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maxi cosi convertable carseat Pria All-in-One Convertible Car Seat | Snuggle BugzIf youre reading this, you know all too well that choosing the right car seat is a super important decision. Thankfully, the Pria Max All in One Convertible Car Seat, now featuring PureCosi, may just be the only car seat youll ever need. Unless, that is, yet another little one comes along All in One Seating System: Safe, comfortable car seat for your child, from birth to 10 years old. Children can ride rear facing, from 4 40 pounds; forward facing to
If you’re reading this, you know all too well that choosing the right car seat is a super important decision. Thankfully, the Pria Max All-in-One Convertible Car Seat, now featuring PureCosi, may just be the only car seat you’ll ever need. Unless, that is, yet another little one comes along…All-in-One Seating System:
- Safe, comfortable car seat for your child, from birth to 10 years old.
- Children can ride rear-facing, from 4-40 pounds; forward-facing to 65 pounds; and up to 100 pounds in booster mode. It may be the only car seat you’ll ever need.
- Converting the Pria All-in-One Convertible Car Seat to each new stage is simple and intuitive, so you can quickly make car seat adjustments. It allows for a wide range of adaptability with its 3-position recline, 5 headrest heights, along with a QuickFit shoulder harness.
Superior Safety Features:
- Drive with confidence knowing that the Pria All-in-One Convertible Car Seat is backed by over 30 years of European engineering and exceeds all federal standards, including FMVSS 213.
- The QuickFit shoulder harness automatically raises the harness and headrest height to fit your growing child. Children grow at different rates so it’s important to have the flexibility to customize your car seat to ensure that you keep safety where you need it, when you need it.
Supreme Comfort:
- Soft-to-touch cushions and premium fabrics and padding throughout provide supreme comfort for your child during the journey.
- The Pria All-in-One fabrics are designed to keep your little one comfortable and cozy. The covers are easy to remove, machine washable and dryer safe.
Features:
- Rear-facing, from 4-40 pounds; forward-facing to 65 pounds; and up to 100 pounds in booster mode.
- Side impact protection with GCell® HX Foam protects your child’s head where it’s needed most in a side impact crash
- Rear-facing Padded Anti-Rebound Bar limits rotation in a sudden stop or crash.
- ClipQuik™ auto-magnetic chest clip gets you on your way quickly. Kids won’t be able to unclip this chest clip!
- In and out harness holders keep straps out of the while getting in and out of the seat or while buckling.
- QuickFit auto-rethread shoulder harness automatically raises the harness and headrest height together.
- Premium, UAS system with easy click-in for quick installation.
- Treatment free: Featuring PureCosi™ fabrics made without wool or added fire retardant treatment yet still meets or exceeds flammability standards, and are machine washable and dryer safe.
- In and out harness holders keep straps out of the way when buckling.
- Premium, one click UAS system, with easy click-in for better installation
- Removable wedge for older babies, wedge to keep smaller babies (starting at 4 lbs / 1.8 kg) snug and secure.
- Removable infant head pillow and lumbar cushion provide extra support.
- Seat pad and harness covers are both machine washable and dryer safe.
- Premium braided leather piping for added style.
- 2 easy-to-remove, BPA free and dishwasher safe cup holders
- Meets or exceeds all Canadian regulatory standards including CMVSS 213, 213.1, 213.2
- Certified for airplane travel in rear-facing and forward-facing harness modes.
- 1 Year Manufacturer's warranty
Specifications:
- Car Seat Dimensions: 24" x 18.5" x 25"
- Base Weight Rear Facing: 4-40 lbs
- Base Weight Forward Facing: 22-65 lbs
- Base Weight Booster: 40-100 lbs
- Base Height Rear Facing: 19"-40"
- Base Height Forward Facing: 29"-49"
- Base Height Booster: 43"-52"
- Car Seat Weight: 23lbs
Care Instructions:
- Fabrics are machine washable and dryer safe.
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4.4 ★★★★★
Based on 2140 reviews
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Product Reviews
★★★★★ 1
Poor read
Format: Paperback
Not worth the hype. Was poorly written and had to put it down and not finish it.
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Reviewed in the United States on May 20, 2025
★★★★★ 4
Great story
Format: Paperback
I’m not an avid reader, but this was finished in a few days. Such a good book!
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Reviewed in the United States on June 14, 2025
★★★★★ 3
Won’t be buying book two.
Format: Paperback
Entertaining enough but poorly written. Lots of typos. Won’t be buying book two.
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Reviewed in the United States on July 8, 2025
★★★★★ 5
An Excellent Primer on Novel-Writing
Format: Paperback
WIRED FOR STORY
By Lisa Cron
Reviewed by C J Singh (Berkeley, California)
Excellent Primer on Novel-Writing
In Berkeley, California, we happily have access to four independent bookstores that display literary novels and creative-writing craft books. Browsing, I picked up two books by Lisa Cron on using "Brain Science" for writing fiction. The jacket quote by Caroline Leavitt rivetted my attention: "I'd never consider writing a novel without Lisa's input, and neither should you." As a longtime fan of Leavitt's novels "Is This Tomorrow," " Pictures of You, " "Girls in Trouble," I looked up Stanford Continuing Education where Leavitt regularly teaches online courses. As a Stanford Alumnus (Psychology PhD), I've taken several on-campus and online workshops on fiction-writing. While still at the bookstore, I promptly signed up for Leavitt's soon-to-begin course that uses two coaching books: Cron's Wired For Story and John Truby's The Anatomy of Story. I'm familiar with Truby's book and its nine excellent exercises. See my detailed review on amazon: https://www.amazon.com/review/R29NU7U6LAHGBV/
Here's my review of Lisa Cron's "Wired For Story"
"WIRED FOR STORY' presents a unique, distinguishing feature among fiction-writing primers: throughout its text, the author includes excerpts from the published works of leading contemporary brain-scientists that validate the principles of narrative craft.
Cron explains the principles of narrative craft in twelve well-organized chapters that focus on theme, the protagonist's issue, characters' bios, points of view, rising conflicts, subplots, suspense, reveals, and the arc from setup to payoff. At the beginning of each chapter, she presents sentences in italics that illuminate the cognitive-science underpinnings of narrative craft. Examples follow.
"Cognitive Secret: When the brain focuses its full attention on something, it filters out all unnecessary information.
Story Secret: To hold the brain's attention, everything in a story must be there on a need-to-know basis" (page 23).
.
"Cognitive Secret: Everything we do is goal directed and our biggest goal is figuring out everyone else's agenda, the better to figure out our own.
Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go" (p 65)
.
"Cognitive Secret: It takes long-term, conscious effort to hone a skill before the brain assigns it to the cognitive unconscious.
"Story Secret: There's no writing; there's only rewriting" (p 219).
Also remarkable are sentences in bold that challenge advice offered in some writing-craft workshops and books. Examples follow.
"Myth: Write What You Know.
"Reality: Write What You Know EMOTIONALLY" (p 62).
.
"Myth: Sensory Details Bring a Story to Life."
"Reality: Unless They Convey Necessary Information, Sensory Details Clog a Story's Arteries" (p 118).
.
"Myth: `Show, Don't Tell' Is Literal - Don't Tell Me John Is Sad, Show Him Crying.
"Reality: `Show, Don't Tell Is Figurative - Don't Tell Me John Is Sad, Show Me WHY He's Sad" (p 152).
Has the author introduced a Myth of her own? I am afraid so. On page 57, "No matter whose point of view you're writing in, you may be in only one head per scene." In my opinion, the Reality is: No matter whose point of view you're writing in, you may be in only one head per PARAGRAPH. This is the new reality -- virtually every fiction-readers' perception has been reshaped by watching films and TV dramas that imply the camera engaged in frequent head-hopping in a scene.
At the end of each chapter, Cron presents a concise series of checkpoints to remind the readers while they develop their work-in-progress. Throughout, she includes many examples from literary works and films. Literary works like Gabriel Marquez's "Love in the Time of Cholera," Margaret Mitchell's "Gone with the Wind," and Caroline Leavitt's "Girls in Trouble." Films like "It's a Wonderful Life," "Vertigo," and "American Graffiti."
An inspiring citation for writers: " `Recent breakthroughs in neuroscience reveal that our brain is hardwired to respond to story.... It turns that a powerful story can have a hand in rewiring the reader's brain -- helping empathy, for instance - `which is why writers are, and always have been among the most powerful people in the world'. " (On p 239 of Endnotes is the specific citation of three scientists' 2009 article "On Being Moved by Art: How Reading Fiction Transforms the Self" in the Creativity Research Journal vol. 21, no.1 )
WIRED FOR STORY fully earns its title with its numerous citations of recent contributions of neuroscience that validate narrative craft. Examples of cited works included are: V. S. Ramachandran's "The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human"; Michael Gazzaniga's "Human: The Science Behind What Makes Your Brain Unique; and Steven Pinker's "How the Mind Works." These stellar books illuminate the nexus between art and science; their shining light reflects on Lisa Cron's book as a five-star primer for novel-writing.
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Reviewed in the United States on March 7, 2020
★★★★★ 5
Will reading Wired for Story really make you smarter?
Format: Paperback
In my 36th year as a would-be and penniless writer, I found myself exiled to a dark rough and tumble city in the Far West, guns blazing as a steely-eyed wordslinger for hire. But then one day I stumbled upon Lisa Cron's book Wired for Story.
The book's title had my curiosity. A few sample pages later grabbed my attention and has held it ever since. But the price wasn't right for a poor, humble English teacher living in China upon a Chinese salary. I had bills to pay, a mistress to please, and habits to feed. It seemed to me that Amazon.com was colluding with other dark powers to suck humanity dry; why else would they charge more for a digital book than its paper copy?
But then I heard ghostly voices, the cinematic intonations of Morpheus telling me to choose between the red and blue pill; Obiwan Kenobi, "Use the Force"; Nike commercials, "Just Do It!"; and other such shadows flickering upon the wall of my TV room. Even this very particular retail website seemed to whisper across all the vastness of cyberspace, reminding me of my destiny via a personalized showcase of products, that I was not just born to buy...
So I added it to my cart. About a download and two chapters later I found that I was still happy after the post-purchase buzz ran its course.
This book should be required reading for all writers - and anybody else seeking an inoculation against the raging pandemic of competing narratives spewed out from marketers, pundits, prophets, and others posing as guardians of the truth - most of whom seem to be more enraptured than enlightened.
For writers though, Wired for Story is quite different from other "how to" books, as Lisa Cron approaches the craft of storytelling from a neuroscientific point of view. She makes the case that writers aren't just entertainers: they are some of most powerful shakers and shapers of human perception.
So if storytellers are like snake oil salesmen, then what is the difference? Both seem to be highly skilled in crafting story, using imagery, and evoking emotions, memories, desires. The difference is all about marketing. Salesmen claim to have knowledge, skills, and expertise, that they, and they alone have whatever it takes to get the facts right and fix things. They market their brands cloaked in story, as if they have a monopoly on truth, or at least the can-do spirit and problem-solving experience needed to improve the economy, save the world, whatever. It doesn't matter that time and time again reality proves them wrong; they will always have another story to spin.
The difference between those who would use the power of story to express themselves versus those who would use it for personal gain is, perhaps, a fine red line marking the shadowy borders of between ethics and morality. Storytellers differ because they use words to hook audiences and manipulate a willing reader's central nervous system. They make no claims to knowledge or expertise.
Indeed, fiction writers will be first to emphasize their work is fictional, and not based on any real life events or people. Their best writing leaves readers thinking, questioning, minds opening, empathizing, expanding their worldviews, the list goes on almost ad infinitum. Storytellers speak for themselves and let audiences think for themselves; pundits speak for others and tell audiences what to think.
What's more, the art and craft of story, as well as the talent and hard time in solitary confinement required for their honing, is estimated to take an average storyteller at least 1,000,000 words or 10,000 hours - not including all the reading, language arts development, and life experience necessary to get to a point one needs to seriously embark on such a ludicrous and un-economical vocation.
This means that fiction writers who risk everything for dubious prospects of financial reward must have something else driving them - and a good day job. A presidential candidate though, who has genuinely done the time, and crafts speeches with the skill of a poet or bard, should hypothetically have the critical thinking background, moral authority, and empathy to be a great leader. But in the final analysis, actions contradict words; their ability to spin tales proves the old universal theme that the pen is mightier than the sword.
Now when I finish Wired for Story sometime this week, I will be one step further on this endless quest to actually sell stories for a living (i.e. stories fit for the fiction aisle of an actual bookstore, not a review for an online retailer). Until then, I'm probably just a hypocrite acting as if a single book alone makes a smarter man, when in fact I know little of anything (which is why I became a writer in the first place) -- or maintaining such a humble pretense. But I don't know myself well enough to be certain. That kind of exploration would be a whole other story - but it would be unsafe to say that I lived happily ever after reading this book.
The End
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Reviewed in the United States on October 11, 2012