A Tale of Two Beginnings by Amanda Cabot

When I first started writing, I was told that writers had three pages to hook a reader. Now, with attention spans shortening and patience dwindling, readers make their decisions more quickly. That’s why it’s not simply important, it’s essential that your first page be so compelling that a reader simply cannot stop.

There are three classic techniques for beginning a story. Dialogue spoken either to or by the protagonist, is a proven way to intrigue a reader, since it provides immediate immersion in the protagonist’s point of view. So too is a single sentence that establishes a situation. That’s why I began my current release by saying, “Someone was watching.” If I’ve done my job properly, my readers want to know who was watching and why.

The third classic is the one I’ve seen misused most often, which is why I want to discuss it in more detail. Perhaps it’s because we’re used to watching movies with their “establishing shots” as the beginning that many of us begin our books with a description. We want readers to know where the scene takes place, what the weather is like, what the overall mood is. That’s why we write openings like:

The rain was coming down in torrents, seemingly endless sheets of water. The streets had turned to muddy paths, and the spring thaws had left potholes which rapidly filled with water. The birds had not returned, nor had the flowers begun to appear. It was early spring, the ugliest time of the year in Clark’s Ford.

What’s wrong with that? As a reader, I have no reason to care about the weather in Alaska. When I pick up a novel, I want to read about characters. More than that, I want to see the world through their eyes. I want to care about them, and pure description does nothing to make me care.

Now, let’s take a look at a different version of that paragraph.

Not even the rain could dampen her spirits. It had been coming down in torrents ever since she arrived, seemingly endless sheets of water that quickly soaked through her cloak and left her feet squishing inside her boots. The birds had not returned, nor had the flowers begun to appear. It was early spring, the ugliest time of the year in Clark’s Ford, and Greta Gunderson was enjoying every moment.

Notice how the first sentence establishes the situation, tells you a bit about the heroine, and makes you wonder why she doesn’t mind the rain. Instead of simply describing the rain, the second sentence now shows you how those torrents affect the heroine. I left the third sentence alone, but the addition of a phrase to the final sentence once again puts us firmly in the heroine’s point of view.

Which version would make you want to continue reading this story?

"...it’s essential that your first page be so compelling that a reader simply cannot stop." via @AmandaJoyCabot #SeriouslyWrite #amwriting

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A young woman with a tragic past has arrived in town . . . and trouble is following close behind

Ten years after her parents were killed, Evelyn Radcliffe is once more homeless. The orphanage that was her refuge and later her workplace has burned to the ground, and only she and a young orphan girl have escaped. Convinced this must be related to her parents’ murders, Evelyn flees with the girl to Mesquite Springs in the Texas Hill Country and finds shelter in the home of Wyatt Clark, a talented horse rancher whose plans don’t include a family of his own.

At first, Evelyn is a distraction. But when it becomes clear that trouble has followed her to Mesquite Springs, she becomes a full-blown disruption. Can Wyatt keep her safe from the man who wants her dead? And will his own plans become collateral damage?

Suspenseful and sweetly romantic, Out of the Embers is the first in a new series that invites you to the Texas Hill Country in the 1850s, when the West was wild, the men were noble, and the women were strong.

Bio

Amanda Cabot’s dream of selling a book before her thirtieth birthday came true, and she’s now the author of more than thirty-five novels as well as eight novellas, four non-fiction books, and what she describes as enough technical articles to cure insomnia in a medium-sized city. Her inspirational romances have appeared on the CBA and ECPA bestseller lists, have garnered a starred review from Publishers Weekly, and have been nominated for the ACFW Carol, the HOLT Medallion, and the Booksellers Best awards. A popular workshop presenter, Amanda takes pleasure in helping other writers achieve their dreams of publication.

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Buying Links

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Avoiding the Pitfalls Historical Fiction – Part Two by Amanda Cabot

Amanda Cabot

Two weeks ago, Amanda Cabot offered pitfalls in writing historical fiction. If you missed it, you can catch it here. This week, she's back with part 2. Enjoy!
~Dora

Welcome back! I’m delighted that you’re here for the second (and last) part of the historical fiction pitfall discussion. There’s no quiz today, because I’m certain that when you read the next selection, you’ll know immediately what’s wrong. This is the more than slightly modified opening scene of Paper Roses, the first of my Texas Dreams books.

March 1856

“It’ll be all right.” Sarah Dobbs wrapped her arms around the child, wishing with all her heart that she could believe the words she’d uttered so often. The truth was, it didn’t matter what she believed. All that mattered was keeping Thea safe. And so Sarah knelt on the hard-packed dirt of San Antonio’s main street to wipe the tears from her sister’s cheeks. The child was hot, tired and excited by the unusual sights, a combination that turned normally sweet-tempered Thea querulous.

Thea was too young to appreciate San Antonio’s rich history. The original Spanish settlement of San Antonio de Valero, named for the Viceroy, was founded in the same year as the French began New Orleans. Located just below the Balcones Escarpment, it had the advantage of a mild, dry, healthful climate; plentiful water and an abundance of limestone for building. In 1721 Valero himself sent a force of 54 soldiers to build a strong fort, what many would call a presidio, nearby. They named the fort San Antonio de Bejar, in memory of Valero’s brother, and by 1726 more than 200 men, women and children inhabited the area. Indians, of course, were not included in that count, although by the middle of the century, each of the five missions in the San Antonio region had more than 200 Indians.

The dominant tribes in Texas were the Apaches and the Comanches. The Spaniards were never able to conquer the first, and the second gave them the greatest defeat they ever suffered at the hands of natives in the New World. But all that had occurred over a hundred years ago. Now the city was part of the great state of Texas, the state that would soon be her home and Thea’s.

Are you yawning? Or did you decide that this was what a friend calls a wallbanger, a book that’s so bad that you hurl it against the wall rather than read it? I’ll admit that I’ve exaggerated the problem, but I’ve judged enough contests to know that including too much history is a common problem.

It’s easy to understand why it happens. We do extensive research and we find so many fascinating details that we want to share them with readers. Unfortunately, heavy-handed infusion of history has the effect of boring readers, including those critical first readers: agents and editors.

So, how do you know what details to include and when? There are undoubtedly other ways to make that decision, but I suggest following three rules.

1. Remember that less is more. When you include historical facts, select the ones that are most critical. In many cases, these will be little-known facts that you’ve chosen to weave into your plot. If one of Sarah’s ancestors was one of the 54 soldiers who’d built the original fort, that would be the fact that I would have included, but rather than simply inserting the fact, I would have followed rule #2.

2. Ensure that each piece of history affects the character in some way. One of the problems with the passage above is that the paragraphs of historical facts have no tie to either Sarah or Thea. Consider the difference if I’d said, “Thea was too young to appreciate San Antonio’s rich history, but Sarah couldn’t dismiss the thrill that ran up her spine at the realization that she was only yards away from the fort her great-grandfather had helped build. Mother had raised her with tales of how Great Grandpa was one of the 54 soldiers the Viceroy had sent to build the presidio.” In this case, there was a reason to have included that particular detail, and so the reader doesn’t feel as if she’s being force-fed history.

3. And, most importantly, remember that you’re writing a novel. Your primary goal is to entertain. Readers do not expect a history lesson. As you edit your manuscript, look at each piece of research you’ve included and ask yourself, “Will the story make sense without this?” If the answer is “yes,” delete it.

There’s no doubt that there are challenges involved in writing historical fiction and pitfalls to be avoided, but from my perspective there’s nothing quite so enjoyable as being transported to a different time and place. If you’ve always dreamt of telling stories about times gone by, I encourage you to make that dream come true. I’m looking forward to seeing your books on the shelves!

With Autumn's Return
Purchase Link

She’s planning on instant success. What she didn’t plan on was love.

When Elizabeth Harding arrives in Cheyenne to open a medical practice, she is confident that the future is as bright as the warm Wyoming sun. Certain she’ll have a line of patients eager for her services, she soon discovers the town may not welcome a new physician—especially a female one. Even Jason Nordling, the handsome young attorney next door, seems to disapprove of her chosen profession.

When a web of deceit among Cheyenne’s wealthiest residents threatens to catch Elizabeth and Jason in its snare, they must risk working together to save one of Elizabeth’s patients, even if it means falling in love.

From the time that she was seven, Amanda Cabot dreamed of becoming a published author, but it was only when she set herself the goal of selling a book by her thirtieth birthday that the dream came true.  A former director of Information Technology, Amanda has written everything from technical books and articles for IT professionals to mysteries for teenagers and romances for all ages.  She’s delighted to now be a fulltime writer of Christian historical romances.  Her Texas Dreams trilogy received critical acclaim; Christmas Roses was a CBA bestseller; and a number of her books have been finalists for national awards, including ACFW’s Carol award. 

www.amandacabot.com

http://amandajoycabot.blogspot.com

http://www.facebook.com/pages/Amanda-Cabot/110238182354449?v=wall

Avoiding the Pitfalls Historical Fiction – Part One by Amanda Cabot

Amanda Cabot

I was delighted when Dora invited me to visit Seriously Write. Then came the hard part: deciding which aspect of writing we should discuss. Since I write historical fiction, I decided to talk about some potential pitfalls, but rather than give you a dissertation that will make your eyes glaze over, I thought we’d have some fun. My version of fun, anyway. It’s a little quiz. The object is to see what’s wrong with each of the following selections.

The first one is from a book set in 1170. Yes, the Middle Ages.

“Can you not settle this peacefully?” Marguerite asked Alain. Surely he must see how conflicted she was by the situation.

“Perhaps I was mistaken,” Alain said, not bothering to hide his scorn, “but I thought it was a knight’s duty to protect his lady.”

Marguerite sighed. She wouldn’t go there. Instead, she nodded stiffly, then took her seat next to Louise. The teenager’s enthusiasm for the fight stood in marked contrast to her own reluctance to see blood shed. But the fight was over almost before it began. With one deft stroke, Alain sent Henri’s sword ricocheting against the wall.

If you guessed that there were anachronisms in it, you’re right. There are at least four. “Conflicted” came into general use in 1967. “Wouldn’t go there” is a phrase from the 1990s. “Teenager’s” first usage was 1921, and – this one surprised me – “ricocheting” wasn’t commonly used until 1828.

Why worry about anachronisms?

The first reason is that they brand you as a sloppy writer. You spend weeks, months, possibly years researching a book. The details of daily life are accurate; the speech patterns are authentic; you’ve even ensured that your characters eat common foods from the era. Why spoil the effect with an inappropriate term? Consider this: checking a word’s first usage is simply another form of research.

The second reason is that at least some of your readers will notice the anachronistic terms. For some it may be a mild annoyance. Others may find the errors so jarring that they stop reading. In either case, the suspension of disbelief that we strive so hard to create is broken, if only for a second. Don’t do it. Don’t risk losing readers.

Okay, are you ready for quiz number two?

At least it wasn’t raining. Normally he wouldn’t mind it. In fact, he preferred rain when going into battle. Unfortunately, today he wasn’t waging war, nor was he facing an opponent at the other end of a lance. It would have been easier if he were. Even a few hours at the quintain would have been preferable to the fate which was now mere minutes away.

The knight on the silver gray destrier let the reins slacken as he looked around him. Though the wheat field could not compare to the raw magnificence of Outremer, there was no denying its beauty. It spoke of fertile ground, of centuries of tradition, of home. This morn it also reminded Alain de Jarnac of the obligation awaiting him.

This is another selection from the same medieval. While there are no anachronisms in this passage, I would venture that some of the vocabulary made you pause. Admittedly, devotees of medievals are familiar with quintains (a post with a revolving crosspiece that knights used for training) and know that a destrier is a war horse. They’d also know that Outremer meant overseas and was a term used during the Crusades.

But – and this is an important “but” – many readers won’t recognize those terms. If a potential reader picked up the book and glanced at this passage, the chances are she wouldn’t buy the book, simply because of the unfamiliar words. You don’t want that to happen, and so I urge you not to fall into this potential pit.

Either use common words or include an explanation. For example, if the author had replaced the simple reference to a quintain with “a few hours of jousting against the revolving arms of the quintain post,” the reader would have understood what a quintain was and might have smiled over the fact that he’d learned something new. The key is never to make a reader feel stupid.

That’s all for today, but I’ll be back in two weeks for part two of the pitfall discussion. I hope to see you then.

Dora here. Did you pick up on the errors in these passages?

As a reader, what pitfalls throw you out of a scene?

As a writer, do you research word usages?

With Autumn's Return
Purchase Link

She’s planning on instant success. What she didn’t plan on was love.

When Elizabeth Harding arrives in Cheyenne to open a medical practice, she is confident that the future is as bright as the warm Wyoming sun. Certain she’ll have a line of patients eager for her services, she soon discovers the town may not welcome a new physician—especially a female one. Even Jason Nordling, the handsome young attorney next door, seems to disapprove of her chosen profession.

When a web of deceit among Cheyenne’s wealthiest residents threatens to catch Elizabeth and Jason in its snare, they must risk working together to save one of Elizabeth’s patients, even if it means falling in love.

From the time that she was seven, Amanda Cabot dreamed of becoming a published author, but it was only when she set herself the goal of selling a book by her thirtieth birthday that the dream came true.  A former director of Information Technology, Amanda has written everything from technical books and articles for IT professionals to mysteries for teenagers and romances for all ages.  She’s delighted to now be a fulltime writer of Christian historical romances.  Her Texas Dreams trilogy received critical acclaim; Christmas Roses was a CBA bestseller; and a number of her books have been finalists for national awards, including ACFW’s Carol award. 

www.amandacabot.com

http://amandajoycabot.blogspot.com

http://www.facebook.com/pages/Amanda-Cabot/110238182354449?v=wall

Writing Books in a Series by Amanda Cabot

Amanda Cabot

First there were sequels. Then came trilogies. Now quartets and even quintets are popping up. It seems that everywhere you look, authors are creating series of books, and more and more publishers are asking for them. If you’re thinking about joining the bandwagon, read on. There are a few things to consider before you get started.

Type of Series
Did you know there’s more than one kind of series? While others may disagree with the terminology, I divide them into two categories: continuing characters and connected characters. What’s the difference? In a continuing character series, the protagonists remain the same, while secondary characters and sometimes settings change. Think of Nancy Drew, Miss Marple and, more recently, Harry Potter. In each case, you know who the main character is, and part of the pleasure of reading one of these books is knowing that when you finish it, there will be another adventure coming, featuring your favorite people. Plot-driven books like mysteries, thrillers and suspense make ideal continuing character series.

Connected character series are different. In them, when the first book ends, those protagonists’ stories are complete, but seeds have been sown for at least one secondary character to star in a subsequent book. It’s common, but not mandatory, for the protagonists of one book to make cameo appearances in the next one. Although settings may vary from one book to the next, it is also possible that the setting itself becomes a character. That’s what happened with my Texas Dreams series. In addition to the connected characters, with the heroes of the second and third books each being introduced in the previous book, the town of Ladreville and a cast of secondary characters formed a common thread. In the Westward Winds series, the primary connection is that the heroines of the three books are sisters. A few secondary characters continue from one book to the next, but the links are more subtle than in the Texas books. Character-driven books like romances and general fiction are good candidates for connected character series.

Number of Books
Once you’ve decided which type of series is right for you, the next question is to decide how many books will comprise that series. In the case of continuing characters, the answer is frequently “I don’t know.” That’s because those series are often open-ended. Connected character series, however, are typically finite. Since trilogies seem to be particularly popular now, my recommendation is to think in terms of three books. And, even if you’re writing a continuing character series, I’d suggest including at least three books in your initial proposal so that there’s no question that it’s a series.

The Challenges
Although there are many challenges associated with writing a series, for me, three stand out.

1. Maintain consistency from book to book. Readers are intelligent. They’ll remember that Susie had green eyes in Book One, and if those suddenly change to brown in Book Two, unless you mention that she’s wearing colored contacts, your reader will be disappointed in you. I keep a chart with all characters’ ages, hair and eye colors and other dominant characteristics.
   
   If you’re using the same location from book to book, I highly recommend having a map that shows where houses, rivers and other landmarks are located. Once again, readers will notice if you change the street names between books. Even if you’re using a real town, it’s important to know where the characters live so that you’re consistent.
2. Create each book as a stand-alone. I know, I know. We’re talking about books in a series, so why am I suggesting that each one be a stand-alone? For me, there’s nothing more frustrating than picking up the second book in a series and feeling as if I’m a stranger at a party where everyone else knows each other. They’re all talking about people and events that are unfamiliar to me. If you write each book with the idea that it can stand alone, you’ll make readers happy. The key is to ensure that each reference to a prior book has a brief explanation, bringing the reader “up to speed.” The challenge, of course, is to not give away key plot points from previous books. Is it easy? Of course not. That’s why it’s a challenge.
3. Make each book as compelling as the previous one. For me, this is the most difficult challenge of all. I’ve read so many trilogies, including some written by New York Times bestselling authors, where the first and third books were excellent, but the middle one fell short that I started asking why. Was this an extreme case of the sagging middles that we’re all told to avoid? Was it like sophomore slump? I suspect part of the problem is that, as authors, we’re excited about the first book, but when we get to the second, we’re anxious to finish the series, and the second book suffers. Don’t let that happen.

I wish I could give you concrete advice on how to avoid the middle book doldrums. All I can say is to be aware that this is a potential problem and one that afflicts even bestselling authors. If you have critique partners, ask them whether this book is as good as the previous one, and if the answer isn’t the one you wanted, ask yourself what you can do to improve it. Your readers expect excellence. Don’t disappoint them.

For me, although there are undeniable challenges involved, writing books in a series is great fun. I love the challenge of creating a town and peopling it with interesting characters, then returning to it a second and third time. I love introducing characters in one book, then following them into a second book. I love every aspect of it except one: saying good-bye.

Writing books in a series can be a fulfilling experience. If you’re at all intrigued by the idea, I encourage you to try it.

From the time that she was seven, Amanda Cabot dreamed of becoming a published author, but it was only when she set herself the goal of selling a book by her thirtieth birthday that the dream came true. A former director of Information Technology, Amanda has written everything from technical books and articles for IT professionals to mysteries for teenagers and romances for all ages. She’s delighted to now be a fulltime writer of Christian historical romances. Her Texas Dreams trilogy received critical acclaim, and Waiting for Spring, the second in her Westward Winds series, was just released.

Waiting for Spring by Amanda Cabot

Waiting for Spring
Almost a year ago, Charlotte had a baby and lost a husband. Hearing that a notorious robber believes she knows the location of a long lost treasure, she flees to Cheyenne and opens a dressmaker’s shop to make a living. When wealthy cattle baron and political hopeful Barrett Landry enters her shop with his lovely fiancée, Charlotte’s heart betrays her. If Barrett is to be a senator of the soon-to-be state of Wyoming, he must make a sensible match, and the young woman on his arm has all the right connections. Yet he can’t shake the feeling that Charlotte is the woman who holds the key to his heart and his future.

Soon the past comes to call and Barrett’s plans crumble around him. Will Charlotte and Barrett find the courage to look love in the face? Or will their fears blot out any chance for happiness?

When Happily-Ever-After Isn’t Enough by Amanda Cabot

“Nothing happens.” It’s been many years since I received that particular rejection, but I still recall my confusion. How could the editor say that nothing happened? I was writing short contemporary romances for the secular market at the time, and I thought I’d done everything right. The book was set in an exotic location and was laced with fascinating (at least to me) details of life in a place most of us only dream about seeing. My hero and heroine met, they fell in love, and after resolving a few misunderstandings, they lived happily ever after. What could be wrong? And why did the editor say that nothing happened?

When I recovered from the sting of rejection, I realized that the editor was right, although I still thought she was wrong in saying that nothing happened. What she should have said was that nothing interesting happened. I had written a story of a close-to-perfect romance, and while readers might want to live that story, they don’t want to read about it. Perfection is boring, or as Tolstoi said in his famous opening to Anna Karenina, “Happy families are all alike; every unhappy family is unhappy in its own way.” What was missing from my book was conflict.

I hate conflict. After one of those stressful job interviews that used to be popular, the recruiter looked at me as if I were an unknown species. “You’d rather walk around a wall than through it,” he said. Duh! Who would willingly bang her head against a wall? There’s only one winner there, and it’s not the head. But that aversion to pain and conflict wasn’t helping my writing. If my characters weren’t willing to fight, if I wasn’t willing to put them through pain, then I was going to continue receiving rejection after rejection and hearing editors say, “Nothing happens.”

I wanted to make another sale, but I hated the idea of torturing my characters, and that’s how conflict felt to me. It seemed like an insurmountable impasse. And then I realized what I had to do. It might seem like a matter of semantics, but the technique worked for me. I told myself that I wasn’t torturing my characters; I was healing them. And since I believe in the healing power of love – both God’s love for us and that between a man and a woman – it became easy (okay, a teeny, tiny bit easier) to create characters who were in pain. Sometimes the pain was emotional. Sometimes it was physical. Though I wept and cringed as I wrote some of the scenes, I wouldn’t let myself off the hook. No matter how dark the story was, I knew that eventually I would give my characters – and my readers – what they deserved: healing, followed by a happily-ever-after.

And now, as I give thanks for the people who’ve touched my life, I include the editor who told me, “Nothing happens.”

With both parents avid readers, it’s no surprise that Amanda Cabot learned to read at an early age. From there it was only a small step to deciding to become a writer. Of course, deciding and becoming are two different things, as she soon discovered. Fortunately for the world, her first attempts at fiction were not published, but she did meet her goal of selling a book by her thirtieth birthday. Since then she’s sold more than twenty-five novels, all of which feature happy endings. Her most recent release is Christmas Roses, which answers the question, Can an itinerant carpenter searching for his father and a young widow who seeks only her daughter’s well-being find happiness in a small Wyoming mining town in the fall of 1882?

Amanda can be reached through her web site (www.amandacabot.com) or on Facebook (https://www.facebook.com/pages/Amanda-Cabot/110238182354449?v=wall) or her blog (http://amandajoycabot.blogspot.com/).

Out of Sorrow and Loss by Amanda Cabot

Author Amanda Cabot is here this Fortifying Friday to share her journey to publication in CBA. (Dawn here.) I was touched and encouraged by her story, and I’m sure you will be, too. Enjoy!

Out of Sorrow and Loss

When people ask about my writer’s journey, I tell them it’s a long story. That comes as no surprise to my friends, who know that I’m challenged to stay within the maximum word count range for my books. The story of my move into the Christian market is a lot shorter. It can be summarized in one Bible verse: “And we know that all things work together for good to them that love God, to them who are the called according to his purpose.” (Romans 8:28, KJV)

Although I had written for the secular market for over twenty-five years, I had never seriously considered writing for the CBA. In fact, when readers suggested I do that, I would shake my head. “It’s not for me,” I would say. All that changed the summer of 2004 when a dear friend from college entered the final stages of leukemia. Though we were separated by thousands of miles, that summer brought us closer than we’d ever been. Knowing we had only a few months left together, she and I spoke of many things. For the first time in the more than thirty-five years we’d known each other, we spoke of what was truly important: faith, love and hope. We also spoke of legacies, and she insisted that mine would be the stories I told. In our lighter moments, we spoke of the final gift she had for me. Though she was referring to a piece of French porcelain, what she gave me was of far greater value, for her last months on Earth brought me a stronger faith and the realization that it was time for me to write about God’s love.

By the end of the summer, I had changed and so had my writing. My friend was gone, but in her place, God had given me a new direction. It was time to tell stories that would be a fitting legacy, not just for me, but for her. Paper Roses was the result.

The story doesn’t end there. Simply deciding to write for the CBA market didn’t mean it was an easy sale. It took me close to a year to write the book and another to find the right agent. Even then, we faced a number of rejections. Three years after my friend’s death, Paper Roses still had not sold. To say that I was discouraged is an understatement, and so I gave myself a deadline. If the story hadn’t sold by the end of 2007, I would accept that this was not God’s will for me, and I would return to writing for the secular market.

It was late September 2007 when my agent called with wonderful news. Two publishers were interested in Paper Roses. I had gone from rejection to acceptance – times two. My prayers had been answered, and something positive had come from my friend’s death. My career as an author of Christian romances had begun.

I have been richly blessed. Paper Roses has been well received by readers and reviewers, and it was a finalist for both the 2010 Booksellers Best and the Carol Awards. Its success has also led to contracts for other books, but the greatest reward has been the knowledge that I am following God’s plan for me. He turned my time of sorrow into something good.

With both parents avid readers, it’s no surprise that Amanda Cabot learned to read at an early age. From there it was only a small step to deciding to become a writer. Of course, deciding and becoming are two different things, as she soon discovered. Fortunately for the world, her first attempts at fiction were not published, but she did meet her goal of selling a novel by her thirtieth birthday. Since then she’s sold more than twenty-five novels under a variety of pseudonyms. Her most recent release is Scattered Petals, the second book in the Texas Dreams trilogy.

To find out more, please visit Amanda’s

Web site: www.amandacabot.com

Facebook page: http://www.facebook.com/pages/Amanda-Cabot/110238182354449?v=wall.