Whether you’ve only ever kept your own blog or you’re already earning money from your food writing, this six-week class is designed to take you to the next level. Using weekly lessons, interactive tools, and personal feedback, students will learn about and then put into practice the elements of creating and selling great food writing.
Instructor Naomi Tomky has written about food for Saveur, Food & Wine, and The New York Times. She was included in the 2017 Best Food Writing and was a recipient of a 2019 Lowell Thomas and the Association of Food Journalism’s Best Food and Travel Writing Award. In this class, she uses her own experience and expertise, as well as writing by her peers and idols to demonstrate the best ways to use words to express thoughts and feelings about food.
Readings, writing prompts, and exercises will keep students inspired throughout the class, whether their goal is to begin writing for publication, moving from amateur to professional, or to explore better ways to pitch editors and make more money.
Each week, the class will cover one element of food writing and one element of the business of writing about food. Students will leave with assigned activities and readings each week, and instructor Naomi Tomky will provide personal feedback on each assignment.
Please note: this course doesn’t workshop pieces about dieting or disordered eating, in order to keep the classroom a safe space for everyone.
FOCUS ON FOOD WRITING CURRICULUM
Week 1: In the introduction, we’ll discuss what, exactly, food writing is, and all of the different shapes it takes. We will work on description: how do we describe what we’re eating in a compelling, appetizing way? Or unappetizing, if necessary.
Assignment: Tell Me About Your Lunch
Week 2: Food might be inanimate, but writing about food is an action—and so is growing, eating, and transporting it. This week we’ll discuss using action in our food writing and how that shapes a story. We’ll also focus on the action of identifying a story—and making sure it has a narrative arc.
Assignment: Identifying stories
Week 3: This week, we’ll get into deeper ways to shape our work
using voice and tone to shape. Taking that into the business side, we’ll look at how the work changes in various contexts as we learn about pitching: what it is and where our writing can find a home.
Assignment: Pitch your dream outlet
Week 4: Food is everywhere, but what about it is a story? This week is all about research: where do you find stories (even while stuck inside during a pandemic), how do you learn more about them, who do you interview, what information can you trust?
Assignment: First draft
Week 5: Think about the difference between the first time you cook a dish and the last: that’s what editing does for your writing. Tighten up your sentences, improve your writing, and look for the places where you need to add a garnish sentence. We’ll also talk about how to tighten up your relationships and connections to editors and outlets to ensure continued work.
Assignment: Final draft
Week 6: It’s dessert! In the final week, we’ll focus on a few advanced techniques you’ll need to delve further into food writing: best practices in interviewing, restaurant reviewing, and recipe writing. We’ll also address any outstanding questions from previous weeks, before we move into the final business lesson: how to ask for what you’re worth (and more).e move into the final business lesson: how to ask for what you’re worth (and more).
SELECTED WORKS FROM ALUMNI OF FOCUS ON FOOD WRITING
- After a call to boycott Goya, Philly Latino home cooks lean into traditional recipes in The Philadelphia Inquirer by Alisha Miranda
- Celebrating Indigenous culture with Haudenosaunee boiled cornbread in The San Diego Tribune by Lauren J. Mapp
- Ethiopian Coffee And Venezuelan Fusion As Pandemic Adaptations in Zagat by Liz Susman Karp
- Farm Profile; Sagging Fence Farm in Local Food by Sally Zalac
- Grocery Shopping Used to Be My Self-Care—Now It’s Overwhelming in Self by Colleen Stinchcombe
- How To Start Your Own Community Fridge in Medium by Carmen Russo
- Is Farm-to-Table the Future of New York Brewing? in InsideHook by Liz Susman Karp
- My Secret Ingredient is Always My Playlist in Shondaland by Kurt Suchman
- Tacos with a Haitian Twist in Tchaka by Annick Megie
- The Little Splurge I Made for My Freezer That’s Totally Paid for Itself in The Kitchn by Meleyna Nomura
- This Bollywood Actor’s Cooking Videos Are Getting Me Through the Lockdown in Self by Rathina Sankari
What’s a Food Writer Anyway? My Complicated Feelings with Calling Myself One in 14East by Robin Mosley
FREQUENTLY ASKED QUESTIONS
Is the course suitable for experienced writers?
The class covers everything from the basics through the nitty-gritty details and includes personalized reviews of each student’s writing. Some of the elements may be a refresher for more experienced students, but overall there will be plenty of information for seasoned veterans as well as rookies.
Can unpublished or emerging writers benefit from this workshop?
Writers don’t need to be published to participate! All we ask is that they have a desire to better their food writing and are enthusiastic about the learning opportunity.
Where are the classes held?
We’ll be working on a browser-based teaching platform. This allows files to be shared easily, without cluttering your inbox, and gives you classroom access from any net-wired terminal, anywhere in the world. But you’ll still have options to push alerts to email, if that appeals.
When does the bell ring?
Never! Go online whenever you please — the classroom is open 24/7 and the lectures are written. But the course does take place within a six-week timeframe.
How much time does it take?
Roughly three to four hours. Each week will include readings, which should take 30 to 60 minutes, and an assignment, which often takes 90 minutes to two hours. Budget an additional 30 minutes for peer feedback.
What sort of success can I expect?
Your writing will improve and you will feel inspired and ready to move on to the next level in food writing, whether that’s getting your first piece published or getting that marquee byline.
What stops other writers from stealing my ideas?
The class is a safe space to share ideas–each of us will be writing on our own topic and abide by the ethics of journalism, which include not borrowing or stealing other people’s ideas.
What if I have another question?
Email us at firstname.lastname@example.org