Food writing? You’ve got to do it because you love it, not just because it’s fashionable

In the 24 years since Jenny Linford first began writing about food (“before the internet”), she has acquired an enviable contact list of producers, retailers, chefs and others in the culinary world. Her many books have spanned content as diverse as shopping guides and single-subject cookbooks (mushrooms, garlic, and more).

But it was The Missing Ingredient: The Curious Role of Time in Food and Flavour – one of 2018’s most original food books, just out in paperback – that brought her a new, more intellectual fan base.

Here she speaks to Clarissa Hyman about her career journey and approach to food writing.

You have a multi-cultural background. How has this influenced your writing?

I was born in London but my mother is Singaporean, of Portuguese Eurasian heritage. My English father worked around the world and we lived in places like Ghana, Trinidad and, especially, Singapore. My memories of the latter are particularly vivid, and I have lots of rich food memories to draw upon from my time there. It was a really good way to grow up. As a teenager, I then spent three years in Florence, which gave me a different perspective on food and culture. Tuscany was – still is – fascinating for its classically narrow approach to food, quite the opposite of Singaporean diversity and fusion.

Your first book, 1991’s Food Lovers’ London, is often described as seminal and is now in its 7th edition. How did it come about?

At the time, most recommendations as to where to shop and eat were through newspapers, Time Out, The Good Food Guide or by word of mouth. I was working at Hatchards, which turned out to be a good way to learn about publishing, and that is where I got the idea for the book.

I had sent a piece to the Guardian on spec about social attitudes in cookbooks and as a result met the then food editor Christopher Driver. Writing further pieces gave me the confidence to think about a book, triggered by my own search for food that reminded me of past travels and experiences. I must say it was easier to break into the field in those days – editors were usually easier to approach, more receptive to ideas and had bigger budgets. Social media today, on the other hand, can provide different sorts of opportunities but the competition is so much greater.

Multicultural eating was less mainstream than it is today, and food writing generally was more niche, so it was a bit of a maverick project but I always believed good home cooks need good food shops. I would just ask any and everyone I came across where they shopped. It took me about two years to get commissioned but finally Kyle Cathie took it on: getting the acceptance letter was one of the most exciting days of my life!

One of your books is a guide to food writing. What advice would you give to your younger self?

Be stubborn and persistent: it can be really demoralising to get knock-backs. I did a journalism course and would recommend everyone who aspires to be a food writer do that. It really helps you go the extra mile. You also have to learn to be efficient, meet deadlines and not be a prima donna. I also would tell people to read great writers like Jane Grigson.

And, remember, it’s not a sure-fire way to get rich. You’ve got to do it because you love it, not just because it’s fashionable.

Do you regard yourself as a food or cookery writer?

Although I’ve done lots of recipes, I think of myself really as a food writer. I’m a home cook but I’ve had a lot of experience in editing recipes, checking for mistakes, correcting sloppy writing and so on. I used to work on Teletext recipes which trained me to be short and to the point, nothing too cheffy or flowery and that’s my instinctive style now.

Even so, I’d encourage people to be flexible; most of us have to be able to take on different styles for different publications while keeping our own stamp on it. It’s hard. When I started, food writing was a bit of a backwater but now it’s so competitive, you really need to get it right.

Book writing, on the other hand, offers a different sort of satisfaction compared to journalism. You stay with a project longer, and it also allows you more scope for learning and research, something I love. I’m always aware how little I know.

Do you always test recipes?

It depends on the budget how often you can test a recipe. I try and keep my recipes fairly simple, as it’s not always the case authors have enough money to test multiple times or get someone else to test them.

But many people don’t realise how hard it is to write a good recipe: sometimes it’s the simplest thing that’s the most challenging. Try writing one for a toasted sandwich, for example: what sort of bread do you use? Which side do you toast? Or describe how to fold a samosa.

Your books and writing are extremely diverse. Is this an advantage?

I’m interested in so many things, and am a bit of a magpie in that I know a little about a lot. Indeed, I’m always aware how little I know about subjects; there’s always more to discover. I really enjoy looking into something I know nothing about. I think that flexibility has been a plus for me.

Have all your books been your own idea?

It’s been a mix of my own ideas and being approached by publishers. Often the latter means you have to work to a set format, but you can usually come up with your own thoughts on essay contents or recipe lists. Thankfully, I’ve got to the stage now where I’m regarded as a ‘safe pair of hands’!

What advice would you give writers about doing research?

When it comes to internet research, it’s amazing how much information and misinformation there is. I think it’s always important to dig back and check out references. I also now have a massive collection of food books and am a member of the British Library. As much as possible, you should try and get back to original or primary sources.

Do you ever get involved in food styling?
I once had a day working with a stylist, but found it really boring, nor am I a home economist. I think you have to know your own skills.

How did the idea for The Missing Ingredient evolve?

I do food shop tours and food-themed events. Early one morning, I found myself wondering whether I could take people on a journey through food in Britain through different periods of time. Then I had a classic light bulb moment: yes, time IS an ingredient. That’s when I started to get obsessed and realised time is not just quick or slow but a much bigger idea and concept altogether. Once you start to think about it, it’s everywhere! It took a few years to find the right structure and treatment as it is so multifaceted, but each part was a little prism that fitted into a complex, interlocking pattern.

I spent a year writing it, including many visits and interviews, but it has been my favourite book to write.

Your #7favouritecookbooks hashtag was quite a hit. How did it come about and what have you learned from it?

A friend asked me to choose #7favouritebooks, which I did, choosing novels. Then I thought, I love cookbooks and I know I'm not the only one, so started the #7favouritecookbooks hashtag. It took off amazingly on both Twitter and Instagram, with people not just in the UK but around the world (the USA, Canada, India, Germany) joining in and sharing their choices. The 825 cookbook titles were painstakingly collated by someone called Alan Smeaton, who'd become fascinated by it, and it’s available as an online resource on my website.

It made visible the very real, deep affection that people have for their cookbooks. These are books that touch people's lives in such a tangible way. What struck me was how it was largely the good cookbooks that were chosen. Cookbooks written by people who really know and care about food – by writers including Jane Grigson, Elizabeth David, Nigella Lawson, Nigel Slater, Delia Smith, Yotam Ottolenghi, and Marcella Hazan – were chosen over and over again. As a food writer, it was really heartening to see tangible proof that a good cookbook can touch people to this extent.

What's keeping you busy, work-wise?

Like so many freelancers during this coronavirus crisis, I have lost work that I was booked in to do. These are challenging times in so many ways. However, I am working on a couple of book projects, which I hope will eventually see the light of day. As my advice to people who want to become food writers is to be persistent and not give up, that's what I have to be too!

Follow Jenny on Instagram @jlinford and Twitter @jennylinford