Writers in the Storm

by Piper Bayard of Bayard & Holmes

Many genres involve characters who at some point experience fear, and it is common for them to want to hide in their homes. Everything from creepy shadows, to hang up calls, to ominous social media posts or threats by mobsters can have our characters holing up. 

Today, my military and intelligence veteran writing partner, Jay Holmes, and I are going to explore effective ways our characters can protect themselves in their homes when an antagonist is coming after them.

#1 -  Perimeter Lights

Dark houses are much easier targets for all crimes than well-lit houses. Porch lights and motion-activated lights are great for a starting point, but perimeter lights that surround the property and illuminate dark spaces on the house and the grounds are better at deterring criminals. Lit grounds also give someone inside a dark house the advantage when a threat is outside. 

I know what you’re thinking. . . . What about the neighbors? What about the HOA?

The way to deal with those potential obstacles is “landscape lighting.” 

Good decorative solar lights can brighten driveways, highlight shrubs, define fence lines, etc. As for the house, strings of small white LED lights can line porches and roofs, providing enough illumination to be a deterrence. Landscape elements such as trees or water features are also great opportunities to place strategic spotlights for the sake of aesthetics.

My own HOA objected to the white lights surrounding the outside of my house. In response, I tucked them up to the roof of the porch where only the actual light is seen from the street, and I increased the number of solar landscaping lights. Now it’s compliments from my neighbors instead of complaints, and you could land a plane in my yard.

Keep in mind that perimeter lights can also be “holiday lights.” One obnoxious neighbor of mine has a 12’ skeleton in her yard year-round. She fights back against the HOA by putting different colored lights on it every month or two and calling it a “holiday decoration.”

The HOA has yet to find a way to force her to take it down. If you don’t mind changing out your perimeter lights every few weeks, this is another route to take. Not the massive skeleton . . . please . . . but the perpetual holiday lighting.

#2 - Doorbell Camera

A doorbell camera is not only useful for checking to see who is on the porch, but it also keeps a character from having to look through a peep hole in the door. 

As soon as a peep hole is covered, a nefarious individual, such as an assassin, will assume it is covered by a face, at which point it’s easy to kill someone through a door. Our characters will have to do better than that.

A word of caution

While doorbell cameras are great for seeing who is outside when you are at home, a character that is worried for their safety should NOT put the app for their doorbell camera on their phone. Instead, link it to a computer inside the house. 

This is because when people go out into the world with their phones in their pockets, their phones and apps can easily be hacked. The doorbell camera that lets the character know who is at the door will also allow the hacker to spy on the character.

#3 - Security Cameras

Security cameras inside the house can be helpful for our characters, as well. Our characters can use these cameras to make sure no one entered their property while they were away, and they can use the cameras to keep an eye on other rooms and spaces while they are at home.

The same caution we applied for doorbell cameras goes for indoor security cameras. 

If our characters can use cameras to spy on others, others can use the cameras to spy on them. That’s why our characters need to take some precautions if they are going to use inside cameras at their homes. 

Three ways to do this like a pro:

A. Like the doorbell cameras, it’s best to link the indoor cameras and recorders to a computer rather than to the phone in our character’s pocket. Otherwise, predators can hack into the cameras rather easily to spy on our characters.

B. When our characters enter their own property, they need to turn the cameras away from the living spaces. They should do this not only to keep hackers and other bad actors from spying on them, but to keep governments and electronics corporations from spying on them, as well. 

Data is the new oil, and electronics corporations are infamous for using all of those “smart” devices to glean data for themselves and for foreign countries. (See Spycraft: Essentials by Bayard & Holmes.) And yes. Contrary to popular belief, regular people are that interesting.

C. Conceal cameras and any recording devices. If an antagonist enters the home and sees the cameras or recording devices, they can destroy or steal the electronics, thus obliterating the evidence.

#4 – Dogs

Dogs are a great deterrent to crime, particularly to random crimes where a specific person is not targeted. Even if the dogs are a bit friendlier than Cujo, solid barking will most likely keep our characters from being surprised in their own homes.

Notice I use the word “dogs” in the plural. That is because studies show that two or more dogs are far more of a deterrent to criminals than only one dog. Apparently, per Holmes, while one dog can be a threat to a bad actor, two or more dogs are far more psychologically intimidating.

Barking doorbells can be great for the allergy sufferers who, unlike me, do not let dogs into their space. *sniff* *cough* *pets the dogs* 

These devices can sound exceptionally realistic, and the barks can be randomized so that it’s not the same pattern of “woof, woof” playing every time the bell rings.

#5 - Brains

In other words, our characters should think before opening their doors. They should stay away from the peepholes. They need to spy on the people at their doors before unlocking. Our characters need to embrace the sad fact that no matter how tasty those Thin Mints are, it’s probably not a Girl Scout ringing the bell at 1 a.m. Situational awareness is always the best defense.

Our next article will give more tips on how frightened characters can protect themselves in their homes. Until then, what questions do you have about home defense? And definitely please share any home defense techniques you already use down in the comments!

About Bayard & Holmes

Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage tomes and international spy thrillers. Please visit Piper and Jay at their site, BayardandHolmes.com. For notices of their upcoming releases, subscribe to the Bayard & Holmes Covert Briefing. You can also contact Bayard & Holmes at their Contact page, on X (formerly Twitter) at @piperbayard, on Facebook at Piper Bayard, or at their email, BayardandHolmes@protonmail.com.

You sit down to write but no words come. Or you grind out a few dozen or hundreds of words, then delete them all because the structure wasn’t there or the characters weren’t right or the sentences were crap. You bemoan the fact that writing is hard and you think maybe this writing gig isn’t for you. If this describes you, don’t despair. You aren’t the first writer who has struggled with getting words on the page. And you won’t be the last one. Nor will this week, month, or year be the last time you experience this struggle. 

Why does it have to be so hard? There’s a lot to learn about developing story ideas, about writing effective sentences, about the craft of story, about what works best for you, and many more big and small pieces of the process. You could be in a state of word-paralysis because you fear you don’t know enough. Or you agonize over not having enough talent, or about snaring this  or that agent or publisher. Maybe as you write, your internal editor is telling you that what you’ve written will get you a scathing review on Amazon. Take a deep breath.

Writing is hard but it shouldn’t always be hard. Yeah, a crappy first (second, third, whatever) draft can be torment, but allow the bliss to happen, too.

The Torment

Your first dream of what a writer's life is may have been a tad over-romantic. Visions of a beautiful attic office, of bestseller lists, and throngs of fans waiting for your autograph evaporate when reality sets in. If you get caught in the torment of a crappy first draft, that dream morphs into something unreachable or a nasty nightmare. Identify what torments you and you can overcome it. While overcoming your torment may not lead to that over-romantic dream, you can experience the bliss of being a writer more often than the torment.

Indecision

Sometimes the thing that holds you back is indecision about what you want to write. You kind of know what you want to write, but you can't decide what your main character's name is or you can't decide if you want to write a romcom or a psychological thriller. Being undecided can feel safer than choosing. If you're stuck deciding what to write, then you won't be stuck writing the first page.

The Blank Page

You want to write something brilliant, a story for the ages, or a story that's deeply meaningful to you. Yet, getting those first words in black and white can make your fingers freeze and your mind blank. 

Whatever form it may take for you, sometimes starting is looking up the craggy, dangerous climb up the tallest mountain. 

Self-doubt

Self-doubt is a constant worry that you're not good enough or capable enough. You can't help but question whether the words you've written tell the story you see in your head. And if you compare yourself to an established and admired author, your self-doubt grows exponentially. 

These doubts chip away at our self-confidence and our progress. It gets harder and harder to put words on the page. Or to move on from a chapter or scene where something "isn't right." Some people call this "imposter syndrome" or "writer's block." It can progress into a crippling certainty that every word you write is crap.  

Time is Your Enemy

This is the fear that you're taking too long to write your story. Focusing on how long you take to accomplish something, you have given yourself two choices: you take too long or not long enough. Time is a precious commodity for us all, but making time your enemy only increases the pressure. Increased pressure may help you, too much pressure and it will slow or stop your progress.

Perfectionism

Closely related to self-doubt is perfectionism. You want to produce a masterful story, but the pressure of the desire or need to be perfect keeps you from moving your story forward. You polish and revise and then polish again. But you still see all the imperfections, so you go back and revise again. Progress is slow at best and sometimes, progress is nonexistent.

Oh, how I wanted to write the perfect version of my first story. That perfectionism meant I spent hours laboring over my words. Erasing, replacing, and starting over again and again was my M. O. For years.

Sometimes sneaky, sometimes blatant, the desire or need to be perfect shows up as high personal standards, strong self-criticism, and sensitivity to negative comments or reviews.

Overcome the Torment

It can be a struggle to overcome the thoughts that torment you, but it can be done. You can find advice on how to do this all over the internet. But if that advice is wrong for you, your torment gets more tortured and more painful. What to do? Look at the advice here and elsewhere online. Like shopping for clothes or preparing for a marathon, it takes a lot of trying on. What fits today might not fit tomorrow, but keep it in your files for later because it might be just right for another time or project. 

Why work so hard? To experience the bliss more than once in a lifetime, to live in the bliss, you must move through and overcome the torment.

Play Mind Games

You expect things like learning to walk, learning to drive, and learning to be a brain surgeon to take time and repetition. The problem is that you hear stories from early in your life. You learn to read and write at a young age, so that should make storytelling easy, right? Not quite. You learn and relearn with each story you write. So practice some self-compassion.

Turn your negative thinking into positive thoughts. Stop thinking of the first, or any, draft as "bad." There are no bad drafts. Reframe your thoughts. Instead of this is the crappy draft say, you've made progress (however you measure that.) Or I have a diamond in the rough that I can shape into the story I want to tell. 

Reframing negative thoughts into positives takes time and lots of repetition. Decide on one negative thought you want to change and practice it for a month or two. Then move on to the next one. 

Beat Indecision and the Blank Page

“The scariest moment is always just before you start.”

Stephen King

It's easy to say, just decide. But sometimes you have to trick your internal editor (your mind). If you can't decide on an idea. Tell yourself you're going to take some notes. Journal about what you like about each idea and what you don't. Dictate the story. Draw a scene in the story.  How does that work? Your internal editor has fewer expectations of when you take notes, journal, dictate, or draw. That gives you the freedom to express yourself. 

Do what you need to to start. When I started writing, I used an electric typewriter. The sound of the machine's hum screamed at me, "write the next word." Sometimes I'd have to turn off the machine and use pen and paper in order to start. 

Find the method that allows you to give up expectations of perfection or of how the story is supposed to go. Allow yourself to be imperfect and messy and chaotic. At some point, your inner storyteller will take over. When it does, let the words dance across the page. 

Get Over the Idea of Scarcity

There are people who insist that the book industry is doomed. That the print book is dead or that no one reads anymore. So why write? Historically, readers haven't been a high percentage of the people on the planet. Yet, books written a hundred years ago are still being read. Thousands of books are purchased each year. No, the book industry isn't dead or dying. It is continuing to evolve. Read reputable marketing reports to keep up.

Another rumor that needs to be quelled is that there are too many writers out there. That some writers must "move along" and get out of the way of newer writers. They aren't in your way because they aren't your competition. There may be overlap between your audience and theirs, but your books are unique to you. And your readers know that. 

Give Up the Idea of Limited Time

None of us know exactly how much time we have. Each of us has responsibilities, needs, and wants that pull us away from our writing. But all of us have the same 24-hour days. Use your time as wisely as you can. Lean into what works for you. Some writers get up before the distractions of the day and write during the wee morning hours. Others write in their cars, while on the subway, or during a child's sporting event. 

Consider that impatience colors your view of time. You want to finish that book. Be your best friend and cheerleader. You will finish that book. You will learn what your best process is. You will not give up.

Conquer Self-Doubt

"There is a big difference between ‘falling' and ‘failing.’”

Jenny Hansen quoting Simon Sinek

Okay, that title might be optimistic. We all suffer some doubts. Crippling self-doubt is the bully at school. It keeps you from doing what you want to and can do. Play a trick on your brain if you have to. How? List your self-doubts. Then, take each thing on that list and turn it around. Change "I'm not creative enough" to "I am awakening my creativity." Change "I can't finish a story" to "I will get closer to finishing that story today." Repeat those positive statements every day before you begin your writing session. Then practice doing what you said. Even if you only do this for five minutes a day, you will become more confident. (If you need more about affirmations, see Julie Glover’s recent post.)

Give up the Idea of Perfect

Yes, some authors and "experts" say don't re-write your story. That is assuming you have internalized how to tell a story well. Some of those authors, revises as they go. Others have internalized storytelling so completely they can write a successful story in very few drafts. 

 "Mistakes, inconsistencies, and ugly sentences in first drafts are not fatal. They're not even serious problems. They're barely non-serious problems."

Laura VanArendonk Baugh 

No one writes a perfect first draft, not the folks who say don't re-write, and not even the authors of books that are classics or books that top the charts. Remember the books you've read books with flaws. Those are the flaws that bother you, so you notice them. The books you love appear to have no flaws, because the story resonates with you. 

Successful authors write the best story they can at the time. At a different time, they could not write the same story because their experiences, interests, and skills are different. Allow yourself the grace to write stories that are the best you can do now.

Find The Bliss 

A novel, even a short story, can be a long slog in terms of the hours spent creating and the number of words written. Yet, the act of creation is magical. You march letters into sentences and marshaled the sentences into a story. It transports you out of this world to a realm that didn't exist until you put words on paper.

There's a special thrill a writer experiences when she sees the story coming together. Another writer may feel the thrill when he sees the number of words written become a higher than yesterday's number or the number of words yet-to-write. Maybe you re-read something you wrote years ago and think that's better than you remember it being. Those glimmers of brilliance, of writing that resonates down to your toes, are moments to cherish. Moments to remember. 

The writing process can be a torturous journey where you revisit torment and bliss many times. It can test your resilience and your self-confidence. Embrace the chaos, embrace the journey, and above all, celebrate and embrace the bliss. It's magical.

Please share a tip for overcoming the torment or share a moment of bliss you've experienced in your writing journey.

About Lynette

Lynette M. Burrows is an author, blogger, creativity advocate, and Yorkie wrangler. She survived moving seventeen times between kindergarten and her high school graduation. This alone makes her uniquely qualified to write an adventure or two.

Her Fellowship series is a takes “chillingly realistic” alternate history in 1961 Fellowship America where autogyros fly and following the rules isn’t optional. Books one and two, My Soul to Keep, and  If I Should Die, are available everywhere books are sold online. Book three, And When I Wake, is scheduled to be published in late 2024.

Lynette lives in the land of OZ. She is a certifiable chocoholic and coffee lover. When she’s not blogging or writing or researching her next book, she avoids housework and plays with her two Yorkshire terriers. You can find Lynette online on Facebook or on her website.

by Becca Puglisi 

Conflict in every scene. 

It’s popular advice because it’s true. Conflict ratchets up the tension for readers because it makes the character’s success less likely, and readers start worrying about the hero’s ability to win. Will she find true love? Can he overcome his demons and move forward into fulfillment?

Conflict is also desirable because of the emotions it stirs. To engage readers, you have to engage their feelings, and a surefire way to do this is to threaten, humiliate, undermine, or sabotage the protagonist they’ve come to know and love. This is where emotion amplifiers can be especially useful.

Emotional Amplifiers

An emotion amplifier is a specific state or condition that influences what the character feels by disrupting their equilibrium and reducing their ability to think critically.

If you’ve done your job as the author, your character’s journey will be difficult enough. But add an amplifier like illness, pain, sensory overload, or burnout, and their situation becomes more tenuous. As the character’s volatility rises, their ability to think clearly and rationally drops. The result? Mistakes and mishaps that push them farther from their goal. And readers who feel their pain because they’ve been there and have experienced those same uncomfortable emotions.

So amplifiers are great vehicles for providing the conflict that will further your story and propel the protagonist along their character arc. Which is handy, because if every scene must have meaningful conflict, you’ll need a lot of it to get the character from Page One to The End. 

That being said, there are times when struggle and strife will actually get in your way. Here are 4 key story moments when it’s best to hold the conflict.

1. The Resolution Phase of a Scene or Plotline

Successful stories have a clearly defined beginning, middle, and end. The same formula applies to strong scenes.

The beginning of a scene is an opportunity to show the scene goal, the thing the character is hoping to do that moves them toward their overall objective. 

But then conflict arrives in the form of obstacles, adversaries, or dilemmas; the middle of the scene is dedicated to the wrestling match with that conflict. (This is the perfect place for amplifiers to augment tension and complications.) 

The end of the scene shows whether the character is successful in reaching their goal. Hint: most of the time, they aren’t.

A visual image of the tension in a scene might look something like this:

Tension rises as the protagonist encounters conflict that makes it more difficult to get what they want. After a prolonged climb, the tension reaches a peak before dropping off as the scene is resolved and comes to an end.

New conflict applied during the end stage would ramp things up again, delaying the resolution. But this is the time to de-escalate the situation, not fan the flames. Once you reach this point in the scene, resist the urge to add conflict and or any amplifiers.

But what about cliffhangers? you ask. Half the chapters I read end with serious conflict, high tension, and a character smack in the middle of a sticky situation.

Ah, but in this case, you’re talking about chapters, not scenes. While the two terms are often used interchangeably, they’re not the same.

Scenes are the basic building blocks of a story. Every scene should follow a defined structure, and the scene is not complete until all the elements have been included. The arc above is a visual representation of that structure.

Chapters, on the other hand, are used to divide the story into manageable chunks for readers. Rather than adhering to a certain structure, the end of each chapter is arbitrarily determined by the author, a choice that depends largely on style.

A chapter might encompass a complete scene, or it might end in the middle of one. In the latter case, the chapter could end with high tension because it hasn’t yet reached the end of the scene. Ending a chapter at this point often results in a cliffhanger, and there are good reasons to do that. But conflict should be avoided at the completion of a scene, whether it coincides with the end of a chapter or not.

2. In Revelatory Moments

As characters trudge along in their growth journey, you’ll be throwing every difficult thing imaginable at them. In the beginning, they won’t respond well because they’re stuck in their old dysfunctional, ineffective habits. But as the story progresses, they’ll experience periods of introspection (often following a big event) that lead to a light-bulb revelation. They’ll realize they’ve been believing a lie, or the shielding behavior they thought was a strength is their greatest weakness and is holding them back. These moments of clarity push the protagonist to rethink their methods and make much-needed changes that help them succeed.

At times like these, characters need to be thinking clearly. If their thoughts are fogged by an amplifier like arousal, intoxication, or exhaustion, the likelihood that they’ll come to a logical conclusion is low. Save amplifiers and conflict for the events that lead to these introspective interludes and you’ll put your characters in the strongest position to become self-aware and embrace change.

3. During Zen Times

If you’re doing your job as the author, the protagonist will spend a lot of time frustrated, angry, afraid, or uncertain. Amplifiers are great for creating situations that escalate to those emotions.

But a story in which the protagonist is always emotionally activated can grow tiresome for readers. It will also lessen the character’s authenticity because they’re unable to experience a complete range of feelings.

Since amplifiers and conflict influence a character’s emotions and make them more volatile, they’re not so effective at eliciting relaxation and inner peace. When the protagonist needs to be chill, hold the conflict.

4. When a Character Can't Take Any More

Authenticity is crucial when writing realistic characters. In every way possible—their motivations, fears, flaws, strengths, quirks, and so on—characters should imitate real people. Just as we each have our own breaking points, your characters have theirs, too.

So how far is too far? This often becomes obvious during drafting. As you continue abusing the protagonist, you’ll realize you’ve crossed a line or are close to doing so. Critique partners will also let you know when things have gone on long enough. Either way, that’s the time to stop. Drive the protagonist right to their breaking point, but stop short of pushing them past it.

Conflict and tension are vital pieces to a successful story puzzle, so it’s necessary to keep turning up the heat on our characters. The moments discussed above are good examples of times when conflict and amplifiers can work against the story. Leave them in the toolbox until the right moments so they can do what they need to at the right time.

Can you think of other times in the story when conflict hinders instead of helps?

About Becca

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and other resources for writers. Her books have sold over 1 million copies and are available in multiple languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers—a powerhouse online resource for authors that's home to the Character Builder and Storyteller's Roadmap tools.

For more information on amplifiers and how they can generate conflict (and steer story structure, contribute to character growth…the list goes on!), keep an eye out for the 2^nd edition of The Emotion Amplifier Thesaurus, releasing on May 13^th. 

Writers Helping Writers

Descriptive Thesaurus Collection

One Stop For Writers

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