Robert Gainey

             I work as a professional firefighter, which puts me at the station for 24 hour shifts every third day. At my fire station, we’ve got 11-14 people working on a normal day, depending on students or guests or whatnot. Dinner gets cooked on a rotating schedule, so when it’s my turn to cook I want something that can feed plenty of people, reheat easily if everyone catches a run, and doesn’t taste like old sawdust. Today, we’re going to talk about the staple of firehouse meals: spaghetti.           Now, I know I’m going to offend somebody’s old nonna with my recipe, but it’s something that you can slap together in the morning and let cook all day. In the oven, on the stove, in the slow cooker, it all works out in the end. First, let’s have that ingredients list.           1 – 12oz Can Tomato Paste           1 – 28oz Can Petite Diced Tomato, drained           1 – 45oz Jar Spaghetti Sauce (I prefer the Prego brand, but this is to taste).           1-2 – 15oz Can Tomato

 Originally posted over on  Serena Synn's blog Serena Synn   Why Choosing Your Setting is Important   Setting is where the story’s at. Not just in the literal sense, but in that old Sam Cooke, 1960’s, “this looks fun, let’s stay a while” way. A bland setting is Van Gogh’s starry night painted all in beige. It’s cauliflower mashed potatoes. Maybe it can be overcome by great dialogue, interesting characters, a fun premise, but a truly memorable setting can elevate a story faster than any other element. After all, what are characters without a world to live in? What’s a conflict without stakes that matter? Isn’t that tender, romantic conversation made more special because you’re transported into that mountain cabin where the fireplace is crackling and the wood smoke fills the air? Even the most minimalist story builds a setting to transport the reader right into what’s happening. Take Hemmingway’s “Hills Like White Elephants” as an example. While most of the story is reserve

 As my first virtual blog runs to a close, I'll be sharing the guest posts, interviews, and other assorted oddities that came around as a result. First up is a character confession written for  Paranormalists  on July 5, 2021.   FROM THE DESK OF Diane Morris Special Agent Federal Bureau of Investigation Department of Intangible Assets, Southeast Division   June 10, [REDACTED] Attn: Director Jermaine LaFleur             I am writing today to follow up on my previous unanswered correspondence and to once again formally request a transfer from Field Operations to the relative safety of Logistics. As you are well aware, I have served as a field agent within the DIA for more than [REDACTED], and I feel my talents would be put to better use behind a desk, far away from any [REDACTED] who may, yet again, attempt to eat me. I might add that this is the [REDACTED] time within the past fiscal year I have been forced to request reimbursement for a personal firearm lost in