On a recent edition of First Draft Friday, I talked about character development with New York Times bestselling author Amy (A.L.) Jackson. Readers often describe her books as a visceral experience due to the detailed immersion into characters’ emotions, actions, and sensory experiences. We discuss the five elements she weaves into each story to generate these strong emotional reactions from readers.
Here are some key takeaways from my conversation with Amy:
- Use the 5 elements to create an emotional connection: Amy incorporates external physical reactions, internal physical reactions, sensory details, physical actions and emotions into every scene to deepen the reader’s connection to her characters.
- Character depth across genres: From romance to paranormal and fantasy, Amy applies her method consistently across genres to maintain character depth and reader engagement.
- Balance wordiness with pacing: Amy’s books are generally 110,000 – 120,000 words but she is still aware of the challenge of balancing detailed character portrayal without bogging down the narrative. She believes these five elements work well but might need to be adapted for shorter, plot-driven stories.
- Scene length and detailing: Her scenes typically range longer (4,000-5,000 words), allowing ample space to incorporate and weave these elements multiple times, though not necessarily in every line of dialogue.
If you’d like to read one of Amy’s scenes to see her five elements in action, here’s a sample from Don’t Forget Me Tomorrow.
It was a great discussion, one you won’t want to miss! Click below to watch our 30-minute recording and hear the questions we answered from the live audience. Keep scrolling if you’d prefer to read the transcript.
More info:
Try out Marlowe, our A.I., for a critique of your novel: authors.ai/marlowe/
Check out A.L. Jackson’s books on BingeBooks.
Enjoy the show? Check out our past First Draft Friday episodes.
TRANSCRIPT:
Alessandra Torre: Hi everyone, and welcome to First Draft Friday. Today I am going to be chatting with New York Times bestselling author A.L. Jackson about deepening character development and diving into Amy’s process and talking about how she works and how she creates her characters and includes them in her scenes. Welcome to First Draft Friday, Amy. It’s so great to have you. Do you want to tell the audience a little bit about yourself?
Amy (A.L.) Jackson: It’s so good to be here. Nice to see you. I am Amy (A.L.) Jackson. I’ve been writing for about 13 years now, and I absolutely love it. I write contemporary romance, and I’m just starting to write paranormal and fantasy romance, which I’m really excited about. I’ve wanted to do it for a really long time. And, I live in Arizona with my family and basically just hang out in this office writing all the time. That’s about all I do.
Alessandra Torre: How many books have you written to date?
Amy (A.L.) Jackson: Yeah, I lose count because I don’t really know if novellas count — so between like 35 and 40ish.
Alessandra Torre: That’s fantastic. And we specifically chose this topic because you have a set of guidelines of what you want to include in your characters. So can you talk a little bit about that? And then we can dive into what those items are.
Amy (A.L.) Jackson: So one of the things I noticed when I started writing and getting reviews and all that sort of thing is that people kept saying something particular about my books that they don’t always go with other writers. And that was like that they could actually, like, physically have a visceral reaction to my characters and felt so attached to them that it was just a different experience for the reader. So it was something that came naturally to me, but I had to, like, start thinking about it and why that was, and making sure that I continued to have that element in my stories. So it was just something that I kind of developed that I realized as I’m writing, I want these five elements in every scene to draw the reader deeper into my characters. So I basically just have a list that I go through.
Alessandra Torre: I am beyond excited. This is so unique. It’s so funny how we do things intuitively and then when you see something mentioned over and over again, I love that you went back and kind of examined your process. So let’s jump in. So these are things when you’re developing your characters or when you’re putting your characters in a scene and on the page, or a little bit of both.
Amy (A.L.) Jackson: I mean, I think I think about it when I’m developing the characters, like, as I’m plotting, but I’m not a plotter. I’m a pantser. So basically that happens on the page as I start playing with what the stories are going to be. My process is a little bit wild. You guys. I’m just kind of all over the place. So, it’s really something that like as we start learning the characters as they are, you know, that those first couple scenes, I want to make sure that I go pretty deep into that just to, like, immediately draw the reader into that character and immediately have them connected so that they’re invested right away.
Alessandra Torre: And you might cover this as we go. But do you do this just for, like, your main? So, for those of you who don’t know, Amy writes romance as she mentioned. So do you do this mainly just for your male lead and your female lead or all major characters?
Amy (A.L.) Jackson: Yeah. I mean, I only know because I do write in first person, so we get the dual perspective. So you get those two perspectives. Otherwise, I think it would be too complicated. Like you could do it with third person, but I think it would probably become too wordy. I am a little bit wordy, and I think you have to be a little bit extra wordy to make this work. So if you’re writing a plot driven book, this process does not work for you.
Alessandra Torre: And how long? Sorry. I promise we’re going to get to the five things. How long are your books typically?
Amy (A.L.) Jackson: They are usually between 110 and 120,000 words.
Alessandra Torre: All right. Perfect. So me and Chris are on the same wavelength because Chris is asking that.
Alessandra Torre: 110 through 120. I love that. Oh my gosh okay. All right I’ll let you dive in.
Amy (A.L.) Jackson: Okay, so here are my five things. I always have an external physical reaction. Internal physical reaction. Sensory. Physical action related and emotion. Basically just to break that down. Every single time that I’m in a scene with a character and whether it’s internal dialogue or there’s an actual action scene happening, I’m weaving those five elements into that scene every time. So, say that the hero first meets the heroine. I write romance, of course, I’m so driven towards romance. Right. So that’s the first thing that comes to me. So when he first meets her, like, I want to have every single one of those elements woven into that scene continually. So it’s not like every single time with every line, but I’m making sure that I’m that that’s all woven in there.
Amy (A.L.) Jackson: So there’s always like, you know, first of all, there’s usually the internal physical reaction is something that works really well for romance. So you get something like your heartbeat or the feeling in your stomach or that kind of thing. So you have that internal. And then we have external, which is like they feel a rush of chills or some physical reaction to meeting that person. And then, the emotion behind it, what they’re thinking and feeling and then for sensory I always add in a scent or something like that that they’re drawing from. So like what they’re seeing, a scent, a smell, a brush of energy or something like that.
Alessandra Torre: Okay. So you have a scene. The male hero is meeting the female heroine. If you’re writing a male-female romance. And so we’re inside the male’s head, I guess, in this example. Okay. So when you’re describing what he’s thinking and what he’s feeling, the first thing is a physical reaction or internal physical reaction. So, like you said, his heart beats faster or he feels nervous or something like that.
Amy (A.L.) Jackson: Yeah. It’s more like, and then I guess they’re all sensory sensations, like the sense sensations that you experience as a person. So I think it’s like looking into yourself, like, what do you feel like as you interact with somebody? So like, you know, you and I have been friends for years and like when we sit and like have breakfast together or whatever at an event, how does that interact? Like how do we interact together and like, what is that feeling and like. Every time that we as people are around other people, we have all of these internal external reactions to that person. And like with romance and in fiction, I think that you just like to heighten that and like to dive into each of those things. So I think sometimes it’s easy to skip over some, you know, we have a lot of like the external and the feelings or emotions that we write about. But sometimes I notice when I’m reading other books that those other elements get skipped. And so you kind of don’t have that deeper understanding of the character when you don’t pull them all the way in with all those extra elements.
Alessandra Torre: And this is a great way to show instead of tell. Right?
Amy (A.L.) Jackson: Right.
Alessandra Torre: Instead of “I was nervous.” Right. So you’re kind of layering these in as you go. Does this cause you to examine like when you are interacting with someone to pay much closer attention to how you feel.
Amy (A.L.) Jackson: I feel like I’m so much more introspective as time has gone on as a writer with my own self. I’d write it for a character and then be like, I’m feeling that and never really recognized it before. I have those five things and it’s really simplistic when you break it down. What is the character feeling in all these different ways as you start writing them? So that’s just my basic thing for each scene. And then I have it broken down for the characters. Their goals, their thoughts or feelings, their past history. And then I look at all of those things, plot that out and it’s not really plotting. It is me writing it in the first few chapters as I’m figuring out what the characterization is going to be. And then, I ask myself all these questions and then how to take those other, those sensory reactions and implement them into each of those.
Alessandra Torre: That makes perfect sense. And someone, Kata said, I hope I pronounce your name right. She’s like, I only heard four items, so now I’m actually writing this down. I know I’ve asked you to say this several times. External physical reaction, internal physical reaction. And then what were the other three?
Amy (A.L.) Jackson: Sensory. The physical action and emotion.
Alessandra Torre: All right. So sensory is like smell, taste. One of your five senses. Touch. And then physical. So what’s the difference between physical reaction and external and internal physical reaction.
Amy (A.L.) Jackson: So the physical action is usually like if the character physically interacts in some way with another character or just within the scene related to that internal feeling.
Alessandra Torre: So, so it’s like me shoving him away, right? Verses, I had goosebumps.
Amy (A.L.) Jackson: Right. So, like the character is describing, I had the intense urge to reach out and, you know, whatever. And then, the actual action that comes along with it, and then I’ll add in another one of those five to that feeling that they get when they reach out and touch somebody or whatever they’re doing.
Alessandra Torre: That makes sense. Okay. And then the very last one was emotion. Emotion. So an example of emotion would be just how they’re actually feeling. Not physical internal feeling or external feeling but rage flooded through me.
Amy (A.L.) Jackson: Exactly. And then so you’d have rage flowed through me and adding in the internal physical reaction, like, what does that rage feel like to that character? So then you’re describing that and then how it externally presents itself beyond. So you’re having all these elements. And so you’re feeling like that first feeling that the character gets the internal reaction to it and then the external reaction to it. So it’s almost like you’re feeling that whole emotion running through the character. And then the end result is like the physical action of it. So doing that over and over again, like it really just makes the reader feel like they’re right there with the character experiencing it again and again.
Alessandra Torre: And do you layer these in rewrites or typically in your first draft, all of these elements.
Amy (A.L.) Jackson: I naturally do it. Yeah. So like I said, it was one of those things that, you know, I kept getting people talking about again and again when I’d be, you know, on a podcast talking about my books or with readers or whatever. And I was like, this is interesting that they’re pointing it out, that it’s different. And I’m like, why is it different? So as I was reading books, I started to pay attention to what other books might have been lacking. And not that it makes a book, you know, lacking or whatever, but you know what I mean? What is making this style stand out to somebody? And so and that was what I was saying is that, you know, they maybe only have 2 or 3 of those things, and they’re missing something else.
Alessandra Torre: Yeah, I love that. So these are the five elements that you use in every scene. And then when you’re looking at your characters as a whole…
Amy (A.L.) Jackson: So these are kind of generalized things I use, which I think most writers typically have already done, but I’ll just make sure that I have developed the character’s main purpose. Why do they want it? Why are they fighting it? Because usually there’s like an element of, you know, obstacles or whatever it might be. The circumstances that threaten it. How the people around them affect it. And then how my character interacts with that person who is affecting it. So, like taking those elements and then applying the sensory portions of it creates that really well-rounded character.
Alessandra Torre: Yeah, I think that that makes perfect sense. And so as a result, I know your books are longer, but your scenes are also probably longer.
Amy (A.L.) Jackson: I tend to have 4,000- to 5,000-word chapters.
Alessandra Torre: All right. Yeah, that makes a big difference. Here’s a question from Val: Do you use all five elements for every scene or just major scenes?
Amy (A.L.) Jackson: I use them for every scene, but my scenes are longer, so they’re going to be in there, you know, throughout, and I’ll probably use them multiple times, but I don’t use it for every, you know, piece of dialogue or every, every single thing that happens. I’m kind of just making sure that as I’m going that I’m placing those throughout and weaving them in. One of the things I hear is that my stories are a visceral experience. And so it is a lot of words added in there, like you’re very much in your character’s head all the time, even though it’s an active scene. So I make sure to try to like, balance that. But it’s not so bogged down that you’re having an info dump of feelings. It’s just little bits of it woven throughout every single scene.
Alessandra Torre: Yeah. I guess my concern would be that I’m slowing down the pacing. So I guess you can gauge that for yourself. This is the scene that we want to settle into and enjoy. Or like if your female character is just chatting with her best friend as they are going shopping about, you know, the first date that she had with this guy? Is that something you’re still using all five of these elements, but maybe just in milder form?
Amy (A.L.) Jackson: They’re in a milder form and there’s not as many. So I’ll clip through dialogue really quickly, but then make sure like maybe they’ve had like five or six lines go past and then I’ll add one of the elements in. So that way you’re still with the character, still feeling what they’re feeling. But it’s like progressing the story. And I do that in a lot of my scenes. Like it’s not, you know, these aren’t huge long descriptions that I’m using. You know, sometimes it’s like, you know, three words that’s in a line by itself. It just makes the reader go, oh, you know, they felt it and then it’s moving on. And I have a lyrical writing style. A lot of people say that I write poetry in novels or whatever. So it is a little bit of a different style. But at the same time, I think that it works well, even if you don’t write that in that fashion.
Alessandra Torre: And David on YouTube voiced what my concern was, which is it sounds like it might interfere with the pace, especially in action scenes. And I know you don’t maybe have a lot of action scenes, but you do have suspenseful elements.
Amy (A.L.) Jackson: I write romantic suspense for the most part. So it’s there. I think it just depends on implementing it into your style and making sure that it remains true to what you do. I mean, you can still deepen the characters and use these elements without slowing it down so much just by using it in short bursts. When I go back and read my action scenes, they’re very intense, but you’re able to also feel what that character’s experience is as they’re in danger or whatever the element is, you know, say it’s the heroine and she’s been kidnaped and she’s getting ready to be murdered or whatever, you know? So I’m still going to add all those things so that the character or the reader can feel what she’s feeling at that moment and like that terror and that fear. And I want it to be, you know, almost like a sizzle of energy that the reader is immersed in during that time. So definitely, I realize that that’s a risk. It’s my style and it’s what I do. And, I think I do it well. But again, longer stories, if you’re going for a 60,000-word novel, you’re going to have to really pare that down and figure out how to implement these things without bogging it down.
Alessandra Torre: And I think especially like if you’re listening to this and it might seem overwhelming if you aren’t doing any of these things, then diving in, but especially like major scenes. I know when I first started writing, I didn’t know how an editor would say, this is like the climactic scene, or they finally got what they’ve been trying to do this whole time. And this is the big moment. Like, we want to enjoy it. We want to absorb it. We want to soak it in. Or we want to stretch out that action a lot of times. Like that highly tense, suspenseful moment, it’s finally come through. And it’s a little anticlimactic if she stabs him in the gut and then it’s over. So I think this is a great way to also marinate and to heighten everything, heighten the suspense.
Amy (A.L.) Jackson: Yeah. It’s not just to add superfluous words in there. It’s literally to heighten that experience every single time. For me, like writing romance, we’re watching two people fall in love whether it’s romantic suspense or just a contemporary romance or historical–whatever it might be. It’s the experience for the reader. What do you want your readers to feel like? There are some stories that you want to be a little bit more ambiguous about. You know, there might be the villain that you’re writing anti-hero or whoever it might be, and you want to leave some things obscure, but you can still do this. These are things that you can add that create mystery as well. Like you’re in their head and you’re able to add those little pieces that are the internal reactions and the external. So you’re still allowing that character to be known, whether you want your reader to hate that person or root for them or whatever it might be. It just, you know, it just draws the reader a little deeper. How deep you want to go is entirely up to you, right?
Alessandra Torre: And it’s also great, like if you’re having a conflict, like what they’re saying doesn’t match what they’re thinking and what they’re feeling, or if they’re being deceptive. Then it gives you a chance to show that conflict between what they’re saying and what they’re doing with this other person, and what’s going on beneath the surface. We have a question from YouTube from Teddy. And, they asked, can you give us a paragraph or something that includes all these elements at once as an example for differentiation? I wasn’t sure you’d be able to come up with that on the fly, but they did follow it up with this. Maybe an example from one of your books. They fell in love with the Falling Stars series.
Amy (A.L.) Jackson: I mean, I can totally, I mean, is there a way, Alessandra, that I can just like, take a snippet and post it somewhere?
Alessandra Torre: Absolutely. So I’ll do a blog post recap of this for everybody. So yeah, if you want to send it. You have a new release. It just came out. Congratulations. It is blowing up the charts. If they just start reading that book, will they see an example of this in the first few scenes?
Amy (A.L.) Jackson: Absolutely. This is interwoven in my stories. Like this is my process. You can read the sample on Amazon and you’d be able to know exactly what I’m talking about and like how that opens in a scene. The guy’s a bouncer and he is super protective of this friend, a female friend of his that has a really asshole boyfriend. And it’s her coming in and just like his immediate like, like the way he interacts with her, the emotions he feels, he’s hiding it. Just like you said. They’re just supposed to be friends. So we get that internal how he feels about her, how he reacts to her, how is, you know, his entire being just. That’s the entire response of his being, like, every single sense is alive when she comes in. So we’re able to feel that and see that. So like it really instantly creates like, oh my god, these two need to be together because I’m, you know, we’re already so invested.
Alessandra Torre: I love that. And do you approach writing from the male point of view differently than the female in terms of how you describe their emotions or their internal thought process?
Amy (A.L.) Jackson: Yeah, definitely. It’s just like that character development, like how does the character react to certain things? How do they feel? You know, and then of course, there’s like the voice elements like that’s a whole ‘nother thing, like, you know, creating a voice for each individual character. And when is that going to be like, and then making sure that it, you know, is set apart from previous book characters, you know, male versus female, like all those different elements that go into it.
Alessandra Torre: I’ll jump into some questions. Chris said, “Are character interviews something you do before sitting down to write? How can they help or hurt the writing process?”
Amy (A.L.) Jackson: It’s not something that I do just because I develop my characters as I’m going and build on that. I can’t see that it would ever negatively affect somebody to be able to do that. I just don’t know my characters yet at that point. So to me, I jump into the scenes and start playing with it and then go back and fix things as I go, as I learn the characters. So I do a pretty rough draft. My first draft is really rough, and then I go back and layer in everything that I want to make it all flow. So, yeah, I can’t imagine that it would ever hurt if a writer is able to see what those characters are going to be like to help develop as you before you start.
Alessandra Torre: I think the only way that could potentially hurt, and I never thought about this until you just said that was if you don’t know your characters very well and you are answering these questions, then I could see potentially you’re just making up stuff on the fly to answer the questions, and then you’re almost kind of haphazardly building character.
Amy (A.L.) Jackson: That’s true. Yeah.
Alessandra Torre: That it might and then later you try to force that type of character into the role. So for me, it’s better off for me to just jump into first person and start writing and figure it out.
Amy (A.L.) Jackson: I think as long as you’re flexible, if you want to do a character interview and develop those things, but you’re willing to go back once that you once you’ve dived in deeper and you know that character better, if you’re willing to go back and fix those elements to make them seem more genuine, then I think that’s great. I think it’s like that really rigid idea that like a character has to be x, y, z from beginning to end where you start. I mean, I think that that’s the danger there.
Alessandra Torre: But as Amy said, if you do know your characters, like if you if they’re cemented in your mind, then a character interview could be a great way to just kind of figure out the other things, like who are their family? Yeah, I oftentimes will be halfway through a book and I have no idea, you know what.
Amy (A.L.) Jackson: You’re adding it in all the time. You’ve got to have a sister, you know, like, it’s so ridiculous.
Alessandra Torre: Talking about your book, Margaret said, “What’s the title of the new release?”
Amy (A.L.) Jackson: It’s Promise Me Always.
Alessandra Torre: Promise Me Always. Perfect. And it’s blowing up the charts right now. If you guys want to check it out. David from YouTube said, do you write on the fly or outline it out? He probably missed the beginning. But just to clarify, you do completely pants. Do you have like a rough idea of what’s going to happen?.
Amy (A.L.) Jackson: I basically pants it, but I just recently started talking with a developmental editor beforehand just to like toss out ideas. So I kind of have a little bit of a better idea where I’m starting, but I am very much a pantser and I often start writing and I’ll start over just because as I go on, I’m like, “Oh, that’s what the story is.” So I’m very flexible with my writing and just kind of let myself genuinely, you know, but let the story develop as it goes.
Alessandra Torre: Absolutely. Chris said, “Are all five elements used in every book for success? Can you only use three and still pen a book that will sell?”
Amy (A.L.) Jackson: I mean, I found this works for me. Like, if I, if I were to drop, you know, two of these off of my romance books and what my readers expect from me and like the experience they have, I think I would be doing them a disservice. But I can’t say that for everybody else. You know, this is just something that I can talk about and say that really works for me and something that, you know, leaves my readers saying, like, this book touched me and I’m never going to forget it. It was, you know, something that was just so palpable to them. But like, I definitely I love thrillers, and there are many of them that don’t have all five of these elements in there. And it doesn’t mean that I don’t love those books, you know? So, I think it’s just like if you are getting reviews or you’re having the sense that like, hey, my characters are not relatable enough, they’re not memorable enough. If you’re having those issues and these are the things that you might be missing in your story.
Alessandra Torre: I think that’s really great feedback. And you had mentioned first person versus third person. And I think even looking at this list, even as third person. Some of the things might be harder. So if you do have third person, it probably would be easier to skip some of these items.
Amy (A.L.) Jackson: Yeah. I write flashbacks in third person for all my stories. And so they are much quicker because I want to make my flashbacks feel as if they’re more in the distance, and that the reader is not as attached to that moment. Like, almost like it’s like a big picture. And so I do leave out some of those things in the flashbacks.
Alessandra Torre: That’s so interesting that you write flashbacks in third person. Is that normal?
Amy (A.L.) Jackson: No. Like the first editor I had. When Penguin, back before it was Random House, I had a traditional deal with them, and that editor was like, you can’t do this at the beginning of the story. But by the end, she was like, oh my God, I love this. Leave it. It’s so against the rules, but it really works for me. You know, it just gives a certain vibe that I’m looking for.
Alessandra Torre: My main 1 or 2 characters are first person, and then all of my other characters are third person. I don’t write a ton of other characters, but I’ll have 2 or 3 other characters in there in third person, and I didn’t even know because I’m not, you know, formally trained. I didn’t even know that that wasn’t a thing, you know, until people would mention it.
Amy (A.L.) Jackson: I read so many of your books, I never noticed that, like, picked it out. Yeah. I’m going to have to go back and check that out. Is it easier that you aren’t formally trained, like, you know, you don’t have all those rules. So it’s like, yeah. How do you develop things more? You know, genuinely, even though there are you know, there’s things I learned along the way that I’m like, okay, that’s a really bad habit. So let’s not do that anymore. But, yeah, I think it’s kind of freeing.
Alessandra Torre: I agree, but we are out of time, but I have two questions. Maybe you can try to answer quickly. Kit said, “What are your best tips for creating characters that interact best or compliment each other? Do you have any advice?”
Amy (A.L.) Jackson: One of the things that I do, which is using these elements is, the physical reaction that you have. I intertwine that, like, with them visualizing it or sensing it from the other character. So, like, if you’re in my male point of view and he’s interacting with the heroine, he’ll sense that she’s having her own physical reaction kind of thing. So it allows them to like, really have that. And then obviously I write romance. So this is a little bit different than if you’re writing a thriller or something like that. But it really gives a true tension and connection between those characters and just makes them feel like, oh man, they are like, so drawn to each other.
Alessandra Torre: Yeah, I really, really like that advice. That’s fantastic. And then the last question, “Were you agented or unagented when you sold your first book?
Amy (A.L.) Jackson: I started out with a very small publisher, then I was self-published. Then I went traditional and then now I’m just kind of hybrid. And so I did have an agent that picked me up when that, I had this back when you could make New York Times indie. So I had hit the New York Times, with two of my books. And so, an agent had contacted me and just, you know, had read my book and asked if I would be interested in being repped that way. So I never submitted or anything.
Alessandra Torre: When you started out with your very first book, you said you were with a small publisher. That was that one you just approached yourself?
Yeah, I did. I had a friend that had published with them, so I messaged and said, hey, I wrote this book. It was my first book, you know, and I had no idea what I was doing.
Alessandra Torre: It all worked out for the best. So thank you, guys. Thank you so much for your fantastic comments. And, and for your interaction. Thank you, Amy, for all of this. I love this, I’m going to pay attention to the next thing I write, and I want to go back and read some of your scenes over again so that I can kind of find the examples. But yeah, we will put together a blog post and, and, Amy, if you want to just tell me, you know, I can always grab the first chapter. The first.
Amy (A.L.) Jackson: Scene. Yeah, I’ll go read something and then let you know a good spot to pick.
Alessandra Torre: Fantastic. Thank you all for joining us. This is brought to you by Authors A.I. If you have not yet checked out Marlowe, please visit www.Authors.AI. She’s an artificial intelligence that can read your book and give you feedback in just a few minutes. Amy, if they have not had a chance to read your books, would you recommend that they start with your new release? Or is there a book that you typically kind of guide readers to?
Amy (A.L.) Jackson: I would say do Give Me A Reason if you’re interested, just because it’s the first in the series. They’re interconnected stand-alones, but like it’s just a good starting point.
Alessandra Torre: Perfect. So that’s Give Me a Reason. And it’s available on Kindle Unlimited and Amazon, is that correct?
Amy (A.L.) Jackson: Yes.
Alessandra Torre: Audio and paperback. All of all of the places. All right. Thank you everyone. Thank you so much, Amy, for all of your wisdom and advice.
Amy (A.L.) Jackson: Thank you so much for having me.
