Write a question from the passage such that it identifies a character (a person or a thing) in the passage.
One example: I really struggle to feel bad for people who actively choose to be miserable and manipulative. I'm dorky and like to use little proverbs all the time. One of my favorites is this: "you can lead a horse to water, but you can't make him drink." At the end of the day, if someone has a problem, they can never resolve it if they don't truly wish to. You can give someone all the resources in the world, but you can't force them to utilize them. When I was 16, I dated a horrible guy. He was abusive verbally, emotionally, and sexually. He was an incredibly troubled young man and refused to seek help for his severe mental health issues. I eventually came to understand that he reveled in his misery. It was his identity. He acted like he wanted a cure and I'd set him up with resources, but he refused every single one. He may have struggled with serious mental illnesses, but being miserable perversely made him happy and he loved to use his struggles to justify his inexcusable behavior. He wanted to drag as many people into his fiery pit of anguish as possible. I later suffered from severe depression myself, and I never once used it as an excuse to hurt other people. My ex wasn't struggling with his mental health in terms of deliberating and carefully harming others. He was simply exhibiting a personality trait, one he chose to cultivate… and it wasn't my problem. I ended up cutting him off completely in spite of all the threats. I will never feel bad for the awful plight he refuses to help himself out of. I have no patience for that type of person. Know what we call them? Toxic. Poison. A waste of time.
Solution is here: Who was abusive to the author?
Explanation: The question is based on the following sentences in the passage - 'When I was 16, I dated a horrible guy. He was abusive verbally, emotionally, and sexually.'. The sentence clearly explains that the author's boyfriend was abusive to her.

Now, solve this: Surely the best thing about colomba, the Easter equivalent to panettone, is the sugared, toasted almond topping that covers the whole thing and crumbles when you cut it, so you sort of have no choice but just to pick up the crusty sugary bits and eat those on their own.
I'd always thought that colomba would make a very good baking project but was somewhat intimated by getting the right shape  — it's vaguely in the shape of a dove, if you use your imagination — and texture — wonderfully soft, fluffy, sweet yeasted bread. I had attempted making panettone (this fig, walnut and date panettone) a few years ago with fair results — absolutely delicious results, actually, they were just not as fluffy and bouncy as expertly made ones from your favourite pastry shop where panettoni are hung upside-down to maintain their height and airiness.
But when I came across the familiar brown and gold paper forms for making colomba at the supermarket, I thought I'm only ever going to get a chance to make this now! Like the panettone, I referred to my favourite baking book for Italian specialties, Carol Field's The Italian Baker.
Field recounts a bit of history behind the colomba, which I'm sure is little known to anyone these days. Colomba is a fixture at Easter tables all around Italy (and is often given as presents), even though it comes from the north of Italy, Pavia. It is one of those traditions that are now a given, where a slice of colomba, perhaps eaten with pieces of a cracked chocolate Easter egg and an espresso or a glass of dessert wine, is a welcome end to the meal (or indeed breakfast the next day). But the legend behind it is a medieval one and rather disturbing — maybe it was made up to encourage young girls to learn how to bake their own colomba (and make sure it was good) to get themselves out of sticky, undesirable situations.
Solution:
Who came across the paper forms for making colomba at the super market?