Writers in the Storm

By Piper Bayard & Jay Holmes

Firearms . . . Love them or hate them, they often turn up in our fiction. Sadly, they often turn up in fiction in fictional ways that leave readers throwing books against the wall. To keep that from happening to WITS readers, let's take a look at the firearms that most often turn up in espionage and crime fiction—the revolver, the semi-automatic, and the automatic. When it comes to handguns, specifically, only revolvers and semiautomatics are usually used by intelligence professionals in the field, as the vast majority of automatic weapons are rifles.

Before we get to the differences in those types of handguns, though, we need to address the most common firearm misnomer of all time -- the "clip" vs. the "magazine." Time and again in fiction, shooters are reloading their "clips" into their "automatic" pistols, when they should be loading their "magazines" into their "semiautomatics." Let's take a look at the differences so that you savvy folks will never make that mistake.

Clip Vs. Magazine

A magazine has a spring that force-feeds the ammunition as the shooter fires. A clip does not have a spring or a feed mechanism. It simply holds the ammo and attaches to a magazine or inserts directly into a firearm. These are examples of "clips."

On the left half of the picture, we have an empty M1 Garand clip, an M1 Garand clip loaded with eight rounds of 30-06 ammunition, and the brass from a 30-06 spent cartridge. On the right half of the picture, we have nine rounds of 7.62x39 ammunition loaded onto a "stripper clip" and an empty stripper clip. This stripper clip holds ten rounds. The tenth 7.26x39 cartridge is just above the loaded clip. The clips are plain metal with no springs or gadgets of any kind that assist in feeding the ammunition through the firearm. Once the cartridges have been fired, the clips can be reloaded. However, in combat that is highly unlikely. A clip would normally be discarded and a new clip loaded into the magazine or the magazine well, depending on the firearm.

The vast majority of firearms made after WWII do not use clips.

Extremely few modern weapons that use clips are being manufactured today unless they are replicas of old weapons. One rare example of a modern weapon using a clip is the Smith & Wesson 9mm revolver, which uses a moon clip. So unless your character is using a historical weapon or one of the rare modern firearms that take actual "clips," the terminology is a fiction.

Next we have "magazines." Magazines are widely used in both handguns and rifles. They can be detachable or not. They hold cartridges and can be quickly and easily reloaded. There are springs in the magazines that assist in feeding the ammunition through the firearms.

The larger magazine in the picture is an “extended grip” 9mm SIG Sauer magazine, and the smaller magazine is from a Smith & Wesson Bodyguard .380. These magazines fit into the handles of the pistols shown. Magazines are made of metal or plastic and can be reused countless times. They don’t get “used up” just because all of the rounds are fired.

Writing Tip: If you’re writing historical fiction, you might, indeed, have a weapon that uses a clip. If you are writing anything post-WWII, your weapon, unless it is a revolver, will likely have a magazine. We recommend you do a bit of research on the specific model of weapon in your manuscript, including the year it was made.

Revolvers

A revolver is so called because the cartridges reside in a revolving cylinder. Almost no revolver ever made has an actual manual safety mechanism. Like the semiautomatic, one trigger pull equals one shot. However, the brass shells are not ejected automatically. A shooter must open the cylinder and eject all of the shells simultaneously and reload. A shooter can hasten this process by using a “speed loader” to insert all of the cartridges with one motion. The legalities of revolver ownership vary from state to state, but revolvers are generally the most legally accepted of handguns.

Things to remember about revolvers:

1. Ammunition is loaded into a cylinder.
2. Revolvers virtually never have manual safety mechanisms.
3. One trigger pull results in one shot.
4. No brass is ejected.
5. Legal in varying degrees according to state law.

Semiautomatics

With a semiautomatic, ammunition loads into a removable magazine that usually fits into the pistol grip, like the ones pictured above. To reload, a shooter drops the empty magazine out of the grip and snaps in a full magazine. Most people are able to drop a magazine and snap a new one into a semiautomatic faster than they can reload a revolver; however, a skilled shooter is just as quick with a speed loader. Like the revolver, one trigger pull always equals one shot. Unlike the revolver, the brass is ejected with each shot. Also unlike the revolver, a semiautomatic often has a manual safety device.

Semiautomatics are legal in all states, but only to varying degrees in different places. In a few states, they practically come as prizes in the bottom of Cracker Jack boxes, while in others, they are more difficult to obtain than a straight answer from a politician.

It is extremely common for a semiautomatic to be inaccurately referred to throughout media, movies, and TV as an “automatic” weapon. No matter how hot the journalist, movie star, or soap opera star might be, it simply isn't so. If you make that mistake in your own writing, you are sure to get a bursting inbox full of corrections.

Things to remember about semiautomatics:

1. Ammunition is loaded in a magazine.
2. One trigger pull equals one shot.
3. Often has manual safety mechanism.
4. Brass is ejected, usually to the right of the weapon, every time a shot goes off.
5. Legality varies according to state. Some states make semiautomatics difficult to obtain, or they restrict the size of the magazine. Other states have the Cracker Jack Box standard.

Automatics

With an automatic weapon, the cartridges load into a removable magazine. The weapon is called automatic because when a shooter pulls the trigger, it automatically fires repeated bullets until the shooter takes their finger off the trigger. When the shooter fires, the brass shells of the cartridges are ejected from the weapon at high speed.

Modern automatic weapons are generally illegal for private ownership without special government procedures—emphasis on “generally.” There are three ways an individual in America can obtain an automatic weapon. . . .

The Firearm Owners Protection Act of 1986 made it illegal for private individuals to acquire fully automatic weapons without special permission from the Bureau of Alcohol, Tobacco, and Firearms. Private gun owners can still obtain one of the pre-1986 fully automatic firearms if they fill out a form, wait several months, secure a tax stamp, and purchase the firearm for an exorbitant amount of money—exorbitant because, according to the National Rifle Association, there are only around 150,000 pre-1986 fully automatic weapons in private ownership.

The second way private individuals can obtain an automatic weapon is by going through the intense process of obtaining a license to manufacture Class III/NFA firearms. Once the individual has this license, they can secure a conversion kit to modify a semiautomatic rifle to make it fully automatic. With the hassle and expense, though, we recommend using the money for a nice beach vacation rather than pursuing one of these weapons.

The third way to obtain an automatic weapon in America is the timeless and ever-popular method known as theft. If your characters try this method, especially with anyone who owns an automatic weapon, that owner might remember to use it on your character.

Things to remember about automatics:

1. Ammunition is loaded in a magazine.
2. One trigger pull equals multiple shots.
3. Likely has a safety mechanism.
4. Brass is ejected as the shooter is firing.
5. Illegal for private owners everywhere in the United States except with a very detailed, expensive process.

Other Factors

It’s worth noting that different types of ammunition and barrels impact accuracy and are used for different purposes. For example, Bayard & Holmes use hollow point cartridges for self-defense because the bullets are less likely to pass through the target and harm someone behind them. Different barrels with different types of rifling are also used depending on the purpose at hand. Firearms experts have written treatises about the many subtleties of ammunition and barrels. If you discuss types of ammunition and barrels in your fiction, we recommend you read one of these treatises before you commit your writing to stone or Kindle. If you make a mistake, firearms experts will call you on it, and they can be pretty rough about it.

Writing Tip: Be aware that no matter how much you research, there are firearms aficionados who will write to you about the rarest and most obscure exception to whatever you say and tell you that you’re stupid. Don’t let that bother you. It’s what they live for. Be reasonably diligent in your vocabulary, hit the big things like “revolver,” “semiautomatic,” “automatic,” “clip,” and “magazine,” and you can be pretty sure the vast majority of your readers will be satisfied. As for the rest, don’t feed the trolls.

Do your characters carry or use firearms? Which firearms do they use? What are your firearms pet peeves in fiction? Do you have any questions for us?

* * * * * * * * * * * * *

Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage tomes and international spy thrillers. Their latest release, SPYCRAFT: Essentials, is designed for writers. It addresses the functions and jurisdictions of the main US intelligence organizations, the spook personality and character, tradecraft techniques, surveillance, the most common foibles of spy fiction, and much more. It is available in digital format and print at Amazon, Barnes & Noble, and Kobo.

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 Twitter at @piperbayard, on Facebook at Piper Bayard or Bayard & Holmes, or at their email, BH@BayardandHolmes.com.

by Colleen M. Story  When the money doesn’t come flowing in or when the market ignores your book, it’s easy to lose the joy in writing. Fortunately, you can get it back.

What Rewards are Writers Seeking?

In almost everything we do, there are two types of rewards involved:

1. Extrinsic rewards are those we get from the outside world, including money, recognition, prizes, and praise.
2. Intrinsic rewards are those we get from inside ourselves, including a sense of accomplishment, personal satisfaction, mastery of a craft or skill, or simply the pleasure of pursuing something we enjoy.

Though both methods can be effective when you’re pursuing a goal, it depends on what kind of goal it is. Some research has suggested that extrinsic rewards—particularly money—may in some cases be detrimental to creative goals. In one experiment, for example, scientists asked elementary and college students to make “silly” collages. Teachers then rated the projects based on creativity, and found that the students offered money came up with the least creative results. In another related study, researchers asked creative writing college students to write poetry. One group was given a list of extrinsic reasons for completing the project, including making money and impressing teachers. The other group was given a list of intrinsic reasons, including self-expression and the enjoyment of playing with words. Twelve independent poets then judged the poems. Results showed that participants given extrinsic reasons to write not only wrote less creative poems, but also created less quality work than those given intrinsic reasons. “The more complex the activity,” wrote lead author Teresa M. Amabile, “the more it’s hurt by extrinsic reward.” Researchers have some theories as to why this may be:

• Extrinsic rewards may make us feel less autonomous in pursuing the activity, and lead us to believe we’re now controlled by the reward, making the activity less enjoyable.
• Rewards encourage us to complete the task as quickly as possible to receive the reward, and to take few risks, reducing creativity.
• Extrinsic rewards may simply make the task seem more like a “job.”

Signs You’re Thinking Too Much About Extrinsic Rewards

To discover if extrinsic rewards are causing you to lose the joy in writing, ask yourself these three questions:

1. What are you thinking about when you’re writing?

While writing, do you notice thoughts like, This book isn’t going to be as good as my last one? Do you worry the reviews will be lackluster, or that this book won’t get the green light from your publisher? Are you secretly hoping this book will the one to garner you the publishing rewards you long for? All of these types of thoughts are centered on extrinsic rewards, and even if they occur only sporadically during your writing time, they can derail your focus and sap your motivation. When you find yourself thinking something like this, let the thought go and bring your focus back to the story, alone.

2. How much pressure are you feeling?

Perhaps you’re trying to “write quickly” so you can get more books out there and make more money. Maybe you’re trying to please an editor so you can hang onto a multi-book contract. Maybe you’re trying to prove that the time you spend on writing is really worth it by getting the story done and published, already. Feeling stressed and pressured quickly takes the joy out of writing, and stress and pressure usually come from focusing on outside rewards. Try to think back to why you started writing in the first place, and see the blank page as a place for fun.

3. How do you feel about yourself as a writer?

It’s amazing how many of our feelings about ourselves as writers are tied up in outside approval. When children create, they do so simply for the fun of it, until they start to get the idea that it matters what others think about their projects. If you’re feeling down about your writing or about your ability as a writer, you can probably trace it back to something outside yourself—a bad review, negative comment, lost contest, or publishing rejection. Remind yourself that the emotions you’re feeling are because you are seeking approval outside of yourself.

When to Use Extrinsic Rewards to Your Advantage

Sometimes extrinsic rewards can be beneficial to a writer. Think about those writing-related tasks you don’t usually enjoy. Scientists have found that extrinsic motivation works most effectively for them. So if you don’t like promoting your work, for example, you may find more success by providing yourself with extrinsic rewards each time you complete any marketing-related task. Put together a successful book launch? Give yourself a weekend away. Update your website? Take yourself out to dinner. Write a series of guest posts? Get yourself that new outfit you’ve had your eye on. “External rewards can be a useful and effective tool for getting people to stay motivated and on task,” says Kendra Cherry, author of Everything Psychology Book. “This can be particularly important when people need to complete something that they find difficult or uninteresting, such as a boring homework assignment or a tedious work-related project.”

Restore the Joy in Writing

If you’ve lost the joy in writing, it may help to remind yourself of the many intrinsic rewards you receive by doing it. Here are just four examples:

1. Writing promotes healing self-expression.

In one 2005 study, researchers found that those individuals who had experienced an extremely stressful or traumatic event who wrote about the experience for 15 minutes four days in a row, experienced better health outcomes up to four months later than those who didn’t write. “When we express our feelings honestly,” says writer Nadia Sheikh, “we are better equipped to deal with them because we actually know what we are feeling instead of denying it….we feel more in control of our thoughts and feelings, and we understand them more clearly.”

2. Writing creates personal satisfaction.

How many people can say they’ve actually completed a poem, short story, or novel? As writers, when we finish a project, there is a blissful sense of satisfaction. We may re-read the words later and wonder, “Where did that come from?” or “How did I do that?” This sort of satisfaction seems to be even more delicious when the project is difficult. If you had to bang your head against the wall to get through the middle of your novel, but then you figured it out and finished it, that creates a feeling that’s hard to match with any other sort of activity. “An immense amount of pride and self-satisfaction follows a completed, perfected, edited, and published novel,” says bestselling novelist David Perry.

3. When writing, you can create your own world.

For some writers, the craft provides a sort of sanctuary, a place to go no matter how chaotic the outside world may become. For others, this immersion into another world stimulates a state of “flow”—that sense of being completely absorbed and lost in one’s work to the point of losing track of time, which has been linked to increased happiness. “Writing is like being in a dream state, or under self-directed hypnosis,” Stephen King says. “It induces a state of recall that—while not perfect—is pretty spooky.”

4. Writing makes us feel more like ourselves.

Writing can bring us peace, and make us more comfortable with who we are. That may be because it helps us understand ourselves and others, because it relieves stress and anxiety, or because it allows for that self-expression that helps us make sense of our own jumbled thoughts. Freelance writer and sci-fi/fantasy storyteller Rand Lee said it well when he wrote: “I have to face the appalling truth that I have to stop worrying about fame and fortune, and focus upon writing pieces that, first and foremost, produce within me a sense of wonder and delight. Rereading my works with this in mind renews my enthusiasm for the creative process and gets me back in the saddle.”

What rewards do you enjoy from writing?

Sources Amabile, T. M. (1985). Motivation and creativity: Effects of motivational orientation on creative writers. Journal of Personality and Social Psychology, 48(2), 393-397. doi:10.1037//0022-3514.48.2.393 Baikie, K. A., & Wilhelm, K. (2005). Emotional and physical health benefits of expressive writing. Advances in Psychiatric Treatment, 11(05), 338-346. doi:10.1192/apt.11.5.338 Bramley, C. (n.d.). Cathy Bramley's 5 favourite things about being a writer. Retrieved from https://www.penguin.co.uk/articles/on-writing/why-i-write/2017/aug/the-best-things-about-being-a-writer/ Cherry, K. (2013, June 3). How Does Extrinsic Motivation Influence Behavior? Retrieved from https://www.verywellmind.com/what-is-extrinsic-motivation-2795164 Coleman, T. K. (2018, January 17). 5-on-5: The Challenges & Rewards of Writing Every Single Day | Praxis. Retrieved from https://discoverpraxis.com/5-5-challenges-rewards-writing-every-single-day/ ER Services. (n.d.). Incentive Theory of Motivation and Intrinsic vs. Extrinsic Motivation | Child Development. Retrieved from https://courses.lumenlearning.com/atd-hostos-childdevelopment/chapter/incentive-theory-of-motivation-and-intrinsic-vs-extrinsic-motivation/ Kohn, A. (1987, January 19). Studies Find Reward Often No Motivator - GNU Project - Free Software Foundation. Retrieved from https://www.gnu.org/philosophy/motivation.html Lee, R. (2018, March 22). Rewards of a Writing Career - Curiosity Quills Press. Retrieved from https://curiosityquills.com/rewards-writing-career/ Perry, D. (2015, August 3). The Rewards of Becoming a Writer - David Perry Books. Retrieved from http://www.davidperrybooks.com/2015/08/03/the-rewards-of-becoming-a-writer/ Positive Psychology Program. (2017, October 26). Writing Therapy: Using A Pen and Paper to Enhance Personal Growth. Retrieved from https://positivepsychologyprogram.com/writing-therapy/ Sheikh, N. (n.d.). Self-Expression and Creativity: Managing Feelings. Retrieved from https://www.smartrecovery.org/self-expression-and-creativity-managing-feelings/ Stuckey, H. L., & Nobel, J. (2010). The Connection Between Art, Healing, and Public Health: A Review of Current Literature. American Journal of Public Health,100(2), 254-263. doi:10.2105/ajph.2008.156497   ABOUT COLLEEN Colleen M. Story is the author of Overwhelmed Writer Rescue—a motivational read to help writers escape the tyranny of the to-do list and nurture the genius within. The book was named Solo Medalist in the New Apple Book Awards, Book by Book Publicity’s Best Writing/Publishing Book, and first place in the Reader Views Literary Awards. Colleen is also a novelist and has worked in the creative writing industry for over twenty years. She is the founder of Writing and Wellness. For more information, please see her author website, or follow her on Twitter (@colleen_m_story).      

by Fae Rowen

Last week I was writing a character study for my WIP. The character is persistent, never giving up, even when the cause seems lost. At times she's like a small child who keeps asking "Why?" and driving the adults around her crazy. I had more than a half dozen adjectives in my list, but something seemed lacking. I added perseverance.

On my trail walk, I thought about persistence versus perseverance. If I were in a hurry, I would have stopped at persistence. But as I mentally detailed the difference between the two words, persistence took on a more negative flavor. At home, I used the thesaurus and found these words for persistent: perseverance, tenacious, determined, obstinate, stubborn, pushy, relentless, insistent, continuing. The words for perseverance included: determination, insistence, stubbornness, doggedness, diligence, resolve, drive, purpose, tenacity, dedication, devotion, tirelessness, pushiness.

When you compare the two lists, the words are very close in meaning. But the diligence, resolve, drive, dedication, devotion and purpose in the perseverance column, convinced me that I made the right choice in labeling my character as exhibiting perseverance.

As writers, taking the time to drill down to the finer meaning of the words we choose can help us better define characters, their goals and motivation, and our stories. Think of this exercise like an artist painting a color wheel. The primary colors are placed within the wheel, then the artist must mix the paints to move from red to red-orange to orange to orange-yellow, and finally yellow. All the gradations between red and yellow are shown in the small space on the wheel.

If we became adept painters with our word choices, we can convey more depth to our readers without having to resort to telling them what we want them to know.

Let's look at another word pairing. Do you want to humble an arrogant character or do you want to humiliate him? When someone is humbled, their pride or rank is lowered. But when you humiliate a character you shame him, usually in public. That character loses self-respect and the respect of others. Again, as writers the careful choice words we use to describe the humbling or the humiliation can help us convey the feeling we want the reader to experience. There's a big difference between calling a lover a "boy toy" or a "friend" or a "sweetheart" or a "partner."

I've been guilty of using my thesaurus to find a synonym quickly. A good thesaurus can do much more than that, if we're aware of the gradations of meaning as we look for a "better" or "fresher" word. A partnership can be an association, a connection, a collaboration, or an alliance. By choosing a more descriptive word, we can subtlely convey more meaning without having to spend precious word count to explain what we're trying to say.

You don't need to be tied to a dictionary or thesaurus to be mindful of your word choices. And you don't need to do this for every word in your story. But the important words, the words that describe your characters' emotions, their character traits, the turning points, deserve extra time and thought. 

Taking time and care with critical words is like using the right tool for the job. When you have the best word to describe a situation, that word does your work better than a paragraph of explanation ever could. The pace of your story isn't slowed with exposition or back story. The reader builds and fills in details that enrich their experience and make that experience unique to each reader.

Take a few moments to think about how you could describe a plain Jane character on the first page, using one word to convey much more than the cliched plain Jane. Don't turn to a thesaurus. Picture the character. Watch her. Make up a backstory for her. Then sift through words until you find the best one to describe what you want a reader to know about this character.

You'll find this gets easier, and it will help you hone in on your characters' important traits. And an added side benefit: you'll find yourself writing fresher descriptions, combinations of words you haven't seen before.

 

Do you have an example of a refined word choice that you'd like to share?

Why did you choose one word over the other?

 

ABOUT FAE:

Fae Rowen discovered the romance genre after years as a science fiction freak. Writing futuristics and medieval paranormals, she jokes that she can live anywhere but the present. As a mathematician, she knows life’s a lot more fun when you get to define your world and its rules.

P.R.I.S.M., Fae's debut book, a young adult science fiction romance story of survival, betrayal, resolve, deceit, and love is now available at Amazon and Barnes and Noble.