Writers in the Storm

by Barbara Linn Probst

The deeper I go into the craft of writing, the more I keep returning to the importance of thinking like a reader. So much of the “advice” seems to be about what we, as writers, ought to be doing. And that’s fine, as far as it goes. But what about the reader’s experience? Does it match what writers think they’re doing? I compare the question to the cook’s experience of preparing a meal and the diner’s experience of eating it. They might be the same, or they might not.

By way of example, let’s consider the reader’s experience of a scene, since scenes are the building blocks of a story.

We’re told that every scene needs a purpose, a source of conflict or tension, and a pivot where something changes, concluding with an upward or downward shift in the protagonist’s journey. Like the beams and girders of a building, these guidelines are structural, architectural, not necessarily experiential.

What I’m calling the experiential level refers to the sense of satisfaction that a reader has when a scene feels meaningful and whole. Without it, a scene might be technically perfect, but flat.

What helps to create that sense of participation and organic coherence?  “Deep POV” is often cited as the key, and it can certainly be useful—although my own view is that it needs to be used strategically, not constantly, and that other “writer tools” are also needed.

Here are some suggestions.

Resonance Between the Beginning and End of the Scene

The way the scene opens and the way it closes need to be related, but that relationship doesn’t have to be as mechanical or obvious as “the protagonist is closer to story goal” or “the protagonist is farther from story goal.” There are many other ways the beginning and ending can be related—and experienced as related, by the reader. For example:

• By echoing: the repetition of an evocative image, object, or phrase – first appearing early in the scene – whose meaning reverberates in a new way at the end.
• By intensifying: the solidification of a longing, foreboding, or hunch that was suggested at the beginning of the scene. This can be the movement from idea to action, or from lesser to greater intensity – that is, from a “quiet” desire, fear, or action to a stronger iteration of the same emotion or behavior.
• By inverting: the reversal of a belief, desire, alliance, or expectation that was dominant at the beginning of the scene. This can be partial, through the arousing of doubt, or total, through a shock such as betrayal or the appearance of new knowledge.
• By undoing: the character’s exit from a setting that provoked regret, humiliation, fear, or another emotion that threw her world off-balance.

Ask yourself: Isolate the first and last paragraphs of a scene. Is it clear that they belong together, like bookends?  If the answer is no, what can I do to create the missing resonance?

Creating a Moment of Peak Intensity

Somewhere in the scene, there needs to be a sentence that captures its specific emotional quality. It’s the moment that grabs the reader, the sentence the reader just can’t forget. Prior sentences lead up to this peak; subsequent sentences show its effects.

It’s the most intense moment in the scene—the reason the scene exists. A moment of choice, change, surprise, possibility, or emotional impact.

Although this peak moment can reflect a new realization, it’s better to avoid words like “realized” and “understood,” since they shift the focus to the mind. In general, the reader’s experience of peak intensity is strengthened by the use of concrete details, rather than by words that name generic emotions.

Ask yourself:  What is the one sentence, without which the scene would lose its emotional power? If you’re not sure, try deleting different sentences and note the effect. If you can’t find that peak sentence, add it. If there seem to be several, you may have over-written the scene; try picking just one.

Use of Supporting Features to Evoke Reader Participation

Story events are given texture, nuance, and depth by passages ofinteriority and exteriority. Interiority means stepping inside the point-of-view character’s mind (through response, reflection, or memory). Exteriority means describing the outer world, usually to create context or mood. The purpose of both techniques is to enhance the narrative events – to help the reader feel why an event matters, and to whom.

But their use can’t be random. Timing (placement in the scene) and duration (length of the passage) must be thoughtfully rendered, or they will jolt the reader out of the flow of empathetic engagement. Thus, the writer must be crystal clear about her intention.

If you’re using interiority, what is your specific purpose right now? Is it to evoke empathy, show conflict or struggle, connect with the past or future?  Why is interiority the best way to accomplish this?

Ask yourself: What would happen if I externalized the moment instead – through an action, gesture, or interaction with the environment (e.g. the character fingering the frayed fabric of the couch, rather than ruminating on how her life seems to be falling apart)? How can I draw the reader into the character’s embodied experience, rather than into her mind?

If you’re using exteriority, why have you selected a specific aspect of the environment to move into the foreground right now (e.g., sound, light, temperature) or given an object a specific quality (e.g., size, color, location)? Is it to evoke a memory or show something about the culture, social dynamics, or power relations among the characters?

Ask yourself: How else, other than through description, can I convey this?  Can I use dialogue or movement instead of descriptive details? How can I pull the reader inside the scene as a participant, rather than keeping her apart as an observer?

Re-opening after the apparent resolution.  Yes, every scene needs a satisfying ending, a clear indication of how the world of the protagonist is different from the way it was at the beginning. But it also needs to unsettle us again, to provoke a new question, suggest further complexity, signal that there’s more to come. A coda that says: Or maybe not. 

Ask yourself: What sentence lets the reader know that the story isn’t over? What sentence makes the reader want to continue to the next scene?

What about you? Do you use one or more of these tools? Can you share an example? Does one of these tools spark a new idea for you in your WIP?

About Barbara

BARBARA LINN PROBST is a writer of both fiction and non-fiction, living on an historic dirt road in New York’s Hudson Valley. Her debut novel QUEEN OF THE OWLS (April 2020) is the powerful story of a woman’s search for wholeness, framed around the art and life of iconic American painter Georgia O’Keeffe. QUEEN OF THE OWLS was selected as one of the twenty most anticipated books of the year by Working Mother, a debut novel “too good to ignore” by Bustle, was featured in places like Pop Sugar, Entertainment Weekly, Parade Magazine, and Ms. Magazine. It also won the bronze medal for popular fiction from the Independent Publishers Association, placed first runner-up in general fiction for the Eric Hoffer Award, and was short-listed for the $2500 Grand Prize. Barbara’s second book, THE SOUND BETWEEN THE NOTES, launches in April 2021.

Barbara has a PhD in clinical social work and blogs for several award-winning sites for writers. To learn more about Barbara and her work, please see http://www.barbaralinnprobst.com/

by Lori Freeland

Writers are unique and diverse creatures. We’re mysterious and unpredictable and original. That’s part of what makes us . . . us. And that’s a good thing. There are as many types of authors out there as there are genres to write in.

We can be introverts, extroverts, or a mix of both. We can be organized planners, chaotic pansters, or fall somewhere in between. We can be inspired by waking up to the energy of the sun or by winding down to the stillness of the moon. Some of us prefer to write alone while others feed off sharing a workspace.

But it’s not the differences between us that matter, it’s what makes us all the same—our crazy obsession to create. No matter how or where or when we work best, there are five things we all need to feed that drive to write.  

1. Passion for the project.

“No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.”

-Robert Frost

Despite the number of writing skills we’ve mastered, if we’re not excited about the story we’re telling, it’s going to show.

There are a lot of reasons why you may not be “feeling” your latest project. But bottom line, the “blah” you have toward your words and ideas will affect your reader. They may not be able to pinpoint what’s wrong, but they’ll pick up on your indifference or negativity.

Whatever’s not working, take the time to figure it out and fix it. If it’s worth your time and energy to write the book, it’s worth your time and energy to do it right. And if this statement isn’t true for you, consider moving on to a different project. Don’t beat yourself up trying to make something work if it’s just not right.

Side Note: If you’re a serial project skipper and find yourself always moving on to a new project, ask yourself why. Because that’s a whole other issue.

2. Confidence to spur you on.

“Get it down. Take chances. It may be bad, but it’s the only way you can do anything really good.”

-William Faulkner

All writers struggle with confidence no matter how many books they’ve churned out or how successful they’ve been.

Each new project can feel like a blank slate, a test of our skills, an opportunity to fail. If we’ve been successful in the past, the voices in our heads tell us, “That was a one off. You’ll never be able to live up to that again.” If we’ve fallen below our own or others’ expectations, the voices in our heads tell us, “Why bother? You’re never going to be any good.”

Lack of confidence will kill even the best book. Forget about the past. Start now in this moment. Duct tape those stupid voices and find a new one. One that says, “You can do this. You’re going to put in the work and make it happen.” Then do an honest evaluation. What are your strengths? Play those up. What are your weaknesses? Make solid goals to fix them. Take a class. Find a mentor. Join a writing group. Ask for help. That’s how we all learn.  

Side Note: A lack of writing confidence often bleeds over from a lack of confidence in other areas of our lives. That may be the deeper issue. And it may be worth looking into—even if it’s hard. No one likes being vulnerable. But sometimes that’s what it takes to find your confidence and your value. And when you find it, it’s so worth it.

3. Goals to light the way.

“What you get by achieving your goals is not as important as what you become by achieving your goals.”

-Zig Ziglar

Goals are what get us where we want to go. Without them, we have no plan, no map, no destination.

Sometimes writing feels like navigating an impossible maze in a deep, dark cave that has no exit. At best, stumbling around in the dark is a haphazard gamble that we’ll ever find our way into the light. At worst, it’s a confidence and career killer.

Set aside an entire day to make some goals. Push everything else aside to really think about what you want when it comes to writing. Don’t be afraid to dream big or start small. Make a list that’s just for you. Brainstorm whatever comes to mind, then go back and pick what’s most important, and create a step-by-step map of how you’ll reach each goal.

Side Note: Keep your goals manageable. If the big picture seems overwhelming, even an hourly goal pushes you one more step toward your destination.

4. Time and space to create.

“Close the door. Write with no one looking over your shoulder. Don’t try to figure out what other people want to hear from you; figure out what you have to say. It’s the one and only thing you have to offer.”

-Barbara Kingsolver

Everyone needs some kind of buffer to get into and stay into the headspace of their project. And that requires a set amount of time and your own space—unless you’re one of those writers who works better being near someone else. The good news is that the more we exercise our “writing muscles,” the quicker we can dive into our projects and get traction. 

Whether you prefer writing in Starbucks, in an office, on the couch, or in your bed (guilty!), having a place you’re comfortable in is crucial. You know what kind of space works for you. Claim your spot.

Being deliberate about writing time makes all the difference in your productivity. You can think about wanting to write, talk about it, set goals to do it (also guilty!), but until you put your booty in that chair, you’re going nowhere. If all you have is your lunch hour, take it and use it the best you can. I’ve found the more “free” time I have, the less of it I spend writing. There’s something about being forced to fit writing into my day that kicks me in the butt to get it done. 

Side Note: If your space isn’t working, don’t be afraid to change it up and try something new. If you can’t find the time to write, make a list of how you spend your day and cut something out.

5. A squad to cheer us on.

“Friendship is born at that moment when one person says to another: ‘What! You Too? I thought I was the only one.’”

-C.S. Lewis

Behind every _______ (insert one or all: successful, working, productive, confident, goal-focused, passionate, creative) writer is a _________ (insert one or all: writer bff, critique group, accountability partner, cheerleading crew, supportive spouse, writing family).

Isolation is a real thing for writers and so are writing highs and lows. We need people who understand that to celebrate us in our “ups” and console us in our “downs.” Somehow, knowing we’re not struggling alone can make whatever we’re dealing with feel better.

Whether you join a writing group, meet a fellow writer for coffee, or start an accountability group on Zoom, make connections. Find your people. Only writers truly get other writers.

Side Note: Don’t feel bad about taking your time to put together your squad. The wrong people can hurt you as much as the right people can help you. For more on that, see The Up and Down Sides of Critique Groups: Is There Value in Finding Your Peeps?

Speaking of squads, we learn so much from each other, don’t we? Some of my “coolest” writing discoveries have come from comments, opinions, and suggestions on what I’ve written. So . . . let me know. Which of the five things writers need are most important to you? How do you make them happen? What doesn’t work for you? What other things do you need as a writer? And feel free to share your favorite encouraging quote down in the comments!   

About Lori

An encourager at heart, author, editor, and writing coach Lori Freeland believes everyone has a story to tell. She’s presented multiple workshops at writer’s conferences across the country and writes everything from non-fiction to short stories to novels—YA to adult. When she’s not curled up with her husband drinking too much coffee and worrying about her kids, she loves to mess with the lives of the imaginary people living in her head.

You can find her young adult and contemporary romance at lorifreeland.com and her inspirational blog and writing tips at lafreeland.com. Her latest release, The Accidental Boyfriend, is currently free on the Radish app. 

by Piper Bayard
of Bayard & Holmes

Writing espionage is a balancing act between being authentic and being so accurate that we embarrass political leaders, get people killed, and/or end up with some angry FBI Special Agents on our doorstep. As a general rule, while the non-violent embarrassment of political leaders who are asking for it can be rewarding, writers, like all smart and decent people, want to avoid harming any of our own people or having uncomfortable conversations with the FBI. My writing partner, “Jay Holmes,” is a 45-year veteran of intelligence field operations, and we are committed to helping writers walk that line of authenticity.

In my last article, Fiction Favorites of the Espionage Pros, inspired by questions during our recent RWA online workshop, we shared our espionage movie and TV recommendations, along with the recommendations of our friends in the Intelligence Community. Today, we want to share more of the questions and answers from that workshop with you.

---

1. Do CIA officers carry firearms? If so, what specific firearm?

Most CIA officers and employees have no need for firearms and do not carry them. Most are analysts, scientists, geographers, language specialists, human relations, etc. Very few are actually in field operations, and even they might not carry a firearm if a firearm would be inconsistent with their cover. Others might carry firearms in the field with exactly no expectation of using them.

JACK RYAN is one example of this last. While analysts who are sent to the field are minimally trained in firearms, they are not expected to use them. In fact, one legendary analyst is known for putting four holes in himself with only one bullet during training. In real life, in the event that an analyst is sent to the field, they are surrounded by Marines or other serious muscle, and it’s said that if an analyst ever actually has to use their weapon, something has gone terribly wrong.

For a long time, Sig Sauer was the preferred weapon, as Sig Sauer makes outstanding firearms. Glock, however, has an outstanding marketing department. It also has a cheaper firearm. So now CIA officers train on Glocks. Thanks to the Glock marketing program rather than the merits of Glocks, Glocks are currently the most popular weapons for training and use. However, some field officers are allowed to take the firearm of their choice with them, and they sometimes carry things larger than handguns.

---

2. Do CIA officers receive monthly paychecks and a government pension?

CIA officers and employees of other IC organizations receive bi-weekly paychecks, as long as the Finance doesn’t screw them up. They also have to file expense reports and keep receipts where it wouldn’t blow their cover to do so. As with any bureaucracy, Finance is notoriously stingy, and the reimbursement process is tedious.

Pay is the base government pay scale adjusted for cost of living depending on location. There is also extra pay for those in the science and technology fields and per diem for people overseas.

---

3. If you are a CIA officer, does your family know?

The CIA currently requires employees to tell spouses. It has not always been that way, and that, like most things, can change in time.

Those under diplomatic cover inserted in embassies abroad might even have their spouses help them out with identifying and developing assets. Many, however, do not tell their parents, children, or extended family. The more people who know, the more limited job assignments will be.

People in other parts of the Intelligence Community may not be able to tell their spouses any particulars at all about their employer or their work. That’s for two reasons. First, because the divorce rates are high in some career fields, and a disgruntled spouse could blow entire programs and get people killed. Second, because if our enemies know spouses are never told anything, they will not be kidnapped and tortured for information.

---

4. Is the concept of a safe house for officers real?

Yes, safe houses are real, but that’s not usually where officers live. Safe houses are usually used for meeting with assets or for stashing or hiding assets.

Safe houses need to be located someplace where they don’t stand out. They will not be near any foreign intelligence services or in quiet neighborhoods where people would notice strangers.

---

5. The CIA is an organization for overseas intelligence gathering. Under what circumstances would they actively be intelligence gathering in the US?

Never. Not even if the target is one of their own.

If surveillance or operations are required on US soil, the case should be turned over to the FBI or the DHS, depending on whether the surveillance is due to a counterintelligence threat, a counterterrorism threat, or both.

In other words, HOMELAND, in which CIA officers are spying on a returned American POW on American soil, would never happen. Even the infamous CIA traitor Aldrich Ames was only watched by his fellow employees until there was plausible reason to conduct official surveillance outside of Headquarters, and then his case was turned over to the FBI.

---

6. What is nonofficial cover?

Employees with nonofficial cover are called “NOCs,” pronounced “knocks.” They are employees and contractors who are in foreign countries without official recognition on the part of governments. In other words, they do not hang out at embassies. That’s really all we can say about that.

---

7. It’s day one of being an officer. Do you have a training officer? Do you get a briefcase with gadgets and fake passports?

Trust me, everyone wishes they did. However, the VAST majority of employees, regardless of what department they are in, spend day one like anyone in the corporate world—filling out paperwork and getting their computers and software straightened out. In fact, this part takes at least the entire first week.

Then comes the Sensitivity Workshop, the Signing Up for Benefits Workshop, the Where to Find the Defibrillator Workshop, etc., that accompany any government job. It has been rumored that some operations folks finagle their way out of the Human Relations hoop-jumping, and that one man in particular has avoided HR orientations since 1985, but I can neither confirm nor deny that.

What espionage or other questions do you have for us? We love taking the fiction out of fiction.

About Bayard and Holmes

Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage fiction and nonfiction. Please visit Piper and Jay at their site to learn more about their books. For notices of their upcoming releases, subscribe to the Bayard and Holmes Covert Briefing. You can also contact Bayard & Holmes at their Contact page, on Twitter or Facebook, or at their email.

Spycraft: Essentials takes the fiction out of spy fiction, covering the functions and jurisdictions of the main US intelligence organizations, the espionage personality and character, recruitment, tradecraft techniques, surveillance, firearms, the most common foibles of spy fiction, and much more. Available in digital format and print. See Bayard & Holmes Nonfiction for more books like this one.