Guest blogger Joanne Chang’s long-awaited follow-up to Flour has finally arrived. Check out her appearance on the Today Show from yesterday, and be on the lookout for Joanne at events throughout the summer.

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One of the most commonly asked questions (and among the hardest to answer) when I am at a book signing is, “What is your favorite recipe from the book?” I know I should be prepared with a concise decisive answer but it always stumps me. Favorite to eat? Favorite to make? Favorite to teach and share? Can I pick a few? Or maybe a few dozen?? You might think it’s cheating when I start listing off multiple recipes from each chapter but after spending over a year with these recipes—testing them, reworking them, thinking how they will photograph, eating them over and over—it’s pretty hard for me to choose just one. It sounds crazy but I feel like that would be disloyal… as if the recipes would even know or care!

HOWEVER… I will admit that there is one recipe that is especially near and dear to me simply because the first time I ever saw this being made I remember thinking, I could never ever do that. No way ever. I was working with Francois Payard at Payard Patisserie and as a preview of our holiday menu he had been asked by Gourmet Magazine to make a croquembouche for a photo shoot. He and another pastry cook sequestered themselves in the chocolate room, a tiny closet that was temperature controlled to keep the chocolates happy. After about an hour, a 3-foot tall pyramid of puffs and sugar and flowers and birds emerged. It was like an art piece, except it was edible. Francois had pulled out all of the stops and festooned the tower with pulled sugar masterpieces. There were colors and bows and in my memory the whole thing sparkled with lights. (Were there actual lights in there? I doubt it but it sure seemed like it at the time.) I was in charge of chaperoning the whole shebang to the photo studio a few blocks away and with every sidewalk crack and pothole, my heart lurched along with the croquembouche. We finally made it in one piece with only a small trail of broken sugared things in our wake. But it was no worse for the wear and it photographed beautifully. (I on the other hand was a mess.)

Now not only can I do it, and do I do, it but I also am able to teach YOU to do it. Croquembouche, that fancy tower of gossamer spun sugar enclosed cream puffs, is a complete showstopper. I omit the bells and whistles here and focus on just the spun sugar to finish off the tower. You can add flowers and add-ons as you wish. I love it simple with just a shimmering cage of golden threads surrounding it. The French make croquembouche for weddings and at Flour we offer them only at Christmastime. But there is no reason that you shouldn’t make this for a family reunion, a dinner party with close friends, or just because, now that you know how.

Croquembouche

Croquembouche (crow-kem-BOOSH) translated from French means “crunch-in-mouth,” and its elaborate name only hints at the full glory that is a croquembouche. Cream puffs filled with vanilla cream and dipped in caramel, piled high into a pyramid, and then swathed in sparkly, glittery strands of golden spun sugar—this is the dessert of fairy tales. Or, if you’re French, the pièce de résistance of weddings and christenings. Break down the recipe into parts so you don’t get overwhelmed. You can make the pâte à choux puffs one day, the pastry cream filling another. You need to fill the puffs and assemble the pyramid no more than about five hours before serving, so give yourself ample time for these finishing steps.

Making spun sugar is like riding a bike or tying a shoe: it’s not hard to do once you know how to do it, but describing it to someone who has never done it before can be tricky. First, don’t frustrate yourself unnecessarily by attempting this dessert on a humid day. Spun sugar melts rapidly in humidity, and the dessert will be an exercise in futility. Practice shaking your wrist back and forth briskly while holding a fork so that you have the general movement down. Wait patiently for the caramel to thicken, so that it will turn to spun sugar when you flick it around; it should have the consistency of thin honey. Dip your fork into the caramel, hold the fork high above the tower of puffs, and then flick firmly and decisively back and forth over the tower. Keep dipping your fork in the caramel and spinning sugar over the tower until the entire croquembouche is covered. Then, to make a spun-sugar topper, you will use the same motion, but you will be dropping the strands onto parchment paper. When you have enough strands, you will gather them up and set them on top of your masterpiece. When the croquembouche is finished, take the time to admire your breathtaking pastry before your guests dig in. Once they start eating it, it’s really hard to stop.

Serves 8 to 10

Pâte à Choux
3/4 cup/170 g unsalted butter
4 tsp granulated sugar
1/4 tsp kosher salt
12⁄3 cups/230 g all-purpose flour
6 large eggs

Vanilla Cream
3/4 cup/180 ml heavy cream
1 3/4 cups/420 ml Pastry Cream (see below)

Spun Sugar
2 cups/400 g granulated sugar
Special equipment: two rimmed baking sheets, parchment paper, stand mixer with paddle attachment and whisk attachment (optional), pastry bag and one 1-in/2.5-cm round piping tip and one 1⁄8 – to 1/4-in/3- to 6-mm round piping tip, cardboard cake circle or flat plate 8 to 10 in/20 to 25 cm in diameter

1. To make the pâte à choux: Preheat the oven to 400°F/200°C, and place one rack in the center and one rack in the top third of the oven. Line two baking sheets with parchment paper.

2. In a medium saucepan, combine the butter, sugar, salt, and 11⁄2 cups/360 ml water over medium heat until the butter has melted. Do not let the mixture come to a boil or some of the water will evaporate. Add the flour all at once, then stir the flour into the liquid with a wooden spoon until it is fully incorporated. The mixture will look like a really stiff pancake batter. Keep stirring vigorously over medium heat until the mixture slowly starts to toughen and looks more like loose dough and less like stiff batter. It will also lose its shine and look more matte. Stir continuously for 3 to 5 minutes, or until the dough starts to leave a film at the bottom of the pan.

3. Remove the pan from the heat and transfer the dough to the bowl of the stand mixer fitted with the paddle attachment. Beat the dough on medium-low speed for 1 minute. This will allow some of the steam to escape and the dough to cool slightly. (Or, in a medium bowl, vigorously beat the mixture by hand with a wooden spoon for 2 to 3 minutes.) Crack the eggs into a small pitcher and whisk to break up the yolks. On medium-low add the eggs to the dough. When the eggs have been added, increase the speed to medium and beat for about 20 seconds, or until the dough is glossy and shiny.

4. Fit the pastry bag with the 1-in/2.5-cm round tip and fill the bag with the dough. (If you don’t have a pastry bag and tip, cut 1 in/2.5 cm from one corner of a plastic storage bag and fill the plastic bag with the dough.) Pipe out balls about 11⁄2 in/4 cm in diameter onto the prepared baking sheets, spacing them about 2 in/5 cm apart. If the balls form a peak on top, moisten your fingertip with water and tap down the peaks. You should have enough dough to pipe out eighteen to twenty-two balls per sheet.

5. Place the baking sheets in the oven. The heat of the oven will immediately start turning the liquid in the batter into steam, which will cause the pastries to inflate. After about 10 minutes, when the pastries have puffed up and are starting to turn golden brown, reduce the oven temperature to 325°F/165°C, then switch the baking sheets between the oven racks and rotate the sheets back to front. Continue to bake for another 25 to 28 minutes, or until the pastries are evenly golden brown. Let the pastries cool completely on the baking sheets on wire racks. (The cooled pastries can be stored unfilled in an airtight container in the freezer for up to 2 weeks. Remove from the freezer and refresh in a 325°F/165°C oven for 6 to 8 minutes, or until thawed. Let cool completely before filling. You can also store them unfilled in an airtight container at room temperature for up to 2 days. Refresh them in a 325°F/165°C oven for 2 to 3 minutes, then let cool before filling.)

6. To make the vanilla cream: In the stand mixer fitted with the whisk attachment on medium speed or in a medium bowl with a whisk, whip the heavy cream until it holds stiff peaks. Add the pastry cream to the whipped cream and fold together until thoroughly combined. (You should have about 31⁄2 cups/840 ml vanilla cream. Vanilla cream may be made up to a day in advance and stored in the fridge in an airtight container.)

7. Rinse and dry the pastry bag, fit it with the 1⁄8- to 1⁄4-in/3- to 6-mm tip, and fill the bag with the vanilla cream. Using the tip of a small, sharp knife, poke a hole in the bottom of each puff, and then pipe the cream into the puffs. Make sure to fill each puff fully with the cream. Set the filled puffs aside.

8. To make the spun sugar: Put the sugar in the small saucepan and carefully add about 1⁄2 cup/120 ml water, or just enough to moisten all of the sugar. Bring the mixture to a boil over high heat, making sure that the sugar is evenly moistened and that you don’t splash any sugar crystals on the sides of the pan. When the sugar syrup boils, it will go from bubbling furiously like water to bubbling more languidly as it thickens, which will take 3 to 4 minutes. Once the syrup starts to thicken, watch it carefully, and as soon as you see the syrup begin to turn light golden brown, immediately remove the pan from the heat and gently swirl it to even out the caramelization.

9. Immediately and carefully dip the bottoms of the filled puffs, one by one, into the caramel and quickly arrange them in a circle about 8 in/20 cm in diameter on the cake circle. If you see cream leaking out of the bottom of a puff, wipe it off before dipping the puff into the caramel. You want to keep the caramel as clean as possible; that is, free of any cream filling. Once you have arranged the first circle, continue dipping puffs and arranging them in concentric circles inside the first circle. The caramel will harden pretty quickly and act as glue as you are building your croquembouche. I find that once I dip and put the puff where I want it, I have to hold it in place for only 2 to 3 seconds before it hardens and I can move on to the next puff. Keep building circles on top of the circles, making them smaller as the pyramid gets taller, until you have one last puff for the top of the tower. You’ll use thirty-four to thirty-eight puffs total.

10. At this point, the caramel should be a thick viscous mass similar in consistency to honey. While the caramel is at this temperature, you have only 5 to 8 minutes to make your spun sugar garnish. If it is too thick, like rubber cement, you will want to rewarm the caramel carefully over medium-low heat for a few minutes until it melts a little and thins out.

11. Holding a fork by the edge of the handle, dip the tines into the caramel and lift the fork straight up so that the dripping caramel starts to fall back into the pan. Before it all drips in, position the fork about 3 ft/1 m above the pastry pyramid and, using a quick, sharp, flinging wrist motion, flick the fork back and forth over the pyramid so that the dripping caramel strands spin into spun sugar, covering the croquembouche. Continue dipping the fork in the caramel and covering the puffs with sugar strands, spinning the croquembouche as you work so that you get all sides, until the pyramid is covered with caramel strands.

12. Place a sheet of parchment on a clean, dry work surface (for easy cleanup) and make more spun sugar the same way, dipping the fork into the pan, lifting it straight up, allowing most of the caramel to drip back into the pan, and then flicking your wrist back and forth about 3 feet/1 m above the parchment so that the strands fall onto the paper. After five or six dips and flicks, you should have enough spun sugar on the parchment to gather together into a ball and place on top of the pyramid.

13. To serve, pluck puffs off one by one with your hands and put them on individual plates. Or, for neater serving, use a set of tongs to pluck the puffs off and transfer them to the plates. The croquembouche should be served the day it is made, because the spun sugar will start to melt after 5 to 8 hours. Do not refrigerate the croquembouche, as the sugar will melt in the fridge.

Pastry Cream

Makes about 1 3/4 cups/420 ml

1 1/4 cups/300 g milk
1/2 cup/100 g granulated sugar
1/4 cup/30 g cake flour
1/2 tsp kosher salt
4 egg yolks
1 tsp vanilla extract

Special equipment: sieve

1. In a medium saucepan, heat the milk over medium-high heat until scalded; that is, until small bubbles form along the sides of the pan. While the milk is heating, in a small bowl, stir together the sugar, flour, and salt. (Mixing the flour with the sugar will prevent the flour from clumping when you add it to the egg yolks.) In a medium bowl, whisk the egg yolks until blended, then slowly whisk in the flour mixture. The mixture will be thick and pasty.

2. Remove the milk from the heat and slowly add it to the egg-flour mixture, a little at a time, while whisking constantly. When all of the milk has been incorporated, return the contents of the bowl to the saucepan and heat over medium heat, whisk continuously and vigorously, for about 3 minutes, or until the mixture thickens and comes to a boil. At first, the mixture will be very frothy and liquid; as it cooks longer, it will slowly start to thicken until the frothy bubbles disappear and it becomes more viscous. Once it thickens, stop whisking every few seconds to see if the mixture has come to a boil. If it has not, keep whisking vigorously. As soon as you see it bubbling, immediately go back to whisking for just 10 seconds, and then remove the pan from the heat. Boiling the mixture will thicken it and cook out the flour taste, but if you let it boil for longer than 10 seconds, the mixture can become grainy.

3. Pour, push, and scrape the mixture through the sieve into a small, heatproof bowl. Stir in the vanilla and then cover with plastic wrap, placing it directly on the surface of the cream to prevent a skin from forming. Refrigerate for at least 4 hours, or until cold, before using. The cream can be stored for up to 3 days in an airtight container in the refrigerator.

Purchase: Flour, too: Indispensible Recipes for the Café’s Most Loved Sweets & Savories and Flour: Spectacular Recipes from Boston’s Flour Bakery + Cafe.

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From the Design Desk of Sarah

These last six months have flown by. Where has the time gone? What a fun, challenging, and above all, inspiring experience it has been. I would have to say I learned something new just about every day.

Early on, I had my first design project, the Cooking Slow cover. It was so much fun working with such beautiful photography and using typography to set the right tone.

Cooking Slow, available September 2013

Another fun project was the Freehand cover. Once again, to get the chance to marry my typography with such amazing illustrations was thrilling.

Freehand, available September 2013

One of my favorite parts of the fellowship was Design Lab with Michael Carabetta. Each Friday we would meet and discuss ideas for possible projects. He would tell us “the sky’s the limit” and urge us to not be restrained by production and practicality. It taught me to approach things with an open mind.

Another favorite was Show and Tell. Each week a group of designers meet to get peer feedback, show recent finished projects and advances, and share tips and tricks. It was exciting to see all the projects people were working on and gain a little insight into their design process.

I went into this fellowship with a passion for books and that passion has only grown. I found publishing design quite unique from other graphic design fields I have experienced. It is wholly intriguing and inspiring and I am grateful for the opportunity to have had some insight into it. It was an honor to work with so many talented designers and learn from them with each and every project. So my time here is concluding but I’m taking with me fond memories, new skills, new friends and mentors, and the pride in getting to be just a small part of such a wonderful company.

Sarah Higgins, Publishing Design Fellow

From the Design Desk of Dinah

I worked on 23 projects.
I designed 1 art book.
I designed 1 religious book cover.
I designed 1 “erotic” memory game.
I designed 1 wine guidebook cover.
I hand-modeled for 1 photo shoot.
I took 4 product shots.
I commissioned 1 illustrator.
I used 273 typefaces.
I trimmed 1,145 pages.
I printed 4,534 layouts.
I mounted 53 covers.
I had 99 meetings.
I went to 24 show and tells.
I filled up 2 notebooks.
I wrote 111 to-do lists.
I drew 303 thumbnail sketches.
I drank 302 cups of tea.
I rode Muni 235 times.
I worked with 13 wonderful designers.
I sat with 4 lovely fellows.
It’s been 6 great months
of 1 fantastic fellowship.

Dinah Fried, Publishing Design Fellow

From the Design Desk of Kayla

For as long as I can remember, books have captivated me. As a child, I loved reading stories with my parents before bedtime. My admiration for books and their magical ability to take me to different lands, different times, and into the lives of different characters thrilled me and fueled a lifelong passion.

When given the opportunity to become a fellow at Chronicle Books, I was incredibly excited to help create beautiful children’s books. However, I could not imagine the vast array of experiences and firsts that I would be a part of. It was here at Chronicle that I tasted my first macaron, had my first manicure to become a hand model for a day, dared myself to eat haggis during Burns night, and helped shape “Chronicle Beach” at the zoo during our volunteer day. I’ll always remember the joy of spring-cleaning day a.k.a. free-stuff-that-your-coworkers-don’t-want day and National Grilled Cheese day with the other fellows. The appearance of free bagels, doughnuts, chocolates and other goodies in the kitchen always brought a smile to my face and quickness to my step.

And yet, the moments that gave me the most joy were perhaps surrounded by less grandeur; beholding original artwork for books while logging it in, finding the perfect typeface after the long hunt, sharing new ideas for formats and projects during Design Lab, making an almost perfect mock-up in the production room, and getting first galleys of any project routing. There is a supreme pleasure and pride in seeing the advance copy of a book that you worked on come back from the printer and sit, in glorious book form, on your desk. You hold the book, knowing that soon there will be a child reading that story with his or her parents, experiencing the magic, just as I did years ago.

Thank you Chronicle Books and thank you to all the talented designers, editors, managing editorial, production, studio coordinators, fellows and staff who have made this past six months an experience to remember. I look forward to another few months working with you and am continually amazed by your ability to inspire, create, lead and ultimately see things a little differently.

Kayla Ferriera, Children’s Design Fellow

From the Design Desk of Kehau

Sitting in my sunny, corner desk on the third floor of 680 Second Street for the past six months, I’ve been surrounded by passionate, talented designers. As the Marketing fellow, I hit the ground running designing playful Valentine’s Day cards starring Boo as well as campaigns to promote all of Chronicle’s wonderful publishing. You learn quickly working with the talented people in Marketing to think fast and work hard.

I’ve sung karaoke twice (favorite song: “Can’t Hold Us” by Macklemore) at Yama Sho, presented countless ideas to Michael Carabetta in Design Lab with my fellow fellows, and face planted once into the murky, algae-filled mud at the San Francisco Zoo for Chronicle’s annual volunteer day! Overall, not a bad record if I do say so myself.

These last few weeks have been spent on designing the upcoming screen-printed fellowship poster. I’ve researched, sketched, and am now in the process of creating the final design.

It’s hard to say goodbye, but I’m so happy to have left my mark. Ready to move on but never forgetting the wonderful people and inspiring products!

Kehau Lyons, Marketing Design Fellow

One of the very best things about being a book editor is getting to work with awesome authors. And I don’t just mean authors who make awesome books—though they do that, too, and how!—I mean authors who are awesome people. I could rattle off a list of dozens of such folks it’s been my pleasure and honor to work with in my years around this joint, but recently my heart was especially moved by two in particular: husband and wife author/illustrator team Matthew Swanson and Robbi Behr. Here’s what Matthew and Robbi look like inside the world of their own rather twisted, deeply hilarious, quite wonderfully creative minds:

Just recently I sent these two a box containing early advance copies of their upcoming Fall 2013 book Ten Thousand Stories (an utterly fabulous turn-the-flap adventure book for grown-ups). The next day I got an email from them, saying they’d received the package but hadn’t opened the box yet. Huh? What was this? Most people tear into those boxes like it’s Christmas morning. Several days passed and, as far as I knew, the box had still not been opened. And then they sent a link to this. By far the sweetest, most thoughtful, most downright humbling story of authors opening up their box of advances I’ve ever heard.

They say lots of nice things about me and my colleague in there, which make me blush, but I feel even more privileged to have turned up in a few of the illustrations, such as this one. Not only am I hugely flattered to be caricatured by these guys, but the prescience with which Robbi’s drawing captures the scene is downright eerie. As any of my editorial colleagues will tell you, this is exactly what it looks like when an editor buys a book from an agent. The trench coat. The fistful of dollars. How did she know?

And of course this is how we celebrate afterwards. But today I raise my sloshing mug of beer to these two fantastic authors—here’s to you Robbi and Matthew! And to all the fab authors and artists who write the words and create the images without which we’d be in the business of selling blank pages between blank covers (not that there’s anything wrong with that). Ten Thousand Stories comes out in September, but you can pre-order it now. You won’t regret it!

Bridget Watson Payne
Editor

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Here at Chronicle HQ we’re getting mega-psyched about the premiere of True Blood Season 5 this weekend. (Waiting has, yes, sucked!)

HBO is running a really fun giveaway promotion, featuring a recipe from the new True Blood Drinks and Bites book (details below). :

And preview one of the bites recipes from the book below, so you can be the toast of Bon Temps this weekend!

Head to Lafayette’s Libations on the DIRECTV Facebook page to get your own True Blood-inspired beverage from True Blood’s favorite bartender—Lafayette.

Enter for a chance to win the Grand Prize—a Merlotte’s Bar Makeover and other fang-tastic prizes—including a copy of the True Blood Drinks and Bites book.

Plus don’t forget to take the Which Supe Suits You? quiz and discover which supernatural are you. Are you a vampire, werewolf, fairy or witch—the town of Bon Temps certainly has its fare share of supernatural beings. Take the quiz to see what powers you possess.

[click on the image for a PDF of the recipe]

Catch the season premiere of True Blood this Sunday, June 16th at 9PM EST. Only on HBO.

Peter Perez
Associate Director, Marketing

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Purchase True Blood Drinks & Bites.

With Father’s Day upon us, we asked author Jeffrey Brown to be a guest blogger. His new book, Vader’s Little Princess, just celebrated 5 weeks on the New York Times Bestseller list! Jeffrey shares the process behind one of the frames in the book below. Read on for his post, and enter to win signed uncut printer’s proofs and a finished copy of the book here.

The process for making Vader’s Little Princess involved several stages. Obviously, the first step was coming up with ideas. I had suggestions from a few friends who have teenage daughters, as well as stories from my wife’s teenage years, and my own observations. I came up with a little over a hundred ideas, from which my editors and I would whittle down to the best ideas to include in the book. Sometimes, the idea would have more detail than others. For this page, the initial idea was just a teenager telling their parent they were mean for some reason or another. In this case, I figured Leia would probably be mad at Vader for putting Han Solo in carbonite.

My editor at Lucasfilm, J.W. Rinzler, suggested adding “All he did was kiss me” to the dialogue, and I had the go-ahead to start working on finished artwork. That starts with pencilling out the page on Strathmore illustration board, and getting feedback on that.

I had included Boba Fett, because Boba Fett is always fun to draw, but he ended up on a couple other pages too, so it was suggested for me to include Lando instead. I went ahead and made that change, and began inking.

After I started inking, though, the drawing didn’t feel right. Lando seemed to be looking at Leia’s dialogue balloon, Vader’s body language didn’t seem right, and carbon-froze Han didn’t look quite right. So I re-penciled and started inking again, realizing I could add Boba Fett back in on the other side, as well as including Chewbacca.

I moved the dialogue balloon, but after inking realized it still didn’t seem like the right placement. I wasn’t completely happy with Vader’s position, either, or Han’s look – especially his right hand, which I tried to fix but couldn’t without affecting the coloring. So I began working one more time, ultimately moving the dialogue down into the middle, and finding the right body language for both Vader and Leia, as well as switching Lando and Chewie’s position, and Boba Fett’s helmet position, all making for a composition that I was much happier with. After inking and then erasing the pencil, the drawing was colored with Faber Castell Pitt artist pens. Once finished, I had to submit the drawing to J.W. Rinzler again for final approval, which thankfully he gave, so I didn’t have to re-draw this page anymore…

Celebrate Father’s Day on ChronicleBooks.com with 25% off + free ground shipping! Use code THANKSDAD through June 16th.

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