Writing a book is much like sketching the lines for a new automobile. From a sleek drawing to putting in the key, turning on the ignition, and driving off in a car that will hopefully be a marketing success by meeting so many of a population’s wants, dreams, and demands, is a monumental undertaking—with the drawing being just one action.
For me, that action would never have been if it were not for Christopher Robbins, CEO of Gibbs Smith, and his belief in me that I could do it one more time. Thank you, Christopher! And then there is my editor, Linda Nimori. I appreciate more than words can describe her steadfast attitude not to silence even my tiniest peep but rather to force me to say what I wanted within her space confines. Thank you, Linda, thank you! There are fifty-one professionals at “The Barn,” as Gibbs Smith calls his headquarters, and the Distribution Center. Every person has and plays a part and, although I might not know their names, I know of their work. Theirs is of the highest caliber I have ever witnessed in any industry. I am grateful to be included as part of such a team.
Layout can often determine the success of a project such as this. I attribute much of the success of my first book to the way that Debra McQuiston designed it. I have the utmost faith that this book will be equally judged as perfectionism to the “nth” degree.
There is no better test of a recipe than to sample and attempt to sell it. My business partner at the local farmers markets does this for me. Without Lee Lambert, I would find myself operating in a vacuum much of the time. He tastes and gives his opinion, plus I know what he REALLY thinks when he talks up a new product. Further, it is not so easy for an artist (of sorts) to promote his own work. I find it, well, embarrassing. Lee is like my gallery manager. I could not ask for a finer marketer.
And then there is the “crew,” that group of friends who is willing to offer more than a “don’t quit your day job” as criticism, like the friend who suggests the addition of this and the removal of that, it’s too sweet or not sweet enough, use balsamic not cider, and so forth. Every recipe needs tweaking, and Pamela was definitely the tweaker. Always after the initial recipe is set, my first guinea pig is my mother. Sometimes it’s difficult to get her to criticize my work, but she does have her subtle Southern ways, like the time she said, “Well, Steve, it sure looks beautiful in the jar!” To all these professionals and friends, I give a very big thank you, for without each and every one of you, this book would not be. Thanks again!
