The Changing Spy Game with Guest Blogger Eric J. Gates

Eric J. Gates

Historical Deception


There was a time, long, long ago, in a galaxy not too far from where you’re sitting, when spies did more than sit at a desk in some underground bunker and punch a keyboard. There are still a few who do otherwise today, but in the main, they are in the minority. Yes, for younger readers, I am talking about the [hushed voice, looks furtively around] pre-Internet times of global espionage.

If you ask most spy novel reader about ‘classic’ books in their preferred genre they will immediately jump to Le Carré and particularly George Smiley. His adventures in a time when the Cold War was at its chilliest and the Cambridge Five (Philby, MacLean, Blunt, Burgess and Cairncross) were the trending topic of the day. For our American readers, and people born in this century, these were a group of Soviet spies recruited in Cambridge University in the 1930’s, who were active especially during WWII and after, as late as the 1960s, while also working for British Intelligence. Le Carré used them as the inspiration for his own novels ‘Tinker, Tailor, Soldier, Spy’ and ‘A Perfect Spy’, as did playwright and novelist Alan Bennet for three of his works. And I’m sure many recall the 1987 movie ‘The Fourth Protocol’, based on an earlier novel by Frederick Forsyth, which makes use of Philby as the instigator of the plot to smuggle a nuclear bomb into the UK.

Now what you have just seen are three, and by no means the only three, instances of real historic spies being used as inspiration for best-selling novels and plays. Yet there’s more, much more. Have you heard of a guy called Ian Fleming?

The Bond movies are still drawing big crowds at the cinemas and speculation runs rife as to who will become the next incarnation of the mythical super spy. All this sixty-three years AFTER the first appearance of Fleming’s sophisticated secret agent who always presented himself with his surname first. Was Bond, James Bond based upon a real agent, you may ask at this juncture. As far as we know, the answer is no… but… Ian Lancaster Fleming did serve in British Naval Intelligence during WWII although apparently he was considered too valuable as Admiral John Godfrey’s assistant (the supposed inspiration for ‘M’) to be sent in person on dangerous wartime missions.

Today, we are inundated with the techno-spy who is far more at home behind a keyboard while some hapless associate, maybe on the other end of a satellite-linked earwig (that’s what they are called, people), is running the gamut of all the bad stuff the enemy can throw at them (think Chloe O’Brian and Jack Bauer for example).

Yet between these two were the grey areas (dare I say it again?) pre-Internet when the quantity of secret information grew exponentially and the need to analyze this was still centralized (in the case of the British Intelligence services, in London). No, you could not encrypt it into a .zip file and dump it into Dropbox! Someone, a real live human being, had to travel physically to where the information was, collect it safely, then courier it to its destination. And, yes, the traffic was two-way. Imagine a small horde of clandestine custodians running around the world like so many stealthy ants, each the concierge of some covert crumb which must be delivered with haste to their final objective while at the same time dodging ‘the opposition’ (friendly and not-so-friendly intelligence agents). Exciting times, and ripe for a book or two, you might think.

When fellow writer Mark Fine approached me to contribute a short story to a new anthology he was compiling, ‘Crooked Tales’, the premise of an abbreviated tale with a twist aimed at catching the reader out was like music to my ears. I had just finished writing a techno-laden novel where prime numbers were used by hackers to steal government secrets (‘Primed’, the sequel to ‘Outsourced’) and so I decided to seek inspiration in less-computerized times. Thus was born ‘Death of a Sparrowman’ (yes the title does kinda sound familiar, right – the deceit started right there) where I tell the story of one such covert messenger and how he is still rolling with the punches in our times still doing a job which was born many centuries ago. Inspiration can be found for intriguing and original storytelling by turning the pages of history back and examining, in this case, the evolution of the second oldest profession. If you are a writer, whatever genre, you might like to take a look at history as a starting point for your next novel. There’s an old saying about those who ignore history are condemned to repeat it, so why not do so on the pages of an original novel?

A huge thank you to Eric Gates. His story (and one of mine) can be found in  our new anthology.

You can download your copy HERE.
Read it for FREE if you KU!

As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you helpful articles and keep ThrillWriting free and accessible to all.

Predators 101: Info for Writers

(Photo credit: Wikipedia) 

How a Predator Courts His Victim and How to Save Your Heroine



DISCLAIMER - This is a non-political site that is geared to help writers write it right. I am presenting information to help develop fictional characters and fictional scenes. In no way am I advocating any position or personal decision.




Your heroine was distracted. Who could blame her? You've written all kinds of drama into the poor girl's life. Amazing that her head didn't explode. At least you were nice enough to write in a bar of chocolate; and right now, that's where her focus is. Chocolate. Not Predator.


The predator approaches -


Did you know that various statistics show that 3/4 of all attacks on women are performed after verbal threat alone? Women are often socialized to not cause a scene.


One way a heroine falls victim is the Blitz. The predator jumps out of nowhere and tries to overwhelm her. This kind of attack is rare. The response of your heroine would be to SCREAM!!!! and fight. And that is not what the predator wants. The predator wants to assert control over the situations. He's picked his victim and now he moves in to confront her. After a victim is sized up, she is courted. Here’s how:


Teammates - using the word “we.” "We’re in this together." "We’re on the same team." If the heroine doesn't know someone, and they are suddenly using the “we” word? She should focus!


Charm - This person is charming. This person is so kind. FOCUS. Why would the guy come over and help your heroine put her groceries into her car? That’s not a normal behavior. A normal guy would go about his business and let her go about hers. A guy whose attention she attracted will help her put your groceries in the car - don’t let it flatter the heroine. This guy wants something. Say “No. Thank you.” and stick to it (see discounted “no” below).



Details - Someone who is telling the truth believes that the truth speaks for itself. When the heroine starts getting too many details, she should FOCUS. The nice guy says something pleasant as he goes up the stairs. "I’m going to the same floor as you - let me help you with the groceries. I’m going to your floor because I have to feed my best friend's dog." Cons use words to distract us. Too many words - too many details.

Pigeonholing - A con who makes your heroine feel badly for a perception she gave off needs her focus. An example: “You’re probably too snobbish to talk to me.” The answer? None. Don’t let your heroine get sucked in. Or she could say, “I don’t talk to strangers.” And then don’t let your heroine engage when the predator keeps trying to push her off the point. If she doesn't talk to strangers, she should not let him prove otherwise by goading her into saying something - anything to him or he has gained control. (see Discounted No, below)


Debt - When someone does something for her and that puts her in his debt. “Let me carry that bag for you.” He’s nice. He didn't take no for an answer. And now she owes him. Hmmmn.

Promises - “I’ll just walk you to your car and make sure you're safe. I promise.” If she hears an unsolicited, “I promise,” it’s probably a lie, and your heroine's probably in trouble. She needs to come up with an exit strategy - now!

Blog Link to LIARS

Discounting the word “no.” - She said, “No, thank you,” and the con still pushes her on the point? “It’s no trouble - I’m glad to help.”


Video Quick Study (2:24)

• First scenario is a blitz.
• Second scenario shows: "Pigeonholing," "Charm," "Discounting No".

So what is happening for your heroine?


A victim will respond to very little intensity with a rush of adrenaline. One of the effects of adrenaline is for the victim to stop breathing. Having your heroine speak gets her breathing and allows her to function under high stress. So if you want your heroine to move through the scene, get her talking (not screaming).


When your heroine experiences a rush of adrenaline, she will generally respond passively or aggressively. Her reaction will depend on personality traits and acculturation. A woman growing up in a rough neighborhood will respond differently than a woman who grew up sheltered and in a male dominant household.



PASSIVE - 

The Heroine - will beta stance - cave her shoulders, lower her head, turn to an angle. The Predator - will be thrilled! He will increase his aggression, escalating his controlling/abusive behaviors. A passive respondent means he has found his victim and can control her with his voice and body language alone.


Blog Link LIMBIC SYSTEM



AGGRESSIVE

The Heroine - responds with an alpha stance, loud voice, aggressive body language.


Blog Link:Trouble! Body Language 101 for WritersWriters

The Predator -

The response of most aggressors to aggression is fire on gasoline. An aggressive predator will not de-escalate, so now you have a fight on your hands.Was that your plot line all along? Good - because they are going at each other's throats.



Assertive Behavior - 

Will signal the predator that your heroine is not an easy mark. It will help the aggressor to make other behavior decisions. But it will NOT guarantee that violence is not imminent.

If the body language (see above link) shows aggressive body language ramping up, she should be prepared to defend herself and risk serious injury to prevent herself from being taken to a secondary location.


Blog Link - A Heroine's Plan to Escape Car abduction

The Assertive Heroine - Maintains distance, has a neutral stance with hands up (She is prepared to move into a defensive stance if things escalate but will not tip her hand that she knows how to defend herself. She needs to maintain the element of surprise).

As much as is possible the heroine would maintain neutral eye contact, facial expression and voice tone (to begin with).

“I said no. And I mean no!” Use her stern "I take no shit" voice.
She is no longer polite. Let nothing change that “no” or the guy
has power and knows he can manipulate you. I liken this one to
my kids whining at me, whining, and whining until finally I say,
“FINE! Just take the darned cookie and be quiet.” What did I just
train my kid to do? Hang in there and whine obnoxiously because
soon I will give in. What did I train the con to do? - Push me and
push and push and I’ll give in. "NO!" and stick to it.


Blog Link The Man Had His Penis In His Hand; How NOT to Leave Dance Class


Aggressor - An aggressor will respond to assertiveness by extracting themselves from the situation.



A Predator will continue to push back and try to intimidate the
heroine using the above scenarios. This is where the heroine
escalates to protective mode. Remember, once your heroine
engages, she's committed. She must stay in the fight until she can
escape.


Blog Link - How to Dress Your Characters so She Has a Fighting Chance



Ideas developed in this blog are an extension of a book review that I did on Gift of Fear by DeBecker. 

As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 

helpful articles and keep ThrillWriting free and accessible to all.

I Spy: Words Thriller Writers Should Know

Seal of the C.I.A. - Central Intelligence Agency of the United States Government (Photo credit: Wikipedia)

Have you been watching a lot of spy movies for research? Do  you have your pad handy so you can accumulate a fabulous spook vocab? 

From ThrillWriting friends who come to this blog to share their expertise, I have learned one very important lesson (well, no, I've learned a TON of lessons, but this is the overarching take-away), don't believe anything you learn in the movies unless it was recommended as authentic by someone who spends their careers in that situation. For example, last night I watched PROOF OF LIFE after it was recommended to me by Rock Higgins. Wonderful movie. Lots to learn. 

But this article is about words. If you are writing espionage, (which I am working on right now) here's a short list that might be helpful. First, a word of caution, if you pepper your work too heavily with spy words, readers may get slowed down trying to understand the new vocabulary; a word here and there gives authenticity. Also, if you're using a new term like "cut out" go ahead and define it for the reader through dialogue or action. Secret words make people feel that they're "in the know", and then they're included and invested in the private world you're creating.

• Agent - This is a person who is unofficially employed by an intelligence service, often as a source of information. This one caught me by surprise; I thought that the official employee was an agent, but this word is a synonym for asset. My fear is that using agent instead of asset would confuse a reader.
• Agent-in-Place - This is an asset who works for a foreign government but provides intelligence to us. They get their regular paycheck from their government, and they get a paycheck from Uncle Sam. 
• Agent of influence - This is someone working for a foreign government who is a decision maker and who can help manipulate their policy to be pro-America. (Paul Manafort's influencing the Republican party to change their Russian platform is an example - only not in our favor)
• Asset - This is the same as agent. They provide info to our spooks usually in exchange for something that they want - be it money or visas or get out of jail free cards.
• Babysitter - is the person set up to protect an asset - the bodyguard or close protection detail. Related article HERE. In my LYNX books, I call them "watchdogs" because the Strike Force men needed a more active/dangerous name than babysitter.
• Bagman - The guy with the bags of money. He's the one who pays the assets and bribes authorities. I'd think these people would have to be of extraordinary moral fortitude. They're handling a lot of money, often untraceable, and giving it to people who don't write receipts. Lives are on the line if this person should suddenly decide that they'd like to go live on an island somewhere and drink mai tais  under an alias.
• Bang and Burn - Sounds like a bad date. Ew! Sorry for the visual. This is the spook who does the demolition and sabotage operations. In my LYNX books this is Axel White. Related article HERE
• Black Bag Job - when a spook goes into a building to get hold of materials either by taking them or copying them.
• Black Ops - A spook goes into an operation disavowed. If they get caught, then their mothership will deny any knowledge.
• Black Propaganda -  Is basically disinformation that can't be traced to a source. Sort of the ultimate rumor mill.
• Blown - Whoops, someone's true identity is revealed. A spook might be outed or an agent's secret work is exposed. Blown is bad.
• Bona Fides - this is proof that you are who you say you are.
• Bridge Agent - This person takes information from a case officer and delivers it to an agent (asset) in areas where deniability is required.
• Brush Pass - the person who is walking out in public and something is passed from one case officer to another. They might be walking and simply hand it over, or they could sit at a bench and put a bag by their feet, someone else comes and sits beside them then picks up the bag. It's a public clandestine exchange.
• Burned - A case officer or agent is compromised.
• Camp Swampy - A synonym for "The Farm" where they train CIA employees.
• Case Officer - runs the operations and manages assets.
• Chief of Station - the officer in charge of a foreign (for the most part) CIA station.
• Clean - Unknown to enemy intelligence; the antonym of blown
• Cobbler - A spook who creates false passports, visas, diplomas and other documents Related article HERE
• Compromised -Syn blown
• Controller - syn handler. It's an officer who is in charge of an asset.
• Cover - The persona taken on so the officer can infiltrate. It is imperative that the officer has background in this area. A language major couldn't use a bio-medical engineering cover, they'd be blown the first time they had to have a conversation on the subject. 
• Cut-out - It's a way of passing information or materials securely. This could be an actual physical  compartment, or it could be a procedure between those on an operation. It is also the term used for an asset who works as an intermediary between two people.
• Dangle - A person who wants to be a double agent. A foreign intelligence agency sends their operative to America in the hopes that they'll be recruited as a spy. If that works, then they can gather intelligence or they can spread disinformation. Remind your spook to be careful whom they trust.
• Dead Drop - A clandestine location where materials can be left by one person and retrieved by another.
• Discard - If your character has been tagged a discard,  they're in for trouble! This is an asset that their handler will allow to be detected and arrested in order to keep a more important asset safe. Similar to "throw away".
• Dry Clean - countersurveillance - the things that operators do to make sure they aren't under surveillance.
• Escort - The person who leads a defector down their an escape route.
• Exfiltration Operation - Is a rescue, bringing those affected out of harm's way. This could be, for example, a defector, a refugee, an operative. 
• Floater - Someone used only one time, occasionally, or even unknowingly for an operation
• Handler - A case officer who is responsible for an asset (controller)
• Honey Trap - those using sex for the greater good to intimidate or "trap" someone. See "raven" and "swallow".
• Infiltration - clandestine movement of an operative in an area.
• L-Pill - A suicide pill.
• Legend - A spy's background or biography, usually supported by documents and memorized details. Gives new meaning to someone who is legendary, doesn't it?
• Mole - Someone sent to penetrate a specific intelligence agency by gaining employment. Another reason for your character to be paranoid. The idea of a mole is a theme in my book CUFF LYNX. It was interesting to explore the idea of a mole at Headquarters and how just the possibility could affect morale and inhibit work output. Remember, a mole acts like your character's best friend, everyone is suspect and everyone is trying to watch their backs.
• Naked - an operative with no cover or backup. Yikes!
• Paroles - A french word meaning word, speech, lyrics. They are the passwords to identify intelligence personnel to each other
• Plaintext - The original message. A message that hasn't been encrypted
• Playback - When a spy provides false information to the enemy but gets accurate information from him or her.
• Pocket Litter - This is an important writing detail. For a related article go HERE. These are the items in a spook's pocket placed there purposely to add authenticity to his or her identity. It might be a receipt, or a prescription, or an domestic item. For example a woman with a mom cover might have some crayons in her purse and a container of goldfish.
• Provocateur - Someone sent in to rile up a target group. The end goal is to entrap or embarrass them.
• Raven - A male agent who seduces people for intelligence. The female counterpart is "swallow". Yeah, they went there.
• Rolled-up - when an asset is arrested. This might have been planned/optimal see "discard" and "throw away".
• Sanitize - When specific material is removed from a document so that the identification of intelligence sources and collection methods can't be detected/followed.
• Shoe - is a false passport or visa. This gives a whole new meaning to "I bought a pair of cute shoes today."
• Spymaster - The leader of espionage activities. The spook with the kick ass trade craft.
• Station - a location from which an operation functions. 
• Steganography - Ways to  conceal the fact that a message even exists (secret inks or microdots) Steganography tools
• Swallow - A female agent employed to seduce people so they can be used to for intelligence in some form or another. Who the heck came up with this term. :/
• The Take - Is the information that was gathered.
• Throwaway - is an asset that is considered expendable. Your character doesn't want to end up on that list.
• Timed Drop - is a dead drop that where the materials will be picked up at within a certain window of time.
• Tradecraft - Methods used by operatives to get their job done. This includes surveillance techniques, running assets, ability to done and keep a cover, data gathering, and sure, if need be, fighting skills, among others.
• Traffic Analysis - intelligence gained from the patterns and volumes of messages of communications that they are intercepting. You might hear in the news where the FBI identified an increase in traffic on certain sites before an event. Intelligence is trying to keep an eye on traffic to spot the patterns and thwart the outcome.
• Uncle - Spy service Headquarters. 
• Walk-in - Someone who wishes to defect and goes to an official installation to ask for political asylum or sometimes they volunteer to work in-place
• Window Dressing - That's all of the extra information included in a cover story or deception operation that are in place to help convince others that what they see is what they get. Window dressing rounds out the character they're playing. So a spy might have a tennis racket and sports bag in their trunk if the perona they're portraying does that as a hobby. If they said that they're married with two kids, they might put fake pictures on their desk with kids art on their cork board.

DIFFERENT KINDS OF INT (Intelligence)

• COMINT - intercepted communications that provide intelligence
• ELINT - electronic intelligence
• HUMINT - from a human
• IMINT - is "imagery intelligence" 
• PHOTINT - Photographic intelligence. This is often gathered from spy satellites or aircraft
• RADINT - radar
• TECHINT - technical intelligence. 
• SIGINT - Signals intelligence includes COMINT (communications intelligence) and ELINT (electronic intelligence) Related article go HERE
  
  As I was writing this article, I consulted the Spy Museum's website and learned about "raven" and "swallow" for the first time. They have some great historical terms there too. Check out their list HERE
  
  
  As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 
  helpful articles and keep ThrillWriting free and accessible to all.

What I Found When I Went on a Manhunt: Information for Writers.

Manhunting - sounds like something I did in my earlier days before I found Hubby. But that's not what I was up to this particular weekend. I took part in a three-day training in tracking humans.

So perhaps some plotting fodder if your character suddenly goes MIA in your storyline.

When your missing character is reported to 911, the police will come out and start to put the basic pieces of the puzzle together. 

The police are usually not trained in search and rescue techniques. This is a specialization, and it is performed by volunteers. Search and Rescue volunteers go through a great deal of training and practice because the skill sets need to be built upon and these skills are perishable - that is "use it or lose it." 

But within the search and rescue community there are specializations. 

• If your missing character was in a plane they'll call CAP - Civil Air Patrol (my character Lexi Sobado in Missing Lynx depends on this training as she escapes the bad guys) 
• The Coast Guard searches for people missing on waterways. 
• If your character is in the mountains or treacherous terrain, they may need a technical crew.
• There's the search and rescue people who do land navigation and terrain searches
• Trackers - or manhunters follow human tracks to try to find the subject or at least give a direction of travel
• Equine team
• K-9  - is a broad group where the dogs train in their own specialization.

This particular weekend, I was training with Search and Rescue Tracking Institute. It was a three day hunt/training. 98 degree heat, high humidity, little to no breeze. If someone went missing in that kind of weather they would be in dire straits. The chances for heat stroke were high especially if they weren't properly equipped or didn't have a good water source.

Here are some myths that were debunked over the weekend:

• You must wait 24 hours to report a missing adult. There are amber alerts for children, and silver alerts (for the elderly and those with dementia) but if your character is supposed to come home at six, and they aren't there, then her love interest calls honey bun's work, and they never showed up that day, there's no need to wait until 7:30 the next morning. Certainly, if they were supposed to exit a trail at 4pm and now it's dark, your character's BFF should be alerting the rangers ASAP.
• You can't search at night. Actually, I thought it was much easier to search at night with a flashlight. The trail was much more obvious.
• It's easier to search with the bright sunlight. The sun overhead made finding tracks really difficult. We'd use our hats to try to shade areas where we thought we might find a footprint. We'd also use our flashlights during the day to try to get the angle of the light to show the ridges in the footwear.
• You can tell by the size of the shoe or the length of the gait how tall the person was, their sex, how heavy, that they were right handed. . .  You can't tell anything about the physical characteristics of a person from their shoe print. All you can say is, "that is a shoe print."
• A tracker knows which shoe prints to follow. No, they don't. They need help. Did your hiker do the right thing and leave aluminum foil prints? (See video just below) Does the family know what kind of boots the hiker likes to wear? Did they run away barefooted? The tracker looks at ALL the tracks and tries to decide which is the most likely. As we passed people on the trails, we'd stop them and ask if they'd mind if we took a picture of their soles. This gave us a library of shoe prints that we could eliminate.

• A tracker can tell how long ago a person walked down the path. Sometimes they can give it a good guess and sometimes they can't tell at all. As a matter of fact, I was testing my "aging" skills on Sunday next to a master tracker. There were five sets of tracks, each track was set up at a different time within 72 hours. What time was each track made? To be honest, there wasn't much of a difference at all between the five, and I was pulling random numbers from the air. I was glad to learn that I wasn't the only one thwarted by this task. The master tracker said he couldn't find the differences either. Weather conditions, sun exposure, and type of terrain all impact one's ability to make good judgment calls on whether this track was just laid or it had been there for days and days.
• You can just send out a drone to search and area.  Drones are impractical in most wilderness search areas because of the tree canopy. Also, there are a TON of regulations which make it impractical in other areas, too, such as, you can't fly over anyone. They are coming up with regulations so searchers can eventually use them but that will be another specialty and require basically a pilot to work the apparatus. But for now, know that writing the use of drones for search and rescue in America would be writing it wrong.

One of the days we were tracking, they also had K-9 involved so the manhunters and the K-9 handlers could discuss ways the different teams could best work a task together. These particular K-9s were air scenters and HRD (human remains detection).

I wanted to see an HRD K-9 in action so his handler hid a tooth in the rocks at a campfire. Once he was in the area, the K-9 walked right over to the fire pit and looked like he was thinking about it, walked a circle around the pit once, then sat down right beside the tooth. It was invisible to the naked eye.

This is a picture of the handler giving the dog his green light to search the area as she released his leash. You can see right from the get-go that K-9's nose was pointing toward the fire pit. (far left of the photo).

And here he is getting his reward, which for this K-9 was high pitched vocal praise and lots of rubbing and petting.


Next, I got to be the lost person to show an air-scenting dog in action.

Can you see me in the log? I'm laying on my red poncho.  On this task the dog started, oh I'd say about a football field away. I thought that I'd have a chance to take a little nap. . . but in short order, I heard him coming toward me. 

Now, let me stop and tell you what this is like to be on your back without a visual field in the woods and have an animal coming at you at full speed. I knew it was a dog, but still everything in me said "stand up and get big." It was incredibly vulnerable feeling to hear the leaves crunch and the galloping feet. And then out of nowhere a furry face was peering down at me. He didn't stop and give me a lick or interact with me at all. He moved in for verification, and then took off again. I'm told that this interaction depends on the dog. The lab in their group likes to stay and get pet and give kisses before he goes to report his find. One thing I can say was that when I was found the K-9 radiated joy. His whole body felt like a great big "WHOOP! I win!"

This is a picture of the K-9 reporting back to his handler that he found someone.

After the K-9 brought his handler to me, he was rewarded with play; he got to have a tug of war with his ball. 

If your character goes missing because they were injured, lost, or abducted, Search and Rescue will work the case until your character is found. There's one open case in our area that the teams have been working for over five years. It bothers every one of the people on the team that they haven't been able to bring this person's remains home to their family. They keep sending teams out to look. So when you write your plot, even if the case goes cold, SAR will keep at it. But also, remember as you write that these are volunteers, and they show up as they can from their daily lives. 

Related article:
Heat Stroke info for writers an article by Patti Phillips HERE
Hug a Tree - surviving lost in the woods HERE
Cadaver dogs HERE


As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 
helpful articles and keep ThrillWriting free and accessible to all.

Creativity - Recipes from A Jail: Character Development for Writers

Amazon Author Link

In this article, we have not just one but two prison recipe treats. Thanks to the help of Harriet Fox, who is a writer and a California Corrections Officer, we will learn how to make a celebratory cake complete with icing and a some very spicy hot tamales.

To read Harriet's article about her work as a female corrections officer in a male jail, go HERE. 

If you want to understand the difference between a prison and a jail, go HERE.

With Harriet's help and the kindness of two of the men who are in her jail, we have two recipes to help us further write our characters right.

Some of the items an inmate had in his cell.

Fiona - 

How do inmates heat their food?

Harriet

The hot water pot is in the dayroom. Sometimes they will prep their foods and put them back inside a plastic bag and then put on top of the hot water pot to cook. Some recipes do not require that. Some deputies allow inmates to do that, while some do not.

Harriet (cont) - 
In the hot water pot picture, you will see a plastic pitcher. Inmates take their large potato chip bags and open them on both ends... they slide it through the door jam where it closes...with both sides open on either end of the door, the pitcher pours in one end and the inmate behind the door has his cup up to the bag. They get hot water throughout the shift from the inmate workers we choose to use to clean/help out for that shift. I bet if I tried, the water would be all over the floor! Amazing jail tactics inmates use; super smart with what they have.

Fiona - 

These sources were photographed and are offered in their original form. If you have trouble reading them, perhaps zoom out on your computer. I'm afraid that on a phone this will be difficult. My apologies.

This is  Commissary form (called Canteen in prison)

Harriet - 

The form is filled out. You will see all the stuff they can order. The prisons I have been to have the Canteen store window by the Yard.

Fiona - 

And from the items that they can purchase, with a limited range of cooking utensils, cookware, and  means to prepare and cook, the inmates have devised their own cuisine. 

CAKE

HOT TAMALE

A big thank you to Harriet for her help and to the men who shared this with us. You can check out Harriet's writing at this  Amazon Link

As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 
helpful articles and keep ThrillWriting free and accessible to all.

The Company You Keep - Does Your Character Act "Out of Character" in a Group Dynamic?

Dr. Vivian Lawry

A big welcome to Dr. Vivian Lawry. Vivian holds a BA, MS, and PhD in psychology and was a professor of psychology prior to her retirement.

In this article, we're talking about what happens to a character when they get into a group where a character might act "out of character", which is a fun way to develop the plot

Can you first give us a working definition for "group"

Vivian - 
We usually think three or more, but some "group" effects are present even with only two. Also, the "group" needn't be physically present to exert influence.

Fiona - 
Can you explain that last sentence?

Vivian - 
Some group memberships are literal memberships--for example, a church congregation, sorority, bridge club, etc. such groups are often in our thoughts, and serve as a reference or standard for behavior even when the member is alone.

S one group (Photo credit: Wikipedia)

Fiona - 
Does "group mentality" work both ways? For example, people in a riot become riotous, but people in a disaster, where they see all hands on deck, become heroes?

People in a religious forum feel more religious. . .sort of like a magnifier?

Vivian - 
Absolutely. I just mentioned formal groups--which are the ones having the strongest influence at a distance-- but crowds, mobs, any physical gathering of people, shapes our behavior to act or remain passive. 

Fiona - 
Can you give us a short tutorial on what we need to know about group dynamics to help write our characters right?

Vivian -
Well, there is a phenomenon known as behavior matching, a tendency to do what others around us are doing. This is reflected in everything from eating to body language. Even a person who has eaten his or her fill will eat more if someone else comes in and starts eating. If others are slouching, your character isn't likely to remain formal.

Fiona - 

Yes, it's hard to pass up a piece of chocolate cake when everyone else is moaning about how delicious it tastes.

Just sayin'



Vivian - 
A related phenomenon--I suppose it could be a subset of behavior matching-- has the label diffusion of responsibility. This is the tendency for people to stand passively by when others are present. There was a classic case, decades ago, in which a NYC woman named Kitty Genovese was murdered in the courtyard of her apartment. The murder took approximately half an hour, and dozens of her neighbors watched from their windows. No one came to help or even called the police. The more people who could help, the less likely anyone will take responsibility for doing so.

And then there is group disinhibition. This is sort of the opposite. It is that people are more likely to take risks, break the law, be violent when others are doing so. Think looting, or harassing a homeless person. Disinhibition is even more powerful when alcohol is involved. I recently posted a blog on alcohol for writers that goes into that a bit.

But the bottom line is that we behave differently with others present than when alone.

(LINK to Vivian's blog article - alcohol and character development)
(LINK to ThrillWriters' article - math formula of drunkenness)

Fiona - 
So there's a lot that can go on - lots of different ways we could route our character either toward the good angels or to the lowest common denominator. Is a character aware that she is acting out of character in the moment? If yes, what kinds of self-talk might they experience?

Vivian -
Sometimes there is conscious self-talk, especially if it is something one doesn't ordinarily do, such as taking drugs. One might think, "It can't be that dangerous, all my friends are doing it. Will they think I'm a wimp if I don't? Will they still be my friends?"

Self-talk is less likely in a riot, or emergency situation with adrenaline mixed in. People are just generally less thoughtful.

Perhaps we should give a nod to the power of individual action here. Although people are unlikely to break from the group, when someone does, it's often empowers others. For example, if someone is urging gang rape and one man speaks out forcefully, refusing to participate or even take stronger action, others are likely to follow the rebel. It's difficult to be a minority of one, but having someone to rally around makes it easier.

Fiona - 
You were talking about an adrenalized episode where actions outstripped thought process. Now, we move to the next scene where the character is reviewing their actions OR are confronted with their actions. What types of internal gymnastics might go on?

Vivian -
The first is likely to be, "Hey, everyone was doing it." Another common justification is blaming the victim, who was asking for it, deserved it, etc.

Somewhere in here, we should mention that sometimes the presence of others inhibits undesirable behavior, such as theft, spousal abuse, etc.

Fiona - 
What question should I have asked you so we have a better understanding of the subject?

Vivian - 
It just remains for the author to decide how her character behaves vis a vis others AND WHY. Almost any behavior is believable if the justification is clear to the reader.

Fiona - 
THIS article on OODA loops might help you to walk your reader through the internal/external event so everyone walks out the other side of your passage on the same foot.

You can see how Vivian uses her background in psychology and group dynamics in her short stories.


DIFFERENT DRUMMER: A Collection of Off-beat Fiction. Thanks! 

Virginia Is for Mysteries II

Thank you so much for your insights, Vivian. ThrillWriters, if you want to stay in touch with Vivian you an reach her on her 

website, and you can follow her on Facebook.

As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 

helpful articles and keep ThrillWriting free and accessible to all.

Special Agents and the FBI: Info for Writers with Dana Ridenour

ThrillWriting welcomes special agent, retired, Dana Ridenour.

Fiona - 

Would you tell us about how you found yourself in the role of special agent for the FBI?

Dana - 
It all started on a band trip when I was a sophomore in high school. Our band went to Washington, DC for a competition and part of our trip included a tour of the FBI Headquarters. I left the tour and told everyone that I was going to be an FBI agent. I was 15 years old. 

As far as my background, I was born in Louisville, Kentucky. After graduating from Meade County High School in 1984, I attended the University of Kentucky. After two years at the University of Kentucky, I changed my major to Police Administration and transferred to Eastern Kentucky University where I graduated with a Bachelor of Science in 1989. I wanted to become an FBI agent more than anything, but at the time the FBI was primarily only hiring lawyers and accountants. So, after college, I attended Chase College of Law and earned my Juris Doctor in 1992. 

The federal job hiring freeze hit in 1992 and lasted until 1995. I took and passed the SC Bar Exam and practiced law at a small law firm in Georgetown, SC. I was hired as a special agent for the FBI in November of 1995.

Fiona - 
Can you tell us the basic qualifications for serving as a special agent?

Dana - 
To be considered for an FBI Special Agent position, a candidate must have a four year college degree, be between the ages of 23-37, and have some work experience. 

The average age of the agents in the FBI Academy is about 29, so the Bureau rarely hires people right out of college. 

A candidate must fall into one of the five FBI Special Agent Entry Programs to be eligible for employment: 

• Language 
• Law
• Accounting
• Computer Science/Information Technology
• Diversified.

Fiona -
Have you read books or watched movies and thought - "No that isn't right at all!"? What are the biggest mistakes you've seen and how should we fix them?

Dana - 
The FBI is hardly ever portrayed factually in novels, television, or movies. I think the biggest mistake is making the FBI look like it has all of this outstanding technology. 

The FBI is always behind on technology. I remember when I arrived at my first office from the FBI Academy and took one look at the antiquated Dell computer sitting on my desk, I thought to myself, Is this a joke? This can't really be my computer. 

The other HUGE mistake that the movies and television make is having the FBI swoop in take over their local cases. That simply does not happen. The FBI stays busy with federal cases, so the Bureau does not take over homicide cases like portrayed on TV. If a case is found to fall into federal jurisdiction, then the FBI does take over the case as in cases of terrorism both domestic and international. Police departments will sometime ask for FBI assistance with cases, but the FBI does not take their case when that happens. The FBI assists with whatever the local or state department needs, then allows that department to prosecute the case however they chose.

As far as fixing the problem, they should hire me as a consultant!

Fiona - 
Yes they should! 

ThrillWriting is a big proponent of hands-on experience to write it right, but sometimes that's just impossible.

Dana -
In all seriousness, they should hire more retired agents as consultants to give the shows more authenticity. I think most people would get bored watching FBI agents sitting at a desk doing paperwork which is reality.

And talking to an expert is the best way around this.

Fiona - 
Dana, how much of the time were you in the field and when you were in the field can you talk about your clothing choices? Did you ever try to run down a bad guy in strappy heels and a Greek-draped dress?

Dana - LOL

I consider myself extremely lucky because I spent my entire twenty years working on the criminal side of the house. During my twenty years on the job I was assigned to four different FBI Field Divisions and had the opportunity to work a wide variety of cases to include multi faceted narcotics investigations, domestic sex trafficking of minors, and violent crime. 

Working primarily on drug and violent crime squads, I almost always dressed in jeans and baggy shirts that I could conceal my weapon under. I had to be ready to run at a moments notice, so I avoided stilettos. On the rare occasions that I did dress up for court appearances and such, I had a change of clothes in my Bureau car. I never went anywhere without a change of clothes. 

My first office was Mobile, Alabama, so you never knew when you might be chasing someone through the swamps and get all wet and dirty. One of the first things that I did when I retired was get rid of all my oversized shirts. I had Columbia shirts in every color and I was happy to donate every one of them to Goodwill.

Fiona -
What equipment was part of your EDC (every day carry)? Which piece of EDC did you use the most/find most helpful?

Dana - 
I never walked out the door without my FBI credentials, badge, gun, and handcuffs. 

There is a joke in the Bureau that when you leave the house you do the law enforcement pat down on yourself. You check your pockets and waist for your badge, gun, creds, and Bureau car keys. 

Although I never had to shoot anyone, working mostly drug matters, the gun was my most helpful piece of equipment. I probably used a small flashlight more than any other piece of equipment that I owned. A pocket-sized flashlight is a great piece of equipment. 

I spent about half of my career as an undercover agent which is a whole different ballgame. When I was working undercover, I didn't carry my gun, badge or credentials. In fact, I didn't carry any kind of identification that had my real name on it. I dressed for whatever my role deemed necessary. During the days when I worked undercover infiltrating the animal rights extremists, I was vegan which meant that I didn't wear any leather products. I wore a lot of hemp and canvas in those days.

Fiona - 

Tell me about being a woman in the bureau - did you get to do interesting assignments that your colleagues didn't because of your gender? Twenty years to now - what do you see as changing (if anything) for women in the field?

Dana - 
I get asked the female question a lot. I can honestly say that I was never treated any differently because I was a woman. I was lucky to land on squads with fantastic people. Most of the time I was the only female on my squad. I'm not easily offended which made me able be blend with my squad-mates and be "one of the guys". 

I think some women have trouble with this concept, but for me it was easy. I didn't want special treatment because I was a female. I think my male squad-mates appreciated the fact that I tried hard to fit in and not be judgmental. 

My first undercover role came about because I was a woman. I was the only female on a drug squad and DEA needed a female undercover. They didn't have a female in their office, so they asked to borrow one from FBI. I had never done any kind of undercover work, but the case was fairly short term and only required a few meets. The case targeted a medical doctor who was trading prescriptions for sex. The case was a success and I became addicted to undercover work. That was the case that made me want to apply for the FBI undercover program. 

The number of women in the FBI is growing steadily. I was fortunate to be able to return to the FBI Academy at the end of my career and take two different classes through the training program acting as their class counselor. The counselor position required me to live in the dorm with my class and be with them from the first day of class to their graduation day, a five month program. I did this two different times in the last year of my career and it was so rewarding. I had a chance to get to know the future of the FBI both men and women. I can testify that we are in good hands. 

The future of the FBI is bright. The young men and women who make up the new Bureau are bright, talented, and dedicated. I think we will see more women in FBI management in the future. I'm looking forward to the day when we have a female FBI director. I wonder if it will be one of the talented women who I mentored in the Academy.

Fiona - 
Here on ThrillWriting, we always ask about the story behind your favorite scar; would you indulge us?

Dana - 
Of course...

This might sound a little strange but my favorite scar comes from an eyebrow piercing that I had done when I was working undercover. I was preparing for my first long term, deep cover case and my alias was actually ten years younger than my true age. 

Most of the people in the group that I was trying to infiltrate were young and covered with tattoos and piercings. When I finished the investigation I had my right eyebrow pierced, my bellybutton pierced each ear pierced three times. Toward the end of the investigation an asshole SAC (I’m retired so I no longer play nice) saw my eyebrow piercing at a mandatory all agents conference. Even though he knew that I was a full time undercover agent, he insisted that I remove the eyebrow jewelry that basically left a hole in my forehead for a couple of weeks. I can cover the scar with make-up but my right eyebrow droops just a little because of having the piercing. I was probably too old to have my eyebrow pierced to in the first place. 

On my second long term, deep cover case I ended up getting a couple tattoos to better blend in with my targets. I wouldn’t classify them as scars, but they are pretty permanent. All in the name of undercover work.

I wouldn't trade any of the scars because working undercover was the highlight of my twenty year career.

Fiona - 

Getting tattooed for the job is pretty strong method acting! It shows an incredible dedication to your job.

Earlier, we talked about writing FBI characters/plotting correctly. To that end, I wanted to bring up your new book.

Amazon Link

Can you talk a bit about your novel?

Dana - 
You build relationships to betray relationships. That is the motto for the FBI’s undercover program, and special agent Lexie Montgomery is just beginning to understand what that means. 

Lexie’s first assignment is infiltrating a radical cell of the Animal Liberation Front. Underground and operating in splinter groups throughout Los Angeles, the only way in is through Savannah Riley, a new recruit. Savannah left the safety of her small southern town for the bright lights of the city. Pulled into the animal rights movement by her college roommate and a gorgeous anarchist, she sinks deeper and deeper into the dark, paranoid world of ALF extremists. As the actions of her cell escalate beyond simple demonstrations and graffiti, Savannah turns to Lexie to keep her grounded. But as the two women grow closer and the FBI’s case builds, Lexie is forced to decide what betrayal really means.

Fiona - 

Does this come from the animal rights undercover you spoke of earlier?

Dana - 
I didn’t want to write a run of the mill FBI novel. I wanted to use my personal experiences as an undercover agent to capture the psychological toll that underwork has on an agent. When an agent works long term, deep cover investigations, he or she is changed at the end of the case. You lose a little piece of yourself with every long term case.

I spent most of my career as an FBI agent working undercover. I spent several years infiltrating domestic terrorism cells, many like the ones portrayed in the novel. The novel is based loosely on real cases and real people. My mother encouraged me to keep a journal when I became an FBI Agent. I started keeping a journal when I began working undercover. I kept the journal hidden in the ceiling panels of my undercover apartment. As I worked, I documented feelings and experiences along the way. These journals were a big part of formulating my Lexie character.

Fiona - 

So this novel would be excellent background research if you're writing FBI characters.

Writers - if you have brief questions about the FBI, Dana says you can contact her. She likes to support her fellow writers.  Here are some ways you can stay in touch with her:

• Twitter
• Facebook
• Website

Thank you so much Dana!
As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 
helpful articles and keep ThrillWriting free and accessible to all.