Magret de Canard à la Poêle Froide

Scoring 28 recipes

• Lift one cut open with a fingertip: it parts through the skin and stops in the fat beneath, showing a pale wall at its base. Any cut showing red or fibrous flesh has gone too deep; any that has not reached the fat has left the skin tethered, and it will tighten under heat.
• The lines run parallel at even spacing, roughly a finger's width apart, each carried the full length of the face and stopped the same margin short of the edge. Sight down them: lines that converge, wander or crowd at one end cook at different rates and read as careless on the plate.
• Each line is one clean draw of the blade held at a slant, not a sawn or doubled track, and it leaves a bevelled lip standing slightly proud rather than a vertical slot. The surface should be dry and cold, near 4C (39F), when it is cut; worked warm and slack it drags, and the blade tears where it should part.
• After cooking the cuts have opened and set, each a clear gap with firm browned walls. Lines closed back to faint scratches were cut too shallow or too straight down, and the surface has shrunk over them instead of through them.
• The piece lies flat and true when it is set down, with no cupping through the middle and no lifted, curled edge. A bowed piece means the tightening surface was never released, so it pulled the whole thing up and left the underside pale where it stood off the heat.

Where it goes wrong The blade was pushed rather than drawn, through a surface left warm and slack, so it went past the fat and into the flesh. The cuts bleed as they cook and the juices flood the surface, so it steams instead of crisping: the lines gape into wet ragged trenches, the flesh between them dries into hard ridges, and the skin stays leathery and pale where it should have blistered and set.

Salting to draw the water out 41 recipes

• Salted evenly over every surface rather than tipped on in one place and tossed once.
• Laid out so the water has somewhere to go: a colander, a rack, or a sieve over a bowl, never a flat dish where it sits back in what it gave up.
• Given real time, and there is visible liquid to show for it: a pool underneath, a drip, or a wrung handful.
• That liquid is removed. It is squeezed, blotted or poured away, and the food is dry to the touch before it goes anywhere near heat.
• The dish is seasoned knowing salt has already gone on, tasted before any more is added.

Where it goes wrong It went into the dish still wet, and was salted again out of habit. The water it was carrying dilutes and steams whatever it meets, so the result is watery and over-seasoned at once, and those are two faults that cannot be corrected in the same direction.