it
jumps
out
to
us
but
doesn't
necessarily
jump
out
to
anybody
and
that's
the
way,
the
business,
the
hook
book
business
runs.
At
this
point.
A
B
A
B
We
started
this
career
I
had
I
had
published
a
small
little
drink
book
before
I
met
mark
and
then
from
that
book.
I
was
able
to
get
an
agent
and
she
took
on
mark
as
well
and
the
next
thing
we
knew
she
and
said:
do
you
want
to
do
an
ice-cream
book
because
Harper
Harper
Collins
would
like
to
do
what
they'd
like
you
to
do
it
and
I
had
just
taken
it?
I
was
in
a
previous
life.
B
I
was
an
advertising
creative
director
and
I
was
too
busy
with
that
work
to
take
on
an
ice-cream
book
and
full
disclosure
I
don't
eat
dairy,
so
I
was
like.
So
how
am
I
gonna?
Do
this
and
Mark
said
I'll
help
you
we'll
do
this
together
and
we'll
get
this
done,
but
they
offered
me
the
book
so
he's
like.
Don't
worry
about
it.
I'll
help
you
with
well.
A
So
we
talked
it
through
and
they
said
at
the
time
now.
These
are
the
ice
cream.
He
was
published
in
99,
so
publishing
industry
has
changed
a
great
deal.
They
said
at
the
time.
Nobody
cares
who
the
writer
is.
Nobody
cares
just
the
chef
we
put
the
chef's
name
on.
That's
what
anybody
cares
about
in
1999.
The
industry
has
changed
very
much,
but
that
that's
exactly
how
it
went
down
and.
A
A
Read
everything
about
the
change
of
the
industry
and
the
change
of
cook
book
publishing
itself?
It's
because
by
this
point,
by
the
time
goat
gets
published,
which
is
ten
years
after
those
other
books.
Blogs
are
a
thing
and
Facebook
is
becoming
a
thing
and
Instagram
is
not
yet
a
thing,
but
still,
nonetheless,
the
world
is
changing
and
people
are
interested,
not
just
in
collections
of
recipes,
which
is
what
those
first
books
and
our
first
twelve
books
were
collection.
A
Starting
to
be
interested
in
this,
this
personal
story,
which
means
the
writer,
is
suddenly
jumping
in
front
of
the
book,
just
like
blog
writers,
just
like
people
who
have
blogs
and
people
who
have
very
popular
Instagram
feeds
or
YouTube
feeds.
They
have
jumped
their
personality
in
front
of
a
chef
necessarily
and
I.
Think
that's
kind
of.
B
What
Mark
really
got
to
breasts
as
much
of
his
personality
and
creativity
in
the
books,
as
I
always
had,
because
the
recipes
really
represent
the
way
I
like
to
cook
and
the
way
I
eat
and
yes,
Mark
tastes?
Everything
mark
has
to
agree
and
improve
on
every
recipe
we
do.
But
it's
still,
what
comes
out
of
the
kitchen
is
my
creativity
so
that
he
finally
got
a
chance
in
our
books
like
goat
and
we
wrote
a
book
ham,
an
obsession
with
the
hindquarter
which
we're
in
a
James
Beard
for
that
he
got
to.
A
B
Dinner
parties
was,
we
went
back
to
a
less
mass-market,
a
more
foodie
book
again,
where
Mark
got
to
write
and
in
the
slow
cooker
book.
There's
not
much
smart
writing
in
terms
of
well.
You
know
it's
not
it's.
You
know
what
I
mean
that
book
took
everything
out
of
you
to
get
500
recipes
into
a
format
and
and
organized
I.
B
A
Which
is
much
more
mass
market
and
the
book
we
just
finished
is
the
instant
pot
bible,
good
gosh,
which
the
manuscript
went
in
at
1,100
pages,
yesterday's
so
another
giant
town
okay.
So
we
want
to
talk
about
there's
kind
of
three
steps
to
writing
a
cookbook,
and
we
just
kind
of
want
to
talk
about
this
and
the
way
that
chefs
and
writers
negotiate
it,
and
the
first
step
has
to
do
with
idea
itself,
and
it's
funny
we're
talking
about
how
we
do
this.
A
But
what
we're
really
talking
about
is
the
dominant
problem
in
a
thirty
cookbook
career
and
it's
the
dominant
problem
in
long
term
business
partnerships-
and
that
is
how
do
you
keep
creativity
alive?
It
not
only
works
with
business
partnerships,
it
works
with
marital
partnerships
and
longtime
live-in
partnerships,
but
it
works
in
business
partnerships.
Do
that
over
time.
Creativity
has
this
tendency
to
die
off
you.
B
Just
absolutely
you
just
begin
to
stagnate,
as
you're
I
mean
hard
to
continually
come
up
with
ideas
and
let's
face
it
for
every
idea
for
a
book
that
we
think
is
brilliant.
You
know
there's
going
to
be
four
or
five
that
our
agent
doesn't
so
now.
We've
got
we've
already
come
up
with
seven
ideas
that
we
think
are
fantastic
right:
you've
killed
ourselves
to
finesse
to
come
up
with
and
she's
liked
one.
Then
we
have
to
try
and
sell
that
to
a
publisher
and
for
every
one
that
we
get
accepted
at
a
publisher.
B
We've
had
four
or
five
ideas
killed.
So
all
we
do
is
generate
ideas
between
us.
We
sit.
We
talk
about
food
all
the
time
we
do
and
we
talk
about.
We
talk
about
it,
both
from
a
passion
for
it
and
from
a
business
perspective,
because
how
are
we
going
to
come
up
with
another
idea
around
food
that
we
want
to
live
with
intensely
for
six
months
to
a
year
that
we
think
will
interest
people
enough?
That
meant
by
the
book
to
be
flat.
D
A
You
have
an
idea,
there's
already
eight
books
out
that
do
that
idea.
Okay,
maybe
if
you're
gonna
become
the
master
of
Drew's
cooking,
okay,
you
could
probably
be
the
first
Drew's
cookbook
out.
Do
you
know
what
the
ethnic
group
Drew's
in
Israel?
You
could
be
the
first
Druze
cookbook
out
there,
but
they'll.
A
So
it's
always
this
constant
way
of
trying
to
figure
out
how
to
bend
and
twist
the
idea
and
keep
it
creative
during
the
process.
So
just
to
say
you
know,
ideas
are
driven
by
originality,
of
course,
and
they're,
driven
by
this
problem
of
originality
and
the
problem
with
creative
types,
people
who
want
to
knit
people
who
want
to
draw
people
who
were
singers
musicians.
The
problem
is
that
they
are
always
striving
for
the
new
and
it
is
the
problem
with
creatives.
A
Is
the
new
gets
tired
you,
you
find
yourself
hard-pressed
to
find
it
and
so
you're
trying
to
balance
somewhere
between
personal
expression
and
this
kind
of
just
drive.
You
have
as
a
creative
to
do
something
new,
whether
it's
to
knit
something
new
or
sing
something
new
you're
trying
to
keep
that
creativity
alive.
So
it
doesn't
go
stay
and.
A
B
One
of
the
biggest
hurdles
I
have
to
overcome
in
creating
recipes
for
books,
especially
it's
easier.
Actually,
this
was
from
vegetarian
dinner
parties.
A
book
like
that
is
easier
for
me
to
come
up
with
something
exciting
and
new,
because
I
don't
have
the
limits
of
a
mass-market
audience
I'm,
not
necessarily
looking
for
a
QVC
buyer
for
this
book,
so
I'm
not
doing
a
whole
lot
of
mac
and
cheese,
casseroles
and
taco
soups
and
I'm,
trying
to
be
more
foodie
and
more
high-end.
So
I
was
able
to
miss
the
what
you're
looking
at.
B
A
Live
in
the
earth
we
live
in,
live,
we
live
in
Litchfield
County
and
we
live
way
up
at
the
top
of
the
state
about
a
mile
from
the
mass
border
and,
yes,
it's
still
snowing
and
we
live
and
we
live
up
there
at
the
top
of
the
state
and
stop
and
chop
is
20
minutes
from
our
house.
We
live
very,
very
rural
and
very
very
remote
and
ice.
We
made
this
agreement
in
the
instant
howl
that
he
couldn't
use
an
ingredient
that
we
couldn't
find
in
the
Winstead
stop
and
shop
and.
E
B
B
B
A
A
She
was
very
grateful
night
scene,
eighty
year
old
woman,
and
so
she
was
very
grateful
that
her
wallet
was
returned
and
about
an
hour
later
there
was
a
knock
on
our
door
at
she
one
hour
two
hours
later
and
she
had
a
lemon
meringue
pie
in
her
hands.
To
thank
us
and
she
handed
it,
and
she
said
it's
Grover,
Cleveland's,
favorite
and
I
wanted
to
say:
did
you
date
him?
It's.
B
Instead,
so
this
is
something
completely
different,
I
had
to
be,
and
this
was
again
for
vegetarian
dinner
parties.
We
were
in
Siena
and
we
were
in
this
little.
Restaurant
called
Hilo
J
and
they
had
an
amuse-bouche
came
to
us
before
dinner
of
this
tomato
gelée
on
a
little
shortbread
and
it
had
some
blue
cheese
on
it
and
we
were
both
undone
by
that.
So
I
tried
to
figure
out
a
way
to
recreate
that
that
a
home
cook
could
do
and
we
put
it
in
vegetarian
dinner
parties.
B
So
that's
a
pistachio
shortbread
crust,
which
is
just
ground
up
pistachios
and
flour
and
butter,
and
there's
no
sugar
in
that.
That's
just
an
absolute
savory
and
then
because
it's
vegetarian
I
couldn't
use
standard.
Gelatin
and
I
had
to
figure
out
how
to
make
the
tomato
mixture
work
with
egg
or
egg
or
which
is
a
seaweed
gelatin
right
and
those
little
black
flecks
or
black,
pepper
or
coarsely
ground.
Black
pepper
black.
B
And
black
pepper
is
such
a
great
combination
actually
and
I
thought
they'd
grow
great
with
cherry
tomatoes
and
then
that's
a
I.
Think
it's
a
little
blue
cheese
crema
on
top,
yes,
and
so
I
was
inspired
by
this
restaurant
and
did
I
steal
their
recipe.
No,
but
I
stole
their
idea.
I
stole
their
concept,
I
turned
it
into
something
that
was
mine
in
a
way
that
I
could
do
and
I'm
very
happy
to
thank
them
and
tell
people
that's
where
the
idea
came
from.
Okay,.
A
So
you
know
it's
a
constant
tension
in
the
idea
between
originality
and
imitation.
If
you
ever
tried
to
write
anything,
if
you've
ever
tried
to
write
a
memoir,
your
life
story,
if
you've
ever
tried
to
write
a
short
story,
you
know
it's
a
constant
balance
between
innovation
and
an
imitation
constantly
that
you're
trying
to
balance
and
ultimately
along
the
way.
What
happens?
Is
you
kind
of
embrace
that
balance,
because
that
gives
you
the
creative
drift
right?
It
gives
you
the
the
drift
between
the
two
is
the
creative
process.
Ultimately,
that
is
kind
of
part
in.
B
Certainly,
in
what
we
do
and
in
writing
and
in
food,
that
is
what
creativity
is
it's
finding
the
balance
between
something
completely
original,
because,
let's
face
it,
there
is
nothing
completely
original,
especially
if
you're
going
to
have
a
chapter
on
steaks
and
beef.
There
is
no
there's
no
original
manner.
Everything's
been
done
with
there,
I
mean
a
piece
of
steak
has
been
cooked
a
thousand
ways,
so
how
am
I
going
to
imitate
a
cooked
steak
that
is
somewhat
original?
That
gives
it
the
flavors
that
I,
like
that,
you
may
never
have
tried
before.
A
You,
for
example,
in
the
book
our
book-
that's
coming
out
this
June,
the
kitchen
shortcut,
Bible
Bruce,
found
a
way
to
make
a
standard
supermarket
strip
steak
tastes
like
a
thirty-day
aged
steak,
and
it
was
a
trick
involving
grinding,
dried
porcini,
mushrooms
and
white
pepper
together
and
by
grinding
them
together,
the
state
took
on
its
guy.
There
was
one
other
thing
in
there
to
your
way.
There
was
ground,
dried
mushrooms
and
white,
pepper
and
something
else,
and
it
took
on
this
crazy
taste.
B
They
kept
saying
how
you
know
it
tastes
old
it
tastes
aged
is
haste
like
they.
This
tastes
like
a
cheese
and
I
thought.
Why?
Wouldn't
that
work
on
meat,
so
again,
I
think
I
did
come
up
with
something
they're
fairly
original
to
use
that
on
a
strip
steak,
but
it
was
an
idea.
I
got
from
watching
some
technique
that
clearly
some
older.
B
It's
not
just
this,
and
it's
not
just
testing
a
recipe
so
that
when
you
go
to
make
it
I
know
it
works.
There's
a
lot
of
other
things.
Go
on
in
testing
recipes,
I
have
I
have
to
give
them.
I
have
to
make
sure
the
technique.
I'm
doing
works
that
it's
not
just
that
you'll
make
it
work
with
that.
The
idea
of
my
head
is
going
to
actually
work
when
it
happens.
Right.
A
So
what
happens
in
testing?
Is
you
know
what
that's
what
we
try
to
do
and
what
you
have
to
do
in
cookbook
writing
is
you
have
to
take
the
technique
and
simplify
or
elaborate
or
modify
it
in
some
way,
and
mostly
it's
simplify
it,
but
that's
another
hour
right
and
the
function
of
testing
that's
always
another
hour,
and
the
function
of
testing
is
to
try
to
hone
this
technique
toward
a
kind
of
way
that
makes
it
explicable.
That
also
simplifies
it
in
some
dramatic
way,
but.
B
I
also
want
to
elaborate
on
a
technique
and
an
idea,
because
it
can't
be
too
simple.
Sometimes
things
are
really
really
simple
and
there's
no
reason
you
need
to
pick
up
my
book
for
rest.
Man
had
a
whipped
cream,
you
just
don't
you
could
find
out
how
to
do
that
on
any
one
of
a
thousand
YouTube
videos,
so
I
need
to
figure
out
a
way
to
make
it
more
than
just
whipped
cream
to
elaborate
on
it.
That's.
A
B
So
it
was
in
here
it
was
finding
the
right
technique
to
make
sure
that
that
jelly
roll
had
the
right
texture,
that
it
was
more
tiramisu
ish
than
typical
jelly
roll.
So
I,
don't
remember
whether
it
was
more
eggs
and
more
sugar,
but
had
to
play
with
it
to
get
that
technique
right,
that
it
would
roll
that
the
filling
wouldn't
lose
out
but
would
hold
when
it
cut
like
a
good
tiramisu
holds
its
shape
and
the
flavors
had
to
balance.
B
A
Yeah,
because
the
basic
question
for
cookbooks
that
we
ask
constantly
just
to
be
honest,
is
well,
of
course,
does
it
taste
good,
but
also
can
it
can
it
be
photographed,
because
that
is
that
is
a
giant
question
for
cookbooks,
because
you
know
it's
it's.
Let's
say
that
making
that
cajeta
that
you
saw
in
that
video.
That's
not
a
very
good
photographable
image.
I
mean
it's
nice
in
the
video
to
see
him
pouring
that
hot
cajeta
into
the
jar.
A
B
A
A
Over
the
last
five
months,
this
was
the
constant
question
is:
can
this
be
reproduced?
Is
this
reproducible
it's
great,
that
you've
come
up
with
this
idea
of
how
to
make
essentially
turkey
burger
soup,
turkey,
cheeseburger
soup,
but
is
everybody
gonna
know
how
to
doubt
a
doubt,
a
dump
the
turkey
in
little
ground
bits
into.
B
So
when
Marc
and
I
would
go
over
recipes
like
that,
he
would
ask
me
questions
like
that.
There
were
one
of
two
answers
that
would
own
the
only
two
acceptable
answers
are
yes,
because
you're
gonna
write
it
very
clearly
and
I'll.
Tell
you
how
or
be
it
doesn't
matter,
because
this
soup
will
be
delicious
and
will
look
okay,
no
matter
how
anyone
dumps
it
in
okay.
A
He
went
to
Beltane
farms
and
he
learned
how
to
make
goat
cheese,
but
let
me
just
say
that
we
discovered,
after
two
days
of
learning,
how
to
make
goat
cheese
that
the
recipe
is
not
reproducible
in
a
standard
cookbook.
It
is
far
too
complicated.
It
is
far
too
professional.
There
are
way
way
way
too
many
ways
you
can
die
during
the
process
and
with
what
you're
making
and
with
what
you're
eating.
A
There
are
far
too
many
fatality
issues
that
can
be
involved
in
this,
so
we
we
basically
left
this
as
a
story
in
the
book
about
going
to
goat
cheese
camp,
but
we
left
out
any
recipes
for
the
actual
making
of
goat
cheese
because
it
just
was
not.
Reproducible
without
professional
help.
Right
is
that
fair.
A
We
we
had
a
tweet,
so
we
were
writing
the
handbook.
There's
this
fancy
man
up
by
us
that
barrington
then
Great,
Barrington,
mass
I
think
he
worked
for
a
spree
or
Calvin
Klein
or
somebody,
but
now
he's
retired
and
he
runs
this
fancy
little
shop
and
he
said
to
us:
I
will
teach
you
how
to
make
a
Pluto
from
the
beak,
so
we
said
well
sure,
well
we're
in
for
it.
So
we
we
have
a
big
parade.
A
A
E
B
A
No
make
it
yourself,
you
should
not
do
that
and
finally,
okay,
this
is
going
to
be
much
more
about
me
so
yeah.
That
is
my
kitchen
I've.
Let
you
go
too
long,
but
this
is
about
writing.
The
book.
I
usually
talk
to
just
a
little
bit
about
what
it
is
to
write
books
when
they
happen,
and
just
let
me
say
that,
no
matter
what
else
happens
books
deform
recipes,
they
do
they
change
recipes
dramatically.
A
Just
because
you
know
we
worry
about
I,
don't
know
what
tomato
soup,
mac
and
eze
for
a
day
doesn't
mean
that
once
it
lies
on
a
page,
it
looks
the
same
or
that
it
even
means
the
same
when
it's
surrounded
by
broccoli,
cheddar,
soup,
Flay
and
something
else
right
now.
Suddenly
it
doesn't
seem
so
important
that
thing
that
we
messed
with,
because
it's
been
deformed
by
where
it's
been
placed
in
the
book
and
also
books
categorized
recipes,
so
they
deform
them
by
category
automatically
trying
to
add
anything
to
that.
No.
B
I
like
what
you're
saying,
because
it's
like
when
I
spend
half
a
day,
perfecting
this
incredible
I,
did
this
grilled
grilled
cheese
with
chocolate.
I
was
a
what
she's
told
to
legio
and
dark
chocolate
on
sourdough
bread
for
vegetarian
dinner
parties
and
made
a
caramel
dipping
sauce
for
and
I
spent
a
good
half
a
day,
trying
to
figure
out
the
right
amount
of
cheese
versus
chocolate
right
temperature.
To
me,
that
was
the
most
important
thing
in
the
world
of
that
moment,
but
like
once,
it's
in
the
book
and
there's
a.
A
C
B
E
A
A
Only
that,
but,
of
course,
books
standardized
recipes.
If
you
don't
know,
we
can
blame
every
blame
everything
in
our
career
on
Fannie
Farmer,
because
Fannie
Farmer,
ultimately
standardized
all
recipes
is
what
she
did
and
it's
how
she
changed
the
industry,
how
she
created
the
modern
cookbook
world
and
she
changed
everything
to
cups
and
tablespoons
and
teaspoons,
which
now
the
u.s.
holds
onto
as
the
final
market
across
the.
B
A
Nonetheless,
books
standardized
all
those
ingredients
and
they
standardized
this
the
process
of
those
ingredients.
You
know
one
medium,
yellow,
onion
chopped
about
one
cup,
that's
standardized
a
thing
now
now
my
medium
onion
may
not
be
yours
and
you
may
not
yield
a
cup
from
yours.
This
is
why,
in
the
end,
books
are
kind
of
working
around
what's
possible,
which.
B
A
A
The
classic
one
that
we
talked
about
between
ourselves
all
the
time
is,
we
were
testing
for
a
feature
in
eating.
Well,
once
we're
testing
recipes
and
it
was
a
brisket
feature
and
he
was
making
all
these
briskets
for
this,
this
magazine
article
and
it
turned
out.
We
had
exactly
the
same
size
and
poundage
cut
of
brisket
exactly
the
same
height.
You
know
depth
to
the
meat
and
exactly
the
same
way.
One
two
three
hours
one
took
three
and
a
half
hours,
and
one
took
five
and
a
half
hours,
because.
A
That's
and
that's
also
what
Fannie
Farmer
did
she
standardized
the
measurements
and
standardized
the
timing
and
finally,
books
put
recipes
in
context,
and
this
is
really
important,
and
this
is
most
of
my
job-
is
trying
to
figure
out
how
to
contextualise
a
recipe
so
that
it
all
makes
sense.
I
have
a
really
odd
I
teach
a
lot
of
literature
and
art.
So
just
give
me
this
and
I'll
show
you
this
my
example
of
contextualizing.
A
So
if
you
look
at
this
van
Gogh,
this
van
Gogh
painting
right-
and
you
know
it's
beautiful
painting
and
whatever
else
you
think
about
it.
If
I
put
a
sentence
below
it,
this
sentence
has
changed
the
meaning
of
that
painting.
The
painting
is
no
longer
the
same
painting,
because
it
has
now
been
contextualized
and
that
sentence
took
this
piece
of
creativity
and
it
made
it
mean
something,
maybe
even
more
than
van
Gogh
wanted
it
to
mean
right.
A
A
A
Yeah,
no,
not
so
much
so
they
you
know,
I
mean
there's
just
all
kinds
of
textual
apparatus
that
surrounds
recipes
in
and
our
books
are
heavy
on
apparatus,
they're
heavy
on
sidebars
and
endnotes
and
longhead
notes
and
they're
heavy
on
apparatus
flying
all
around
the
recipes
on
the
page,
all
the
marginalia,
and
that
is
all
contextualizing.
The
recipe
in
some
important
web
people.
A
B
Hi
I'm
Bruce,
Weinstein,
I'm
hungry,
he's
mark
Scarborough.
We
have
a
little
sesame
oil
in
a
wok
and
to
that
I'm
adding
some
pork
tenderloin.
Is
it
ready?
Almost
now,
I
have
some
red
bell
peppers
and
the
secret
ingredient
for
this
one.
We
have
a
little
chicken
stock
with
soy,
sauce
and
peanut
butter.
Another
ingredient
used
often
in
stir
fries
to
help
add
a
lot
of
flavor
fast.
Now.
F
A
B
A
B
A
D
D
A
A
The
method
in
the
bottom,
so
I
could
technically
I
mean
it's
died,
not
but
I
could
technically
take
Julia
Child's
recipe
for
blah
right
and
just
steal
her
list
her
ingredient
list
and
just
rewrite
the
copy
at
the
bottom.
That
seems
to
me,
disingenuous
and
ultimately,
you're
gonna
get
caught
someone's
if.
B
We
do
that
if
we
evolve
someone
else's
recipe,
not
a
concept.
Often,
if
we
take
a
concept
very
closely,
will
thank
them
in
the
book
will
say
you
know
this
was
inspired
in
the
head.
No
we'll
say
this
was
inspired
by
a
restaurant.
We
went
to
in
Siena
right,
but
if
we
actually
take
someone's
recipe
first,
we
will
get
permission
from
them
to
do
so
say
in
the
head.
No,
this
started
as
so-and-so's
recipe
and
we
will
thank
them
and
say
well.
A
A
Which
it
takes
to
say
that
in
the
head
note
this
is
Matt.
This
is
Martella
Hasan's
sauce,
but
it's
been
now
revamped
and
made
because
instant
pots
have
certain
problems.
You
have
to
have
more
liquid
lalalalala,
but
it
doesn't
matter,
but
it
didn't.
Even
it's
been
turned.
I'll
give
you
an
example:
brew
season
knitter
and
he
on.
B
A
B
We
sold
a
show
twelve
years
ago
called
how
to
write
a
cookbook
to
the
Discovery
Network
and
in
the
end
we
could
not
agree
to
a
contract
with
them
because
they
were
actually
demand.
They,
usually
you
think
you
do
a
TV
show
and
you
get
paid.
They
told
us
that,
with
a
TV
show,
we
would
have
to
give
them
10%
of
our
gross
income
for
the
rest
of
our
lives,
including.
A
B
A
B
B
B
A
A
It's
true
and
now
the
contracts
are
with
crafts,
you've
been
sold
to
NBC
and
the
contracts
are
super
exclusive.
Like
you
can't,
we
refuse
to
sign
because
it
says,
basically,
you
can't
appear
on
any
other
network
or
any
other
TV
privately
ever
for
the
rest
of
your
life,
because
now
you're
owned
by
NBCUniversal.
A
B
A
F
F
B
A
B
A
Know
if
you
know
this,
but
the
innit.
This
is
how
this
is
an
example
of
how
the
industry
has
changed.
In
the
20
years
that
we've
been
in
it
20
years
ago,
editors
had
acquisition
authority
right,
an
editor
could
buy
a
book.
Yeah
I,
take
it
you're,
my
edit
UI
you're,
the
editor
at
little
brown
and
I.
Take
you
my
book
and
I
see
here's
my
book
and
you
either
say
yes
or
no
right
about
ten
years
ago,
editors
lost
acquisition,
rights.
A
No
editor
can
now
acquire
a
book,
it's
impossible
publishers,
CAD
could
acquire
the
books,
so
the
editor
had
to
take
the
book
to
the
publisher
and
sell
the
publisher
on
the
concept
and
the
publisher
would
say
yea
or
nay.
Now,
as
of
about
two
years
ago,
publishers
have
lost
acquisition,
ability
and
publishers
no
longer
have
any
access
or
ability
to
disburse
funds
for
for
advances
on
books.
The
only
person
with
that
power
is
the
marketing
director
and
the
marketing
director
decides
what
books
will
be
published.
So.
B
B
B
Cuz
they
were
like.
We
need
this
book
out
now
and
we
need
the
book
so
you're
gonna.
Basically
they
told
the
marketing
people
told
our
editor
that
we
had
three
months
to
write
the
book
and
we
said
we
can't
write
a
book
that
size
in
three
months,
so
we
negotiated
down
to
five
months,
and
let
me
tell
you
the
last
month
of
writing
this.
He
was
emailing
every
day.
Can
you
turn
in
now?
He
turned
in
now.
Is
it
ready?
Is
it
ready
is
ready?
We.
A
Have
a
whole
presentation:
yeah
sometimes
come
back
and
do
for
you.
We
have
a
whole
presentation
on
exactly
the
mechanical
process
of
writing
a
book,
not
the
thought
process,
but
like
what
steps
happen
in
the
publishing
process,
as
you
go
through
the
whole
process
and
how
does
it
work
to
get
through
the
process?
It's
an
amazing
process
and
it
involves
I
think
we'd.
Have
it
at
down
to
16
mechanical
steps
so
to
get
the
book
from
verse.
One.