Tami: I think you are looking not just in the wrong place but for the wrong thing. Both the right place and the right thing are implicit in a couple of the replies above, but let's see if we can tease it out some more. Or at worst offer some food for thought.
I am basing my remarks mainly on your statement "I ask because I find it hard to respond to sabaki. It's difficult to know when to continue an attack or to change objectives." I infer several things from this.
The main one is that you are getting into situations where you have been attacking an opponent's group and suddenly you find your attack has run out of steam because he has created a resilient shape. You have run into a brick wall. You say you want to know how to continue. I say you want to know how to start. It sounds to me like you have not "attacked" at all (Japanese sense, semeru). What you have done is to "chase" him. The Japanese for this is seru (e.g. as in sette utsu). You have put on your plus fours and flushed the partridge out of the heather and now want to shoot at it with your shot gun. If you miss the bird gets away. Worse than that in go, you don't get to shoot with a scatter gun. You have to hit the target with a single bullet, and that only works if you are as good a shot as Kato Masao. If you want to create the effect of scattering shot, the best you can do is set up traps (e.g. other guns) elsewhere on the board (just like AlphaGo, so that's easy enough...) and drive the bird in their directions. This is also one way your gamekeeper would capture birds for you to shoot - drive them towards a net.
However, if you attack (semete utsu in Japanese) you are really doing something else. Etymologically semeru is allied to semai (narrow). You are trying to suffocate the opponent either by hemming him in or by narrowing his eye space. This often fails. The most obvious reason for failure is not being able to find a killing move, but a more common reason for amateurs is that we over-attack. We end up strengthening the opponent while creating an outside shape of our own that is full of weaknesses. If you examine typical cases, though, this shouldn't really be a surprise. Even if you dominate an area, at the specific interface of your attacking stones and his defending stones he is likely to have as many stones as you and so when the dust settles he lives inside the keep and you have soldiers stranded on the ramparts and easy to pick off.
Of course attack/semeru is too useful a word to be restricted to this meaning entirely, but the over-egging of the attacking pudding is a well-known marker of a high kyu or low dan player. And because really close-quarters attacking is hard and prone to be inefficient, even pros don't usually claim to be good at it.
However, I don't think any pro would ever claim to be weak at the alternative: semaru. This is attacking but one step back - attacking-lite. Pressurising, or crowding, in other words, rather than throwing punches that might miss. Because you are one step removed, the opponent has less room to apply sabaki tactics and so at the end of the tussle you are stronger (or at least less committed) on the outside. If he answers and lives, he has made 0 points in gote; you have made X points in sente. With over-egged semeru, points hardly come into it - it's all about mutual survival.
So, I suggest that countering sabaki in the sense I infer (i.e. disrupting his attempts to make it) is bolting the stable door too late. Far better to use semaru moves rather than semeru moves, to avoid the horse getting away in the first place.
There is a wider aspect to sabaki than just attack and defence, though. Here is an example of sabaki by White.
(;AB[cp][bq][br][do][dn][cl][hq]AW[cj][eq][eo][cq][cr][jq][mq]LB[dp:A]SZ[19])
Here White is hardly weak - if anything he is in a potentially strong attacking position. But he does have a weakness and he needs to put a finger in the dyke. The obvious move is A. But that is gote and slows his attack down terribly. So how does he "cope" (sabaku)? The trick is to see that Black is also weak on the left side.
The sabaki move is to cut at White A. If Black then defends at B, White can play C in sente (Black captures at D) and so can then attack in good order at E.
(;AB[cp][bq][br][do][dn][cl][hq]AW[cj][eq][eo][cq][cr][jq][mq]LB[bp:A][bo:B][dp:C][ap:D][gp:E]SZ[19])
If Black instead answers the cut at A, White plays B, which is a little less aggressive (more semaru than semeru), but White has gained the superb aji of White C, Black D, White E.
(;AB[cp][bq][br][do][dn][cl][hq]AW[cj][eq][eo][cq][cr][jq][mq][bp]TR[bp]LB[co:A][go:B][bn:C][bo:D][bl:E]SZ[19])
Although we are making progress in weaning players away from the idea that sabaki is some sort of "light" shape (it can be, but it can also be heavy - the criterion is simply whether the player has "coped" with a difficulty), I suspect this kind of sabaki is not what Tami has in mind.
Since sabaki can, however, take various forms it is hard to point at just one player and say follow his sabaki practice. But with that caveat (and the bigger caveat not to get into sabaki territory in the first place), here are some suggestions from the pro world.
1. Honinbo Dosaku. He is considered to be the examplar of making sabaki. In part that was because he was mostly giving handicaps and so had to resort to what we might now consider as overplays such as his famous "spider's web" extensions, which in turn forced him into sabaki situations. But the real basis for admiring his sabaki in these situations was the way he remained dynamic and active.
2. Yi Ch'ang-ho. Maybe past his best now and so forced to compromise on his style, but at his best he was noted for emphasising sabaki while taking territory. The result was he was masterful at creating order out of chaos and that in turn allowed him to play the risk-averse game he found married well with his skill at counting the game. But again the deeper basis to admire was the way he seemed to make only natural moves (i.e. no inefficient moves).
3. Yoda Norimoto. Quite a different style of sabaki. The basis is his ability to discriminate between light and heavy stones, and he adds a high-class flair for sacrificing, especially on a large scale.
4. Chen Yaoye. Not quite at the top any more but his play when at the top had many of the components most people associate with the generation of sabaki situations. To start with he was a classic territory lover; solid, very safe and never rushing, playing a lot on the third line. But his ability to live was better than his ability to kill because he was very good at sabaki. That led him often to try to simplify, so as to induce favourable, slow, endgames (he was especially good at the endgame), and he often did this by invading (i.e. making the play go down one-way streets) and so forcing the opponent to try (unsuccessfully) to kill him. He was also good at defence and counter-attacking, and also at erasing his opponents' influence and moyos, but that was a logical consequence of his solid style.
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Tami
invades the top side, and after the pincer makes another invasion at 
. This is light play. 
, is an anti-sabaki play, attacking both sides. In particular, the bottom attachment no longer works for White.
is the ubiquitous slide cum peep against the Black shape. Often Black replies with 
and then 
when White peeps again. Doesn't it feel bad to get pushed around like this? 
keep White contained. The cut still does not work.
