Welcome to 2013! Each Sunday of this year, I will post my photographs, “recipe” and tip for that week’s floral arrangement, created for my new book, Slow Flowers. Enjoy the floral journey through 52 weeks of the year~

“Frosty White”

Ingredients:

• 5 branches pussy willow (Salix caprea), grown by J. Foss Garden Flowers
• 7 stems each of two forms of Dusty Miller (Centaurea cineraria), grown by Charles Little & Co.
• 7 stems Artemisia absinthium, harvested from my garden

Vase:

• 9½-inch tall x 9-inch diameter ceramic ginger jar with 3-inch opening

[Author’s note: This is the introduction of my forthcoming book, “Slow Flowers,” which will be published February 1, 2013. You can pre-order it here.]

My 52 Weeks of Local Flowers

One of the joys of gardening is to step out my back door and clip a few sprigs to bring inside. The day’s prettiest blooms and just-unfurled leaves – assembled simply into a bunch and displayed in a jar of water – provide everything I need to start the day. The tiny arrangement graces my kitchen counter or brightens a spot by the keyboard, connecting me with the natural world even when I’m “stuck” indoors, away from my beloved garden.

IS THIS FLORAL DESIGN?

I guess it is, but like avid gardeners everywhere, I certainly never considered myself a florist. After all, despite hundreds of hours of horticulture training, I never once studied the art of flowers, other than one weekend class on liturgical arrangements that I took with my Episcopal priest friend Britt Olson. Floral design was an entirely different sort of activity for which I wasn’t qualified (I thought). I’m a writer and a lover of plants, but not an artist.

I have written about floral design for years, interviewing top florists around the country for articles in magazines like Seattle Bride, Romantic Homes and Sunset. I loved reporting those stories, and I have to admit feeling a twinge of jealousy as I listened to flower artists answer questions about their style and technique, their use of botanicals and vessels – and especially, their inspiration.

I have spent my life observing and writing about creative people. But I didn’t really believe that I was one of them! I was the classic journalist: a detached outsider documenting what she heard and saw.

Yet writers are sponges and driven by an insatiable, need-to-know curiosity. In pursuit of our stories, we can’t help but absorb knowledge about myriad topics, taught to us by generous subjects whose own passion is infectious. That’s exactly what happened to me while story-gathering for my most recent project, The 50 Mile Bouquet. I loved shaping the narrative about the many talented individuals who are part of the local flower movement.

During the creation of that book with photographer David Perry, my own bouquet-making activity was on the rise. I was beginning to see the gardens around me in a new way: in all four seasons, rather than only during July when the perennials peaked. The palette of possibilities expanded greatly, thanks to my interviews with the gifted flower farmers and designers profiled in The 50 Mile Bouquet.

My previously-spontaneous bouquet-making gestures soon became a weekly ritual. I discovered that just like designing a container garden or a display border, there is great satisfaction in choosing flowers and companion elements – and then assembling them into a beautiful composition in just the right vase.

I often photographed my design process. Documenting each step seemed like a good idea, either for my own reference, for a blog post or to illustrate a future lecture.

And then, one September day as I was making a bouquet out of burnished autumn leaves, green millet seed heads and the last dahlias of the fading summer, I had a brainstorm that led to the birth of my new book, Slow Flowers. I jotted down some ideas, including this one:

There’s a common misconception that it’s impossible, or at least tricky, to find enough beautiful ingredients in one’s own garden or region during certain times of the year for creating interesting seasonal floral arrangements. Taking the Do-it-Yourself designer’s point of view, I want to disprove that notion by making bouquet-a-week – all year long. My goal is to inspire others to create personal bouquets with what’s at hand, if only they begin to see what’s around them with new eyes.

I launched the project then and there, and continued it for 52 weeks. As each season unfolded, so too did my passion for floral design. My experiment turned into a season-by-season, week-by-week book of ideas and inspiration for gardeners and DIY floral designers.

WHY SLOW FLOWERS?

The idea for the title of this book emerged organically. We had used the term “slow flowers” as part of the marketing for The 50 Mile Bouquet – and to our surprise, nearly every major newspaper and magazine that reviewed the book picked up on it as a reference to a cultural shift in consumer attitudes toward local, seasonal and sustainably-grown flowers.

So when editor Cathy Dees and publisher Paul Kelly and I got serious about finding a book title, Slow Flowers seemed like the “just-right” description of my one-year floral design experiment. Thanks to the culinary pioneers who popularized the Slow Food movement, it now seems like you can put “slow” in front of any term to convey a different philosophy or approach to that subject. When I say the phrase “slow flowers,” there are those who immediately understand it to mean: I have made a conscious choice.

My blooms, buds, leaves and vines are definitely in season; not, for example, grown and brought in from elsewhere around the world during the wet, cold winter months in my hometown of Seattle. So come December and January, my commitment to sourcing locally-grown floral materials sends me to the conifer boughs, colored twigs, berry-producing evergreens – and the occasional greenhouse-grown rose, lily or tulip, just to satisfy my hunger for a bloom.

Slow Flowers (the concept and the book) is also about the artisanal, anti-mass-market approach to celebrations, festivities and floral gifts of love. I value my local sources. If not clipped from my own shrubs or cutting garden, I want to know where the flowers and greenery were grown, and who grew them. Having a relationship with the grower who planted and nurtured each flower is nothing short of magical. I call so many flower farmers around the country my friends. They are the unsung heroes – the faces behind the flowers we love.

Finally, Slow Flowers reflects life lived in the slower lane. My family, friends and professional colleagues know that it’s almost impossible for me to do anything slowly. I’m the queen of multitasking; I just can’t help myself. There are too many exciting opportunities (or bright, shiny objects) that command my interest. But this “year in flowers” was altogether different. I can only compare it to the practice of praying or meditating. I didn’t realize that those few hours I spent each week, gathering and choosing petals and stems, arranging them in a special vessel, and then figuring out where and how to capture the finished design through my camera lens, would be so personally enriching.

I used all my senses. Unplugged, away from electronic distractions, I studied the form, line, texture, subtle color and utter uniqueness of each stem. What a gift to slow down and experience the moment. I don’t know much about ikebana, the Japanese art of arranging flowers, but I understand that silence and contemplation of nature are part of its practice. I experienced something similar. Slow Flowers forced me to work at a decidedly different pace as I embraced creativity, fearlessly.

I learned about my own preferences, design style and ability to look at the world of floral ingredients in an unconventional way. I learned that I really am a floral designer. Like me, you don’t have to earn a certificate from the London School of Floral Design to create seasonally-inspired bouquets. You can find local blooms in your or your friend’s garden, or from the fields, meadows and farm stands of local flower growers. Each bouquet tells a story about one moment in time, about Grandmother’s cherished flower vase or the fleeting memory that returns with a whiff of lavender or lilac. That’s one of the intangible gifts of bringing flowers into our lives.

I love the old-fashioned definition of a Florist, appropriately portrayed in a flower shop sign I noticed on a visit to Chicago: “One in the business of raising or selling flowers and ornamental plants.” It underscores my belief that if you grow flowers and ornamental plants, you can also arrange them.

Gardeners are especially qualified in the art of floral design. After all, we have an intimate relationship with our plants, their bloom cycle, their natural form and character – and their seasonality. We also know what colors and textures we like when combined in the landscape. A vase can be a little garden, its contents gathered and arranged to please the eye.

So give it a try. Design a bouquet. Channel your inner floral designer and begin your own year with slow flowers.

Earlier this week I was hosted by my dear friend and fellow Garden Writer board member Nan Sterman when I flew to San Diego to give a talk to the San Diego Horticultural Society. I love the title that Mary James  of SDHS gave my talk: “Bring me Slow Flowers” – a fun play of words on the title of my next book. Using images I’ve shot over the past several years, my lecture incorporated concepts from The 50 Mile Bouquet and Slow Flowers.

Here are the highlights of my (almost) 72 hours in San Diego:

First, I visited Hasan and Ayse Kayali, some of our oldest friends from college days. My husband Bruce and Hasan were jumpers (long/triple) for Harvard’s Track Team back in the day and we never, ever get to spend enough time together. However, all of us were together in Tuscany in 2009, for a week at Villa Maddalena in the town of Montisi. That was pretty special. After a late, but delicious, lunch, we took a walk on the beach at La Jolla Shores.

After I said good-bye to the Kayalis, I headed to Encinitas, just a few miles north. Nan Sterman and Curt Wittenberg welcomed me with a flavorful Moroccan chicken dinner prepared by Curt, and we stayed up way too late just talking. Nan and I figured out that after this month (December), we will see one another in January (GWA Winter Board Meeting – Austin, TX); February (Northwest Flower & Garden Show – Seattle, WA); March (SF Flower & Garden Show – San Mateo, CA); April (when I’m back in San Diego to speak) . . . and of course, in August, when our GWA annual symposium heads to Quebec City. Nice to anticipate!

On Monday morning, I headed over to Carlsbad, Calif., to visit the very famous René van Rems, a world-class floral designer and friend of Nan’s.

I’ve known of René because of his books (including René’s Bouquets: A guide to Euro-Style Hand-Tied Bouquets) and others. He is an internationally recognized designer, consultant and instructor, born in Holland, but based in San Diego for the past 30 years.

Last year, René established a new studio in Carlsbad, north of San Diego. I was so impressed with the interior space – as you can see here. It’s suitable for large-scale production for big events, for René’s many floral design workshops, and for private events. René considers himself to be in the “business of creativity,” and he loves to teach everyone – from the DIY flower-lover to the professional who participates in his advanced Master Classes.

René signed and gifted me two of his recent books — the hardback version of René’s Bouquets and his way-cool new book: Rene’s Bouquets for Brides. I felt a little inadequate giving him a signed copy of The 50 Mile Bouquet, but he was quite gracious about it. And, he was very kind to come and attend my lecture that evening. Please check out René’s beautiful work at his website, here.

Nan picked me up around lunchtime and we headed out to Fallbrook, Calif., about 45 minutes east of Carlsbad. We were on a floral mission: To visit Rainbow Protea, an exotic cut flower farm that grows South African and Australian flowers in the Proteaceae family.

A special thanks to Dawn Bonner, whose family owns Rainbow Protea, and to sales & marketing whiz, Kim Jernegan, who hosted us. Kim loaded Nan and me into a pickup truck and we traversed the bloom-filled hills of the 198-acre farm on a brilliant December afternoon.

Rainbow Protea began operations in 1985. While some may liken the hilly terrain approximately 20 miles inland from the Pacific Ocean and 60 miles north of San Diego as “similar” to South Africa, Kim begs to differ.

She points out that to grow thousands of flowering sub-tropical shrubs — Protea, Leucadendron, Leucospermum, Banksia, Leptospermum, Chamelaucium (Wax flowers), Anigozanthos (Kangaroo Paws) and other Mediterranean specimens — the farm’s crew has to use an auger-style drill and major amendments.

Those include primarily organic addititives such as fish fertilizers, worm compost, compost tea and kelp products.

Enjoy my photographs of the plants that earned my affection.

Kim sent me home with a bountiful box of blooms, which I have been enjoying all week.

The wonderful thing about these exotic members of the Proteaceae family is that they are VERY long-lasting in the vase.

You need to re-cut the stems and refresh the H20 every two to three days; but then you can plan on having an exotic, modern-looking arrangement for weeks and weeks.

Finally, I was welcomed by the members of the San Diego Horticultural Society. I felt like the room was filled with kindred spirits – gardeners who want to learn more about the plants they grow; people who are eager to try new things, including floral design. A great visit – and one that I will always cherish. Nan, Curt, Karen Bussolini (a writer/photographer friend who was in town, visiting from Connecticut), Bonnie Manion and I closed down the night with a late dinner at Il Forniao. Very satisfying!

Before I left the following morning, I squeezed in a visit to fellow garden blogger Bonnie Manion of vintagegardengal.com. I first met Bonnie in 2009 when Country Gardens magazine asked me to write about her vintage container designs for spring bulbs. The story was called “Tour de Forced Bulbs.”

Later, after we moved from Seattle to Southern California, Bonnie and I finally met in person – and we had several fun adventures, including our day-trip to the Long Beach Flea Market with Lorene Edwards Forkner and Kathy LaFleur. Bonnie is an amazing designer, writer and winemaker (with her husband John Manion). While our time was short, I was tickled to spend a little time with her, touring their newly renovated home, barn, barrel room and more…and talking about the book-biz, blogging and gardening.

Look for exciting things coming from Bonnie in the near future, including a new book on keeping chickens!

Okay, enough for now. Please enjoy these photos and check out all the people I’ve highlighted in this blog post.

 

 

There’s a sequel to The 50 Mile Bouquet and you will be able to hold it in your hands come February 1, 2013!

Above, you see the cover mock-up featuring my photo of a simple arrangement I created for a 2011 Northwest Flower & Garden Show demonstration. My green urn holds two types of locally grown tulips from Alm Hill Gardens in Whatcom County, as well as curly willow branches and camellia branches from my former garden. Simple and graphic. Gorgeous cover art designed by Holly Rosborough, St. Lynn Press’s art director.

Yes, the good news is that St. Lynn’s Press will publish SLOW FLOWERS: Four Seasons of Locally Grown Bouquets from the Garden, Meadow and Farm. The book features 52 weeks of seasonal floral arrangements created and photographed by Moi!

Here’s the book’s description:

The slow food movement (with its hundreds of thousands of members and supporters) has changed our relationship with the foods in our lives. Now the slow flower movement is changing the way we think about cut flowers: Yes, we’d all prefer fresh, fragrant flowers in our bouquets, not the chemical-laden “undead” blooms flown in from afar – but what to do in those seasons when not much is growing locally? Debra Prinzing challenged herself to create a beautiful, locally grown bouquet for each of 52 weeks of one year (going beyond flowers to include ornamental twigs, foliage, greenhouse plants, dried pods, and more), to demonstrate that all four seasons have their own botanical character to be celebrated. She provides extensive design tips, bouquet “recipes” and region-by-region floral ingredient lists that can be found in all climate zones through the year. Slow Flowers is written from a DIY floral designer’s point of view, to inspire anyone to go green and make a beautiful bouquet with what’s at hand, no matter the season.

More details to come, but you can help me out by pre-ordering a copy on Amazon. Yeah!!!

Promoting the Slow Flower movement means one may have to travel. I realize that’s a huge contradiction, but that’s life – a series of choices, right? I rationalize my airplane journeys by trying to cram as many events into one destination as possible. Not exactly logical, but it makes me feel more efficient and keeps me away from home for a shorter period of time.

Earlier this month, I headed to San Francisco for Mother’s Day weekend. It started when Flora Grubb and Susie Nadler, two of the superstars of The 50 Mile Bouquet, invited me to be part of the Mother’s Day events at Flora Grubb Gardens. It was the perfect excuse to combine a visit to meet my own mom (and dad) in San Francisco. And then Baylor Chapman of Lila B. Flowers, another superstar of our book, invited me to be part of her activities as part of the SF Made Week. We filled those 48 hours to the brim with flowers, friends and family. A special thanks to Sophia Markoulakis, food and garden writer, for featuring The 50 Mile Bouquet and the Mother’s Day book-signings in her article for the San Francisco Chronicle, ‘Slow-flower’ movement’s power sprouts with new book.

Here are some of the photos from the trip:

 

 

 

Read about the 10-year journey of a garden memoir – from the seed of an idea to its release by a top New York publisher

Many garden writers whose work I greatly admire have privately shared their disappointment that our genre isn’t seriously viewed as a literary subject when compared to, say, sports or food. Every twelve months we witness the publication of an anthology titled something like “The Best American Sports Writing, 2011” or “The Best Food Writing, 2010.” There are books of “bests” for Science and Travel writing. Yes, even Nature and Environment writing has been compiled by publishers, but those topics aren’t the same as the subject of the garden. Sadly, garden writing rarely receives credit for its importance as an art form.

And yet, there is wonderful work in our circles. And one of the very best pieces of literary garden writing I’ve ever read was just published this week and released by the venerable imprint Farrar, Straus and Giroux. It’s a memoir called “Into the Garden with Charles,” by the late Clyde Phillip “Skip” Wachsberger, an award-winning artist twice honored by Garden Writers Association.

Skip’s book is beautiful both for its language and for the 14 full-color watercolor illustrations interspersed through its 224 pages. FSG’s press material describes this work as a “sweet and inspiring story about art, love, and gardening set against the backdrop of New York City and the author’s noteworthy garden outside a three-hundred-year-old house in the tiny village of Orient, Long Island.”

For those of us who knew and admired Skip, his book can be viewed as one man’s life work. It’s a highly personal and yet universal story of love, friendship, and the way the garden can nurture a lonely soul.

When I spoke by telephone with Jonathan Galassi, FSG’s president and publisher, and asked what prompted him to acquire Skip’s memoir, he said: “I thought it was a very genuine and beautiful piece of work; very touching and real and unlike anything else I’d read.”

As I listened to those words, tears welled up in my eyes. I thought: How pleased Skip would have been to hear them. We lost Skip last November, when cancer took his life. That his writings, paintings and garden survive is to be cherished by those who loved him and by anyone who reads this memoir.

For fellow garden writers, Skip’s creative story is an inspiring one, much of it documented in the pages of his memoir. His manuscript took a decade to be cultivated – from an original garden book idea to its release by one of the publishing world’s very best imprints.

Skip and I had many conversations over the years about how he reshaped his writing — from descriptions of plants and place into an intimate narrative of his own life. To better describe the story of this special book, I turned to the people closely involved with “Into the Garden With Charles.” In addition to interviewing Mr. Galassi, I spoke by phone with Charles Dean, Skip’s surviving husband, and Karen Braziller, his friend, neighbor and longtime writing coach/editor. They graciously shared details of Skip’s writing journey with me.

GARDENING, WRITING AND PAINTING

 

In theatre, someone who sings, dances and acts is called a “triple threat,” so I guess you could say that as a creative individual, especially in garden writing circles, Skip had his own remarkable set of triple talents — gardening, writing and painting.

His gifts converge in and enliven the pages of “Into the Garden with Charles.” From the opening lines when he wonders if all that makes him happy is just a dream – his beloved but antiquated home and garden, his always-cheerful dog Rover, and his charming, Southern-born partner Charles – Skip draws the reader into his magical world in which the impossible is always possible, if you only believe.

“Into the Garden with Charles” tells of a wonderful life filled with a love for opera, art, plants and friends. That Skip yearned for a companion with whom to share all of it is a familiar narrative. And just when it seems like he’ll never find the love of his life, living as he does in a remote Long Island village populated with couples and having just passed his half-century birthday, Skip meets Charles.

“Every garden tells a story. Ours tells a love story,” he wrote. And you will fall in love with both Skip and Charles, as well as Rover, their loyal Havanese, and all of their plant-obsessed garden adventures. Gardeners will especially relate to the ends to which these two men go to develop an otherworldly backyard where every tree, vine or flower has its own back-story!

For those who love to read lush (but not flowery) language, you will find the narrative delightful. And like a child’s storybook from days gone by, this one is adorned with beautiful watercolor illustrations, painted by the author. Allow yourself to be drawn into Skip’s dream world. You will be touched by his wisdom, kind spirit and optimism — all of it a gift from him to the reader!

READ MORE…

Michael Tortorello, a gifted writer whose work regularly appears in the NYT Home section, set up a phone interview with me last week. Due to time zone differences, his travel and my own travel schedule, it turned out that between the two of us, we could only find one hour that worked for a phoner! I was literally seated in Stephanie Clevenger’s SUV, which was parked in front of The Red Barn – the gathering place for Yakima Master Gardeners. The minute Michael and I finished up the Q&A, which he recorded, I dashed into the barn and gave a Container Design presentation to about 75 MGs . Whew.

I immediately thought of the brilliantly beautiful Pike Place Market stall operated by Alm Hill Gardens (Gretchen Hoyt and Ben Craft, owners). This is the single best place in Seattle for organic tulips, daffodils, hyacinths, lilies, and other amazing crops that come later in the year – like lilacs and peonies. Their farm is located in Everson, Wash., close to the Canadian border, and Alm Hill is a gold-standard flower fixture at the Market. My go-to source! Plus, since we have a 2-page spread on Gretchen and Alm Hill in The 50 Mile Bouquet, it seemed fitting to take the photo there.

I met freelance photographer Kevin Casey at the stall on Monday afternoon. My flower-seller pal Max Clement was working, as he does most Mondays, and he indulged us by stashing Kevin’s gear and my stuff while we did the photography. It was certainly less painful that I thought it would be, thanks to Kevin’s easygoing style and also the way he let me know what “worked” and what didn’t. Do I smile? Do I look serious? Ugh!

But I had a chance to turn the tables on Kevin, too. I asked him to pose with me for a photo that Max shot with my Iphone. We look goofy, but who cares? It was way fun and an unforgettable experience. Turns out, Kevin is an old newspaper staffer like me, so we compared notes about editors and writers with whom we’ve both worked in the past. It really is a small world.

Last evening, I received an email from Mary Robson telling me that she’d seen the story on the NYT’s web site. It’s also fitting that I first heard from Mary, a dear friend to so many gardeners and readers from her days as a popular columnist with The Seattle Times, and as King Co.’s Extension Agent who trained hundreds of Master Gardeners over the years. Mary and I co-authored The Washington-Oregon Gardener’s Guide in 2004 (and Lola was our publicist then – see what a small world it is?). What a treat to hear it first from her – the best co-author a girl could ever have.

This morning, the “real” print edition arrived in our driveway. Bruce went out to get it first and used the edge of the Home section to tickle my face and wake me up at about 6:30 a.m. Later in the day, friends texted and emailed their own photos taken of the story in the print edition and Ipad version.

I know that the 24-hour high is about to wind down, but then again, maybe not. There is something called an after-life for stories. I know because when my own articles are posted online I’m always surprised to see that they have an extended shelf life, sometimes for years.

For now, I’m just grateful and happy to have been part of the experience. Something great is coming from the combined creative efforts of two people who adore and admire flower farmers and floral designers. So as my friend, the late Linda Plato, would have said: “It’s all good.”

My friend Bill called me yesterday to tell me that Seattle Met magazine included me in their “Perfect Party” feature for April.

“WHAT????” I asked. Clearly, this happened without my knowledge – but it’s quite exciting. And amusing! I’ve never before been illustrated! I wonder who put them up to this?

Here’s the story:

SUNSET GIVEAWAY

I’ve drawn names of all those who answered my question below and here are the five “winners” of a FREE copy of The New Sunset Western Garden Book, courtesy of Sunset. The question: What is your favorite ornamental landscaping plant (shrub, grass, perennial, etc.) to harvest for a cut bouquet? yielded these winners/answers:

Jen Y: peonies

Paula: bunnytails grass blossoms or pilotus joey

Carol: Peonies, nandina branches and berry clusters

Nicole: hellebores

Kim: dahlias

CONGRATULATIONS! You will soon be hearing from Dana Smith of Sunset Publishing, who needs your mailing address.

I recently had a chance to interview Kathleen Brenzel, garden editor for Sunset magazine – and editor of Sunset’s new, 2012 edition of The New Sunset Western Garden Book,  (Sunset Books, $34.95 for flexible binding, $44.95 for hardcover), a “bible” for western gardeners.

Whether you’re new to gardening or have logged many planting seasons with your hands in soil, it’s the single best go-to reference for garden-makers in our region. As chunky as the Yellow Pages, this essential guide to the West’s ornamental and edible landscape has been around for 80 years. I’ve owned every version since the early 1990s, including the most recent 2007 edition, which is dog-eared from much use.

When I got my hands on the just-released ninth edition last month, I thought: How different can this really be? I asked Kathy to walk us through the book’s 768 pages:

How did you go about updating this edition? Before we did anything else, we assembled a panel with landscape architects, horticulture educators from UC Berkeley and Cal Poly San Luis Obispo, nursery people and new graduates who had used our last edition as a textbook. The recent grads told us that in order to make “The New Sunset Western Garden Book” relevant, it had to have a digital component. They said: “We go everywhere with our smartphones, so we want to be able to take a photo of a plant we see on the hiking trail and look it up instantly.”

How did you go digital? Now you can take the best of Sunset with you to the garden center, nursery and your yard. You can get the free mobile edition of this book’s Plant Finder on your smartphone. (Search for Sunset Plant Finder.) With it, you can access more than 2,000 plants — and search by plant name, ZIP Code, climate zone, sun and water requirements, and type. There’s a companion online Plant Finder that lets you browse by color, height, spread and special needs.

How else is the book interactive? The last section of “The New Sunset Western Garden Book” is a practical guide. We’ve added a camera icon on the bottom of the pages, pointing you to corresponding videos on our website. It’s nice to read directions on planting a tomato in a pot and then watch a video of one of our editors showing you exactly how to do that.

What are the other major updates? This is the first edition to feature plant photos exclusively, rather than illustrations. There are more than 2,000 plant photos. We also updated the entire plant encyclopedia. That was the biggest job in the whole book. Every plant was reappraised, and we added many new varieties now available in nurseries. We went to growers all over the west and compared our existing plant database with what they are now offering; we asked what they thought we should include and why.

How many new plants did you add? The new book has 9,000 plants, up from 8,000 in the last edition. We also had to check the botany of every plant because botanists are constantly reclassifying plants.

What can new gardeners gain from the book? The section “Gardening Start to Finish” is more instinctive for the beginner. We walk them through the whole growing process from A to Z. We also have practical sections on gardening for wildlife and native plants, growing herbs and water-wise plants.

What can more experienced gardeners gain from the new book? The plant encyclopedia is filled with tip boxes of additional information – like how to propagate a sweet potato vine or when to cut ornamental grasses for the vase.

You have more edibles, don’t you? We asked ourselves: “What do people want most from ‘The New Sunset Western Garden Book’ right now? You’d have to be totally checked out not to notice a huge wave of edible gardening, so we wanted to amp up our coverage. I’m really happy with the “what edibles to plant when” charts for warm-season and cool-season veggies.

What’s your favorite take-away from the book? There’s an underlying theme that acknowledges how we garden now – with an interest in natural gardening and sustainability. Our gardens are smaller, but they’re stylish and sustainable.

Note: A version of this Q&A appeared in the LA Times HOME blog on February 17th.