Welcome, travelers. We have got a trip to the Otherworld that I’m sure you’ll enjoy today, as we’ll be talking about a sturdy, entertaining debut for an author that will be top of mind long after you’ve flipped through the final page. Katelyn Schoumaker has been passionate about her writing journey, and it first culminates with the release of her new book, Forged in Gold, which is the first book in her Golden One trilogy. Please join us as we discuss how the book’s inception came about, how the spark of creation first took hold in this talented author, and to discover what comes next.
Tellest: Greetings Katelyn! First up, I wanted to thank you for sparing some of your time. I know your books are these epic stories, and they’ve got to take a tremendous amount of forethought, planning, and execution, so having you here to draw back the curtain a bit is something I’m very appreciative of. I’m also pumped to be among the first outlets to be able to tell people more about your awesome debut!
Katelyn Schoumaker: Hi! Thank YOU for taking the time to do this! I’m so appreciative of your hard work and support, and I can’t wait to talk with you about Forged in Gold!
T: One of the questions that I always lead with in these interviews is one that helps readers understand the foundation of your writing journey: what was it that sent you down that path? What was the inspiration that led you to realize you wanted to tell stories? Did you have a favorite author growing up, or a family member that brought that spark to life?
KS: I was extremely close to my maternal grandfather, Kenneth, who absolutely loved a good story. He wouldn’t just pick up a random book and read it to me, either – he always made up his own, and he never shared them with anyone but me. We’d make up stories to tell each other, even going as far as to illustrate our characters or dress up like them so we could act out our stories. He passed away in 2010 just a few months before my tenth birthday, and before he died, he made me promise to keep telling stories. I wrote my first when I was eleven, and I haven’t stopped since!
T: Beyond the nearly five-hundred pages that you’ve got prepped for Forged in Gold, the Golden One trilogy is also about to see two more books released soon. How far along are you with prep work for that?
KS: I just finished my first draft of the second book, Forged in Ashes, and am currently working on the second draft. The third book, Forged in Blood, is outlined from start to finish. I’ll start working on my first draft when Forged in Ashes is sent to my editor!
T: We know that you have two more books coming (and perhaps more on the way, which we’ll talk about in a bit), but how do they fit into your world? Are they direct sequels to Forged in Gold, or are they something that helps to tell a different part of your world’s saga? Does this trilogy lead into a greater context for the overall universe you’re building?
KS: Both Forged in Ashes and Forged in Blood are direct sequels to Forged in Gold. That’s not to say they don’t tell a different/larger part of the saga, though! Forged in Gold follows the Queen of Akkinor, Aurelia, on her journey through the continent of Carthe after her throne is usurped—so while she’s our primary narrator, we also have various POVs scattered throughout the book to show us a little bit of what’s happening in Akkinor under her usurper’s rule. I’ll be utilizing that writing style in the next two books as well, but in this case, the additional POVs will show us what’s happening across the realm. The major conflicts/plot points of both sequels arise as a direct result of Aurelia’s adventure in Forged in Gold, and they have ripple effects throughout the entire world.
I know we’ll be discussing this later on, so I’ll keep this part brief! Future books will take place after The Golden One Trilogy, and once again, everything happens as a result of Aurelia’s stories. Forged in Gold marks the beginning of a new age in the realm, so what we’ll see is very much about the idea of, “The world is changing rapidly for the first time in centuries, so we need to find a way to catch up before we’re left behind.” We’ll see a lot of unintended consequences, new beginnings, and a total transformation of the realm, all because of what Aurelia unknowingly started in Forged in Gold.
T: The world that you’re exploring right now is one that’s existed for a while, but you’ll be changing it at its foundations with the new revelations in Forged in Gold and their sequels. Was it weird to see it changed considering so much of what you do is create the rich tapestry to start with? Is it going to be challenging to explore it in flashbacks and prequel materials? Or will you just find that something fun to play with?
KS: I’ve found that it’s something fun to play around with! I really enjoy looking at what I’ve created in a prequel and seeing how much the world has changed by the time the events of Forged in Gold come into play. It’s definitely tough writing out of order—especially when I bounce between a book set in present day and one of its prequels—but that’s one of the reasons I’m so grateful for my worldbuilding program, WorldAnvil! It’s so easy to keep track of everything in one place, especially when I utilize the timeline feature. I also think that at this point, I have such a vivid understanding of my world that most elements just fall into place on their own. There are certain things that I struggle with, like keeping track of characters’ ages and correlating experiences between books set in different time periods, but I can usually catch them pretty easily when I go back to edit.
T: When it came to building your world, how important was it to get the right vision of it stuck in your head? You have vibrant lands that feel as though they’ve been discovered, not constructed, and I’m interested to discuss how you brought that to life.
KS: When I started writing, the only things I knew were who my protagonist was and what the plot would look like. I sat down to start the first chapter, and the entire world came to me in an instant. It was like the most vivid daydream I’ve ever had – I saw everything with perfect clarity, from the names of each setting to their geographical elements to their unique cultures. It was and still is extremely important to me that I transfer exactly what I see in my head to what readers envision as they read. I think the hardest part was/is providing the right amount of detail – readers tend to skip over too much descriptive detail, but too little makes the world fall flat.
What you said about the world feeling as though it’s been discovered rather than constructed is actually something I kept in the back of my head throughout the entire process! That was my goal from start to finish. I’ve read a lot of fantasy books that, while still being excellent and entertaining, have settings that feel like they only exist in the context of the story – and while this isn’t necessarily a bad thing, I want my setting(s) to feel like they could be real. Not real in the sense of magic and dragons and such, but real meaning rich with history and culture. I think of it almost like the many civilizations in our world that have been lost to time: because we only know bits and pieces of what they were like, these civilizations feel ‘constructed’ by historians and such – like a puzzle missing a ton of pieces that’s been forced together to form an incomplete image. I don’t want my world to feel like that, and the best way to avoid that is to create as much context as possible – things for people to discover as they read as opposed to things people have to build for themselves to fill in the blanks.
T: Because your world is so rich with details, how do you manage to keep everything in order? Do you have things written down on notes, or cataloged in a spreadsheet or something along those lines?
KS: This is one of my favorite questions to answer, and I actually have you to thank for this! I reached out to you a while back for advice regarding worldbuilding, and you suggested WorldAnvil. I’ve been using it ever since, and I absolutely love it! I’m a very visual person, so I appreciate how the website allows me to include maps, timelines, images, etc. Anyone who’s familiar with WorldAnvil will know just how detailed each article is—if you’re making an article about a building, the article includes subcategories where you can fill in how many rooms are in the building, what type of building it is, when it was founded and by whom, and more. It’s the most organized way I’ve found to keep track of everything, and one of these days when my articles leave the ‘work in progress’ folder, I’ll actually be able to share every single thing about my realm with the WorldAnvil community!
Of course, there are some things I can’t do or prefer not to do on WorldAnvil, because every great thing has its limitations! I use Canva’s blank whiteboard template a lot—half the time for plotting a book, and half the time for making vision boards and other fun stuff to keep my mind focused on each particular story. I have a few notebooks, too, which I primarily use for making note of edits or copying down feedback from beta readers. Some things stick in my head better when I write them out by hand, but it’s tougher to keep track of things this way—that’s why I have five different notebooks for the same three stories!
T: That is awesome news, regarding the WorldAnvil. I’m always so excited when something that I suggest can help a creative type get even deeper into the weeds. It sounds like you’re even using it better than I am. You’ll have to let us know when it goes live, and we’ll update your promo and interview to link it!
What do you find are some of the things that you catalog the most when you’re building out the corners of your world? Are you into the magic system, the flora and fauna, the cities, the characters, or something else entirely?
KS: I will definitely let you know! There are a few minor kinks I’m still working out, but it’ll go live soon enough! It’s a much-appreciated suggestion on your part—it completely changed the game for me!
I usually favor characters! The nature of humanity is a huge theme across my entire series, and obviously characterization is an enormous component when it comes to expressing that, so I really try to flesh out my characters as much as I can. Diving into their histories, relationships, and personalities is crucial for developing every side of every story. I have characters from every civilization in the realm, some who exist in the present day and some who lived hundreds of years ago. Establishing each of their roles in the realm is extremely important for expressing how humanity became what it is in the modern day, what it was at the dawn of time, what the gods of the realm intended it would be, etc.
I definitely take advantage of the articles regarding organizations (kingdoms, empires, clans, etc.), geographical locations, and buildings/settlements, too. My characters are the heart of the series, and the realm itself is the soul! You can have a character talk about their home until they’re blue in the face, but until you give that home some legs to stand on, it’s just another place that exists to tell a story. I want to know who or what a location was named after, who lives there and why, and what purpose it serves to the larger setting. I think it all comes back around to the ‘show don’t tell’ aspect of writing, too. Diving as deeply as you can into things like this makes all the difference in the world! Maybe readers will be unfazed if they don’t know what a castle looks like or who it was built for, but that’s because they don’t know what they’re missing. Creating such rich contexts for even the tiniest details is what makes the world feel real, because there are no unanswered questions! Fortunately, WorldAnvil is incredible at helping me achieve this.
T: You don’t spend as much time on a world as you do without having big plans for it beyond the initial series you’re developing. What else do you imagine on the horizon of your world as far as your projects go?
KS: I’m excited to answer this because I’ve actually had multiple other projects in the works for a while now! The one I’m most eager to share with readers is the Destiny Duology, which will take place about a decade after the events of Forged in Gold. It’ll feature an ensemble cast of characters, all from different sides of the realm, putting their differences aside to embark on a quest for a magical object they all desperately need—but only one of them can use it. For a bit of context, the world as we see it in Forged in Gold is almost entirely void of magic; what made this world ‘fantasy’ has pretty much gone extinct, and Aurelia’s journey contributes heavily to the return of magic in the realm. Destiny will be our first glimpse into how every single civilization in the realm has been impacted by Aurelia’s trilogy, and it only opens the door wider for other stories like it to emerge.
I also have two prequels in the works, but I can’t say much about them yet because I’d be spoiling a few huge parts of Forged in Gold! All I can say is that they’ll be more on the romantasy side of things, but they’ll also show us exactly how Aurelia’s story came to be. Additionally, I’m working on a collection of short stories, all of which will be prequels to the Golden One Trilogy. There are five major civilizations in the realm, so I’m choosing four stories from each civilization to explore here. I think it’s important to make sure that every civilization has an opportunity to tell its stories, because like I said in my answer to a previous question, I want this world to feel as real as possible, and I can’t accomplish that if the entire series focuses on Akkinor alone.
T: It seems like you have a lot going on with this universe, and that as you continue forward, you always find more to say. Do you think with something like that in mind, that you’ll always be able to discover new stories yet to tell? You’ve got a series of plot generators in the world, the multiple kingdoms, and in all the characters you introduce to readers, after all!
KS: Oh, absolutely! It’s honestly kind of a nuisance at times. I have so many ideas for the Golden One Trilogy and not enough room to incorporate them! It’s really hard having to pick which plot points/ideas to include and which to scrap, especially when they can’t be used for other books in the series because they’re so specific to one character’s journey. But the trilogy aside, I’m always thinking about new stories to tell to be sure we get the most out of this world and its adventures.
I think one of the coolest aspects of this is how liberating the fantasy genre is in general. You can write one book that’s set in the year 100, and another that’s set in the year 1000. It’s the same world, but completely new characters (unless they’re vampires or other immortals, of course), settings, conflicts, systems, etc. So even if I run out of stories to tell that’d take place during Aurelia’s lifetime/the Golden One era, I have the entire future to play around with! I think of it almost like the Golden One Trilogy is just a few chapters in the middle of a much longer story, so I have both the past and the future to explore as the ideas come to me.
T: Some of your favorite fantasy stories are ones that can have varying degrees of levity and sparks of hope within their pages, and you’re not afraid to toss a little light atop the shadows in your tales either. How do you find a proper balance between grit and beauty in the way you want to spin your stories?
KS: I think that balance is crucial for fantasy because there’s a certain stigma surrounding the genre. Some people hear ‘fantasy’ and immediately think gore, violence, etc. when there’s so much more to it! I think of it like life in general: between moments of darkness like struggling to pay our bills or overcoming our vices, there are moments of light and joy like laughing with the people we love or dancing in the rain. I take things like this and transform them to fit my setting and my plot. So, while we have a character running for her life, dodging assassins, and leading her troops to war, we also have a character who is able to see beauty in the world through human connection, memories of childhood innocence, and hopes for the future. I think it really boils down to acknowledging that while the shadows exist, the light does, too – it’s just a matter of how our character(s) find it and what they do with it once it’s been discovered.
T: Especially in a world where cozy fantasy is picking up steam, a pleasant escape can be just as effective as a frenetic, action-packed one. It also helps, in your case, to help convey the richness of the world that you’ve developed. In a way, she’s almost like a tour guide to the world, even while she has all these opportunities to be exciting with scenes that have a darker turn to them.
KS: I agree! I think what really makes this shine is the fact that Aurelia, as readers will see, has been sheltered from the rest of the world for most of her life. Like most Akkinorians, she was brought up with this idea that Akkinor is the greatest country in the world, and all others are barbaric simply because they’re different—and all of this comes mainly from people who’ve never left Akkinor. This applies especially to the continent of Carthe, where there’s been centuries of animosity between the two. So, while Aurelia’s trekking through Carthe, the land she was always told to avoid, she sees that everyone was right about its dangers: she’s dodging assassins, cannibals, rapists, and thieves on every corner, and she’s traveling through places where laws and society don’t exist. But at the same time, she realizes that, like in all things, these threats and dangerous people are only a small part of Carthe’s culture. She forms connections with native Carthinians and grows to see the continent through their eyes. She learns the way of the land, rationalizes why some people act the way they do, and starts to recognize how similar Akkinor and Carthe truly are.
What I really tried to accomplish here was to create a steady balance between the gritty action and the quieter moments of clarity and transformation. Obviously in fantasy, we need the grit and the gore because it’s somewhat the ‘culture’ of the genre—not only do people expect it, but most fantasy stories take place in settings where such darkness is commonplace. But that’s only one aspect of it, and while fantasy is the ‘escapist’ genre, it also has to be grounded in reality enough for certain things to feel relatable. We’re always learning more about the world whether it directly impacts us or not, and that’s the same thing Aurelia undergoes in her story.
T: There are truly dastardly people in the worlds we explore, but there are also heroes that come about from all corners of them as well. Do you try to think of the cities and kingdoms in your writing as places that your readers would want to root for, even if they aren’t the first one they’re connected to?
KS: I do, but I tend to focus more on characters rather than places. The nature of humanity is an extremely important theme across the entire series, so I’d rather my readers root for/connect to characters than entire civilizations. But at the same time, so many of my characters are symbolic of their homelands! For example, we have Arian Cristos, who’s the human embodiment of his native kingdom, Taundosa, in almost every possible way. Taundosa mainly worships the sun goddess, so we see moments when Arian is dangerous and unrelenting like the sun at its worst, and moments when he’s subtle and gentle like the sun at its best. I tried to do the same thing with other characters, too. So, if you’re rooting for one character to succeed, chances are you’re rooting for their entire kingdom, too.
To answer the second part of your question, I think one of the greatest things an author can accomplish is changing their readers’ minds throughout the story. Maybe they start off rooting for Aurelia but can’t connect with her, then they start rooting for someone else, then they finally establish that connection with her and are back to rooting for her again! It’s very much a ‘rollercoaster of emotions’ type of thing that I want to achieve when it comes to this.
I also think it’s really fun to enact some critical thinking on my readers in this situation. For example, Aurelia represents the country of Akkinor as a whole, but Akkinor is composed of six unique kingdoms. In this case, I want readers to think, “Is my connection to kingdoms x and y so weak that I can’t fully support Akkinor/Aurelia, or do I put this feeling aside to root for Akkinor as a whole?” There are so many components to every person, place, or thing that readers may root for or against, so it’s super cool to think about how my readers will interpret those components, use them to form connections, and decide who they’d pledge their swords to!
T: Writing for others and honing the work of various clients can be challenging, but it can also be rewarding in many ways. What are some of the ways that you believe you’ve benefited from helping others improve their stories?
KS: I won’t lie—my experience in this field is still fairly limited! I’m just starting out, but what I’ve done so far has been extremely rewarding. I’ve had many moments since I started writing fantasy when I wondered if I was diving too deep or relying too heavily on my imagination. Helping others with their stories has shown me that there are truly no limitations to our imaginations. I’ve seen so many incredible, unique stories that play on things I never would’ve thought of! Sometimes I’ll see an author write about something that I chose not to incorporate into my own writing because I thought it was too far-fetched, and they express it in the most seamless, beautiful way possible. It’s very humbling, too—I have to accept that there are some things I may not be able to articulate as well as other authors can, and that’s okay! That’s one of the most beautiful things about writing fiction: there will never be a shortage of stories to tell because every author has their own take on things. It’s truly so impressive and enlightening to watch my fellow authors take what seems like a simple idea and turn it into something unique and extraordinary.
T: Now that you know there’s no such thing as too imaginative, have you reconsidered some of the things that you might have put off as far-fetched before? Are you looking to try and elevate your stories even further with breathtaking spectacle and whimsy?
KS: A little bit! I’ve definitely gotten more comfortable with the idea of certain things, but there are also limitations to what I can produce. I saw one author take an idea I once had and turn it into something absolutely breathtaking. Then I tried my own spin on it, and no matter how many times I looked at it or how many rounds of editing I put it through, it just didn’t work for me. That being said, I do want to push myself to create something more ‘out there’ to really take advantage of writing fantasy. I think it’s just a matter of finding the right way to go about that.
T: Speaking of the ways to tell stories, do you ever imagine parts of your world being told in other mediums? Could you see your books adapted to movies or TV, or would you want to tell your stories through graphic novels or comics, or anything like that?
KS: It’s an absolute dream of mine to see stories from this world made into a TV series! Or multiple, for that matter. I’m a very visual person, so as I write, I can see the scene playing out in my head like a clip from a TV show. I’d love to see it play out in real life, and I’d love for my readers to see it, too! I always think about who I’d cast for each role and where filming would take place. I have to remind myself not to get too carried away with these dreams, though! Seeing your work adapted to the big screen is a very rare occurrence, especially for new authors, but who knows—maybe we’ll have a TV series in ten years!
One of my favorite things to do when I get lost in a new series/book, TV show, or film is to immerse myself in that world as much as I’m able to. There are such wonderful communities for everything out there that are constantly creating things based on each interest: character art, comic strips, songs, and so on. I’m currently in the process of creating a few Buzzfeed personality quizzes based on my world and my stories—I absolutely love taking these quizzes for my own interests (for all the Harry Potter fans—I’m a Hufflepuff and most like Dumbledore, according to Buzzfeed), and I think it’s such a simple yet entertaining way to let fans interact with the worlds, stories, and characters they love most. Of course, this is a far cry from seeing Forged in Gold made into a TV series or film, but I think it’ll keep fans engaged until a filmmaker knocks on my door!
T: Though you’ve had a good deal of work completed for Forged in Gold for quite some time, you’ve also not been afraid to adjust even as you get closer toward the release date. What were some of the things that you ultimately decided you needed to change, and how does the final package serve you better?
KS: I changed so much, even on the day before my deadline! Most of my changes were in regard to names—I personally believe that names hold tremendous power, so I want my characters/settings/etc. to have names that represent them properly. For example, I noticed one castle’s name that I came up with ages ago after stringing letters together, and it felt less impactful than it should because it didn’t mean anything. I thought the castle should have its name for a reason, and that reason came to me instantly! It was like another daydream: I saw an ancient hero called Arren the Strong and the impact he had on this particular civilization, and after his death, his supporters built a castle and named it Arrenwood. So not only did I change this castle’s name from something irrelevant to something meaningful, but I was also able to create another backstory for the realm to explore in future books.
Most of my changes came in the form of new additions. Adding an extra sentence or an extra scene made all the difference! Up until the week of my deadline, I had an entire battle scene told from one perspective, and at the last minute, I added three short scenes from other POVs. After they were incorporated, I was mad at myself for not writing them sooner! They totally changed the game.
T: You mentioned the point of view changes, and I think that’s a great opportunity to talk about how your story is not just told from the perspective of a singular character. Going hand in hand with what we’ve talked about before, your world is rich and vast, and you build up your world as an ensemble. Do you end up finding your characters—even the ones who might not have big parts in the earlier part of your series—becoming more important as the words are written?
KS: Oh, absolutely! I learn so much more about my characters as I write, and that applies tenfold when I’m writing from their perspective. Readers will meet a character named Arian Cristos whom Aurelia views as the epitome of optimism. He uplifts everyone around him with this sense of wonder that’s somewhat been lost to the rest of the world, and while he’s often described as having a childlike imagination, he’s also a very wise, clever, and highly respected leader. So, we see him not only as a mentor type, but also as a symbol of hope and decency. There’s one short scene from Arian’s POV, and those few pages show us what he’s actually like on the inside: a deeply anxious, traumatized, and lonely individual just trying to get through every day. That’s a side to him readers never would’ve known about—I probably wouldn’t have thought to develop his character like that, either—if I hadn’t decided to write from his perspective.
So many minor/supporting characters have brief scenes in the book that absolutely changed the game. On one hand, their perspectives show what’s happening in Akkinor while Aurelia is away, so we’re given multiple reasons to want to see Aurelia reclaim her throne—reasons other than the fact that it’s her birthright. It’s interesting, too, because Aurelia herself doesn’t know what we know, which adds a certain depth to the conflict. On the other hand, the outside POVs give us more to love or hate about these characters whom we initially meet through Aurelia. Nobody would think twice about what the governess is doing while Aurelia’s away; then we read a chapter from her perspective, and she’s not Aurelia’s old governess anymore—she’s a person, and we want to see her survive until the end. There are multiple sides to every story and having access to most (if not all) of them creates a much richer, more impactful story.
T: You mentioned being almost surprised by what you learned about your characters when you dove into things from their perspective. Do you think you’ll have anyone in your cast in your future that will be a far tread from anyone you’ve written thus far? Is there anyone who is going to be a POV character who is going to be uncomfortable to dig into?
KS: Without a doubt! I’ve already dug into that a bit with certain characters—one or two are featured in Forged in Gold, but the others will appear in future books. I’ve had to put myself in the shoes of truly vile characters, and some of the things they say/do/think rattle me to my core! Sometimes I shock myself because I can’t believe I came up with things like that, so mentally, it’s a really difficult process. I also don’t want to go too far with darker elements, which is tough—you want to do the story justice by writing something raw and authentic, but you don’t want your readers to be triggered. At the same time, though, you want your readers to have an emotional response to things like that, exactly as your characters would. It’s really important to find that happy medium, but it usually takes me a few tries to get there!
I’ve found that the best way to write a character who’s very different from others I’ve created is to reflect on myself. We all have vices and things we may not like about ourselves, whether it be something in the way we look, a habit or addiction, a past mistake we made, etc. So I’ll take something from my personal life—let’s say my unfortunate habit of holding grudges—and make it 10x more intense, which creates a character whose greatest strength or weakness (depending on your perspective) is how a grudge they’ve held steadfastly for decades becomes their only driving force, motivating them to do x, befriend y, make an enemy of z, and so on. It becomes less uncomfortable to write about/from the perspectives of dark or unfamiliar characters when a foundational element of their development is something I’d taken and warped from my own life. I guess it’s a reminder that all humans, real or fictitious, are universally flawed—it’s just a matter of finding which flaw works for which character and tweaking it to make it fit the narrative.
T: Because you’re working on such a big world, and since you’ve got new books on the horizon, I’m sure your fans are going to want to know more about where they can find you. Do you have a website or a place where people can learn the news about you and your stories?
KS: Absolutely! I’m active on Instagram at katelynschoumaker_ and on TikTok at katelynschoumaker. Here is the link to my website: https://katelyn-schoumaker-author-hh2pdw.mailerpage.io/
T: Katelyn, I wanted to thank you again for taking the time to tell us all about your world, and your writing journey. I know that you’re painstakingly putting every bit of yourself into this literary universe, so I want to make sure we know how valuable your time is. I’m excited to see where you go from here, and how far you take your characters and the world that keeps growing around them!
KS: It’s been such a pleasure to discuss this with you! I could talk about these subjects for days on end, so it was super fun to dive into everything. I want to thank you as well for taking the time to step away from Tellest so you can explore Aurelia’s world, even for a short time! I’ll be sure to keep the Tellest community updated on the realm and the series as they both grow and evolve.
T: I want to extend a huge thank you to Katelyn Schoumaker for helping to draw back the curtain on so much of what helped her bring her expansive world to who is no doubt going to be a fervent audience. It’s clear that she is as hardworking as she is talented, and those things in concert makes for a very entertaining series. If you’re interested in diving into this dedicated author’s world, now is a great time to start. Check out Forged in Gold, Book One of the Golden One Trilogy on Amazon today!
Michael DeAngelo
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