When I was writing the manuscript for Florentine, I enlisted the help of an army of recipe testers about 80 people from all over the world to test every recipe thoroughly. Only one came back to me consistently with problems. From Minnesota to Melbourne, three testers wrote to me that their very first attempt at making Tuscan gnudi (ricotta and spinach balls that, rather than be encased in pasta like for ravioli, are simply dusted in flour) resulted in a pot of simmering water with "dissolved" gnudi. It reminded me of Pellegrino Artusi's potato gnocchi recipe in his famous cookbook from 1891, where he interrupts the recipe instructions to mention a signora who, upon attempting to stir the gnocchi cooking in the pot, finds they have disappeared O dove'erano andati? "Where did they go?" In the case of the gnocchi, there was too little flour used, according to Artusi. But in the case of the gnudi, I already had a hunch. I grilled all three testers on a number of various factors was the water just simmering, not on a rolling boil (which can destroy delicate gnudi), did they drain the spinach very well, and equally the ricotta (one said she even drained it overnight)? Did they use "proper" ricotta? Aha. "Proper" ricotta. The kind that was only made a day or so earlier, the leftovers of the cheese-making process, the real deal. The kind that you can see in a deli counter, standing on its own, that gets cut into a big wedge and weighed when you order it. Not the kind you buy at the supermarket, in a tub, that so often is grainy, more like the consistency of yogurt, has no structure, and is full of unnecessary gums or additives. All my recipe testers had used the second kind to be fair, some were new to the idea of buying ricotta and in their neighbourhood only had access to this. In that case, it would have probably been better to make your own, or choose another recipe. Who was new to the idea of buying ricotta from a deli? A. not enough information B. The recipe testers C. The author of the article D. Pellegrino Artusi
B

Mr. Drake hurried into the trailer, and Ethorne, Gwenny, Johnny Tepes, and I looked up as Mrs. DeLyon followed him. He looked at me. "Where would Digger go?" I shrugged and blinked. The question made no sense; Digger would not go anywhere. When he slept, he slept for ten hours. You could toss him around like a sack of potatoes, and he would not wake up. With one exception. "Bathroom?" Mrs. DeLyon shook her head. "No." Mr. Drake said, "And he's not in any of the beds. We looked in all three." Mrs. DeLyon said, "And under them. And I called for him. He wouldn't hide from me, would he?" I shook my head. Ethorne got up, went to the door, and shouted, "Digger! Where is you, Digger-boy? You don't need to hide no more. Everything's fine now!" The dogs barked in response, but no person answered. Mrs. DeLyon said, "Call Dr. Lamont. Maybe Susan put him in the backseat and forgot to tell us." Mr. Drake's voice held as little hope for that as Mrs. DeLyon's, but he said, "All right." Mrs. DeLyon said, "We'll get Chris to bed in the meantime." "I'm in charge," I said. Ethorne said, "When there's nothing you can do, you might as well sleep. Save your strength for when you need it." Mrs. DeLyon said, "Don't worry. At least one of us will stay in the trailer until your folks get back." Gwenny said, "C'mon, boyfriend. I'll see you to your bed." I said, "I can go by myself." Gwenny looked at Mrs. DeLyon, then at Johnny Tepes. "Well, that's a blow to a girl's ego." They smiled without much humor, and Mr. Drake hung up the phone. Ethorne said, "What is it?" Mr. Drake said, "Let's get Chris to bed first." I stood and went to the door. "G'night." When was Chris put to bed? A. after searching for Digger B. while searching for Digger C. before searching for Digger D. not enough information
C

This week I shot my Interview with Claire Bridge. Myself and Riah travelled, I would say all the way out too Wheelers Hill, but it's really not that far away, unless you live on the North side, which we both do. Riah and I carried our gear on two trains and 1 bus to get to Claire's studio out in Wheelers Hill. I can see why Claire lives here as it's a pretty beautiful place, it's still suburban but there are trills, hills and birds everywhere, and for someone that's passionate about the environment I can see why she lives here. Meeting Claire was awesome, after having spoken via phone or email for so long, it was nice to speak to her in person. The filming of the interview went extremely smoothly, I'd put this down to having planned out everything, such as all the questions I was going to ask prior to the interview. By this stage I had helped Riah film as well as Elise and it was noticeable how much smoother Riah's interview went because she had pre-planned her questions. Rather than spending an hour asking various questions that you might not use anyway, it's much more efficient to spend 20 minutes covering exactly what you want to cover. By this stage I'd also had practise setting up lights, doing sound and getting camera shots for people's portraits so I already knew everything I wanted to shoot. Our setup was pretty simple, two large lights, one on Claire's front right and one on Claire's front left, two Canon EOS 60D DSLR's at different positions (one straight on, one to the side), a Sony H2N handy recorder and a lapel mic. Everything ran super smoothly, we did the interview first then myself and Riah shot various things in Claire's studio. Whilst shooting various things in Claire's studio we also got a chance to both speak to her which was nice, discussing what it is like to be a woman in Melbourne's art scene and finding out who some of her favourite artists were. Overall the experience was also, I have a lot of friends who are artists so I hope to do more artist portraits in the future. Why did the interview go so smoothly? A. because Claire was nice B. because the author and Riah spent time planning ahead for everything C. because it was easy to get the shots D. not enough information
B