Tag: Books

A to Z – April – 2026 – X

X is for – X Doesn’t mark the spot

…

The day he sold the house on Mulberry Lane where he had lain his head to sleep every night of his life was, he thought, the happiest he had ever been.

It was not as if it started out as a house of horrors; in fact, from the moment he could remember, about six or seven, it had been an idyllic refuge.  That was what his mother had told him, before he went to boarding school, before she remarried, before that man who told him the first day they met he was going to send him away, as far away as possible.

Those days before his world was turned upside down…

…

He stood in front of the cottage, now almost surrounded by the forest it had been nestled in.  He could just barely see the window on the second floor, a special room his first father had built into the roof, a room with a view of the valley and the small stream that ran through it, of the fields with the cattle and sheep, or crops, and then grass as far as they could see.

It was his playground to play hide and seek, to go down to the stream and swim on hot days in the summer or pretend that he was a pirate on the high seas.

And then after dinner, a story from his mother, he lay his head on the pillow and dreamed of the adventures he would have when he grew up.

Then, on a cold, stormy night, that world changed a little.  His father had been in an accident, and he was not coming home. It was just going to be them, and that life would not change.

For what seemed a long time, it didn’t.  Then another man came, a man who seemed to make his mother happy, but there was something about him.  He didn’t like him, and he soon discovered the man didn’t like him.

There was a wedding, and they went away, leaving him with his aunt, a rather severe woman who lived in Scotland, a long way away from his house in the forest.  He was there for what seemed a long time, then his mother returned alone and told him that his new father wanted to travel, and that she was going to travel with him, and he would be going to a special school for children with parents who travelled.

He asked why he couldn’t go with them, but she said that he was better off in the special school.  He would live there and get a special education, one that, if he stayed with them, he wouldn’t.  Then, as suddenly as she appeared, she was gone.

…

He did not know that it would be the last time he would see her.  He did not know that his mother had left responsibility for him with his aunt.  He was upset when she didn’t visit him at the school or come to get him during the holidays.  Those times he went to Scotland to stay with his aunt.

He did not know until he left the school that his mother had died that first year in boarding school, or that his new father had murdered her and stolen her fortune and his inheritance.

And now, standing in front of that house where he had been happiest, he tried very hard to remember his father and his mother, but not remember either of them.  Only that horrid man who had stolen everything from them.

That man he had buried at the back of the house, down the bottom of a well that no one would even find.

He spent six years tracking him down, and when he made an appointment to see him, the man had not recognised him.  It took a week to assume his identity and take everything back.  What was left of the fortune, the inheritance which hadn’t been touched, and the house which he discovered the man had not visited or maintained.  The man had perpetrated the same evil on a dozen other women, and he took all of that, too.

Then he told the man what he’d done and told him if he wanted it back to come to the cottage in the forest.  He was surprised the man agreed.

He had advertised the property and had a single buyer contact him.  The original owner of the property.  The offer was acceptable, they shook hands on the deal, and after a final look, and a lot of memories returning briefly, he left.

Those memories were of his childhood, and now that chapter had closed, he could finally get on with his life.

…

©  Charles Heath 2025-2026

365 Days of writing, 2026 – My Second Story 14

More about my second novel

…

It’s time to delve into the past that Zoe tries so hard not to remember because the memories are painful.

It was a time before she became the emotionless killer she was now, and the people who had turned her into one.

Friends, lovers, teachers, mentors, but, in the end, all people who wanted her for one thing or another because they were selfish.

Alistair’s mother, Olga, was one, the woman who first had the job of training her, the first to recognise that while gifted, she would be trouble.

She had been recommended to her by a man called Yuri, the first of many to take advantage of an innocent girl who didn’t know any better.

Once trained, she was placed with Alistair, and he, too, wanted her for himself, until he found her replacement, a man who wrongly thought she was so emotionless she would be happy to share him with others.

It was a mistake he wouldn’t be making again.

It was Yuri she discovered who had been in contact with the kidnappers in Marsailles, and perhaps inadvertently inserting himself into her quest for those seeking to kill her. He would know who it was seeking her, and who the name Romanov referred to.

After ensuring John was safe, she contacted him.

There’s a conversation, and he agrees to meet her, reluctantly, as being seen with a fugitive might harm his reputation.

It’s going to be an interesting conversation and reunion.

A to Z – April – 2026 – X

X is for – X Doesn’t mark the spot

…

The day he sold the house on Mulberry Lane where he had lain his head to sleep every night of his life was, he thought, the happiest he had ever been.

It was not as if it started out as a house of horrors; in fact, from the moment he could remember, about six or seven, it had been an idyllic refuge.  That was what his mother had told him, before he went to boarding school, before she remarried, before that man who told him the first day they met he was going to send him away, as far away as possible.

Those days before his world was turned upside down…

…

He stood in front of the cottage, now almost surrounded by the forest it had been nestled in.  He could just barely see the window on the second floor, a special room his first father had built into the roof, a room with a view of the valley and the small stream that ran through it, of the fields with the cattle and sheep, or crops, and then grass as far as they could see.

It was his playground to play hide and seek, to go down to the stream and swim on hot days in the summer or pretend that he was a pirate on the high seas.

And then after dinner, a story from his mother, he lay his head on the pillow and dreamed of the adventures he would have when he grew up.

Then, on a cold, stormy night, that world changed a little.  His father had been in an accident, and he was not coming home. It was just going to be them, and that life would not change.

For what seemed a long time, it didn’t.  Then another man came, a man who seemed to make his mother happy, but there was something about him.  He didn’t like him, and he soon discovered the man didn’t like him.

There was a wedding, and they went away, leaving him with his aunt, a rather severe woman who lived in Scotland, a long way away from his house in the forest.  He was there for what seemed a long time, then his mother returned alone and told him that his new father wanted to travel, and that she was going to travel with him, and he would be going to a special school for children with parents who travelled.

He asked why he couldn’t go with them, but she said that he was better off in the special school.  He would live there and get a special education, one that, if he stayed with them, he wouldn’t.  Then, as suddenly as she appeared, she was gone.

…

He did not know that it would be the last time he would see her.  He did not know that his mother had left responsibility for him with his aunt.  He was upset when she didn’t visit him at the school or come to get him during the holidays.  Those times he went to Scotland to stay with his aunt.

He did not know until he left the school that his mother had died that first year in boarding school, or that his new father had murdered her and stolen her fortune and his inheritance.

And now, standing in front of that house where he had been happiest, he tried very hard to remember his father and his mother, but not remember either of them.  Only that horrid man who had stolen everything from them.

That man he had buried at the back of the house, down the bottom of a well that no one would even find.

He spent six years tracking him down, and when he made an appointment to see him, the man had not recognised him.  It took a week to assume his identity and take everything back.  What was left of the fortune, the inheritance which hadn’t been touched, and the house which he discovered the man had not visited or maintained.  The man had perpetrated the same evil on a dozen other women, and he took all of that, too.

Then he told the man what he’d done and told him if he wanted it back to come to the cottage in the forest.  He was surprised the man agreed.

He had advertised the property and had a single buyer contact him.  The original owner of the property.  The offer was acceptable, they shook hands on the deal, and after a final look, and a lot of memories returning briefly, he left.

Those memories were of his childhood, and now that chapter had closed, he could finally get on with his life.

…

©  Charles Heath 2025-2026

365 Days of writing, 2026 – My Second Story 14

More about my second novel

…

It’s time to delve into the past that Zoe tries so hard not to remember because the memories are painful.

It was a time before she became the emotionless killer she was now, and the people who had turned her into one.

Friends, lovers, teachers, mentors, but, in the end, all people who wanted her for one thing or another because they were selfish.

Alistair’s mother, Olga, was one, the woman who first had the job of training her, the first to recognise that while gifted, she would be trouble.

She had been recommended to her by a man called Yuri, the first of many to take advantage of an innocent girl who didn’t know any better.

Once trained, she was placed with Alistair, and he, too, wanted her for himself, until he found her replacement, a man who wrongly thought she was so emotionless she would be happy to share him with others.

It was a mistake he wouldn’t be making again.

It was Yuri she discovered who had been in contact with the kidnappers in Marsailles, and perhaps inadvertently inserting himself into her quest for those seeking to kill her. He would know who it was seeking her, and who the name Romanov referred to.

After ensuring John was safe, she contacted him.

There’s a conversation, and he agrees to meet her, reluctantly, as being seen with a fugitive might harm his reputation.

It’s going to be an interesting conversation and reunion.

NaNoWriMo – April – 2026 – Day 28

I never thought I would get to this point, where there’s almost a complete novel.

It is quite remarkable that it is possible if you decide to focus on getting a novel out in a month.

What it does tell you is that proper planning is really a necessity if you want to succeed.

But…

It’s not the be-all to end all.

I’m not going to stop flying by the seat of my pants, but it’s given me another insight into the writing process.

I’m up to the business end of the story, and it requires concentration, and it will not be the first time I have written a page or two, gone back to reread it and made an adjustment.

I have to be careful not to be overly critical. After all, it is only the penultimate draft, and I’m striving for, but not necessarily expecting perfection.

It won’t be, but I can always hope.

NaNoWriMo – April – 2026 – Day 27

It’s interesting that no matter how much you outline and plan a chapter, when it comes to actually putting words on paper, it doesn’t quite run the way it should.

Last night I toiled over the chapter that has the first of the plot twists.

It’s been writing itself in my head, and I’ve been making notes to supplement the plan and take those notes into consideration.

But…

When I wrote it, the first time around, it didn’t seem right. You know what that’s like. It’s not the second-guessing thing, it’s not the being over-critical thing, you write it, walk away, get a coffee, or in my case, a large Scotch and soda water, and go back.

You either tell yourself it’s utterly brilliant, or at the other end of the scale, complete rubbish.

I was somewhere in between, and the cat, who was skulking nearby, suddenly found himself a captive critic.

I read it out loud, he made weird faces, and, yes, I could see what was bothering me.

Three hours later, past two in the morning, it was in better shape than I was.

A to Z – April – 2026 – W

W is for – Who is that girl?

…

Have you ever just decided on the spur of the moment to get away?

Anywhere but home, or whatever you think home is, but really it’s just four walls slowly closing in on you because it turns out it had become nothing like what you were hoping for.

A bit like life, really.

I ran away from home, not literally, but practically, because everything back home reminded me of the miserable life I had, no respect, no friends to speak of, and parents who couldn’t see past the aspirations they had for me, my father’s to take over the hardware store, and my mother’s, to marry that nice girl Cindy, just up the road.

Cindy had no aspirations.  The hardware store was a dinosaur from the past and would soon be superseded by the online suppliers who were cheaper and always in stock.

No one was listening, so I left.

Now, the same was happening.  No one was listening, and I was getting stuck in a rut.

Time, I told myself, for a change.

New York Penn Station, the place to go anywhere other than New York.

I fired up my iPad and found the first trip it showed me, from Penn Station on West 34th Street to Kansas City the next morning at 10:45, Via Chicago.  I’d never been to Chicago, but I’d just watched a rather bad musical movie called Calamity Jane, and it was a place in it. 

I think they called that serendipity.

…

I packed my trusty backpack for a two-day travelling experience after booking a business class seat.  I would, at the very least, travel in a little comfort, and was no stranger to sleeping in seats, given the number of red-eye specials I took travelling for the company.

I found the train and my seat, shown to me by a conductor, which was a surprise.

Then it was simply a matter of picking up my book and reading until it was time to sleep.

Except…

Just before the train departed, a girl, about my age, if I were to guess, came up the aisle, looking at seat numbers and then sitting next to me.

First reaction, she smelled of mothballs.  An odd thought, had she been living in a clothes closet?  Nothing would surprise me in New York.

Second revelation, surprise, she travelled with so little.  Perhaps that was why she had so many clothes on: jeans, flannel shirt, jumper, jacket, scarf, gloves, sturdy boots.

She looked me up and down but said nothing.  I tried not to look at her, but there was something about her.  Had I seen her before? Was she ill?  She looked very pale, and her eyes were watery.  Did she have a cold or, worse, a variant of COVID?  I really didn’t want to get sick before I got started on this odyssey.

For a few minutes, before the train started rolling out of the station, I seriously considered getting off the train.

I didn’t and hoped I wouldn’t regret it.

…

Six hours out, she looked like death warmed up.  There was definitely something wrong with her, and I was considering going to the conductor to see if there was a doctor on board.

Then she woke up.

I had to ask, “Are you alright?”

“Why?”

“You look very ill.”

“I just feel out of sorts.  Time of the year, between seasons.  Hot one minute, cold the next.”

I’m surprised she told me, after the instant dagger look she gave me before I asked.

“Why take the train when you can fly?”

“Going to see my parents in Kansas City.”

“You live there?”

“No.”

Didn’t answer the question.  Like everyone else I spoke to, it was impossible to get a straight answer to a clear question.

“But your parents live there?”

“Yes.”

“But you don’t?”

“No.”

“They moved to Kansas City?”

“No.  Lived there all their lives.”

“But you don’t?”

“No.”

“Wouldn’t it be quicker to fly?”

“Not enough time.”

OK.  Another strange answer that begged a hundred questions.

“For what?”

She gave me a seriously dangerous look, and I think if she had either a gun or a knife, I’d be dead now.  “Do you always ask daft questions?”

“Mostly, it seems, but I’ll bite.  Not enough time for what?”

“To think about what I will say to them?”

“About what?”

OK.  That was not a question to ask, but she piqued my interest.

“A guy I knew in Kansas City.”

“But you don’t live there?”

“He followed me to New York.  Thought I was the one.  Seems he thought that about three of us, so he had three ‘the one’s’.  If you know what I mean.”

I seriously considered going back to sleep.  Or reading the Gideon version of the Bible, the one I stole from a hotel room.

“But you didn’t live in Kansas City?”

“Not now.  No.”

“Then I’ll leave you to it.”

“To what?”

“Thinking.”

“About?”

“The not being the ‘one’.”

She looked at me strangely.  “Are you sure you’re not an axe murderer?  I mean, it would be just my luck…”

…

…

©  Charles Heath 2025-2026

365 Days of writing, 2026 – 100

Day 100 – Write like a spy

…

The Art of the Dossier: What Writers Can Learn from the CIA’s Style Guide

In the world of espionage, information is the ultimate currency. But information is useless if it’s buried under a mountain of fluff, jargon, and muddy thinking.

The Central Intelligence Agency (CIA) is arguably the world’s most demanding editor. When an intelligence officer files a report, they aren’t writing for leisure; they are writing for a busy policymaker who needs to make life-or-death decisions in seconds. To ensure clarity, the CIA famously published Psychology of Intelligence Analysis and various internal style guides.

For the fiction writer or the essayist, these rules are more than just bureaucratic mandates—they are a masterclass in narrative tension and reader engagement. Here is how you can write like a spy to make your prose lethal.

1. The Principle of “Bottom-Line Up Front” (BLUF)

In intelligence, the most important information must come first. The CIA mandates that reports lead with the “BLUF”—the core conclusion or the most vital intelligence finding.

The Writer’s Takeaway: Stop burying the lede. If you’re writing a thriller, don’t spend three pages describing the weather before the murder happens. If you’re writing a blog post, don’t make the reader hunt for your thesis. If your reader has to guess what your point is, you’ve already lost them. Lead with the punch, and use the rest of the text to provide the evidence.

2. Radical Brevity

The CIA’s style guide is obsessed with brevity. Intelligence officers are taught to cut every word that doesn’t contribute to the meaning. Adjectives are suspicious; adverbs are practically treasonous.

The Writer’s Takeaway: Your readers aren’t sitting in a bunker waiting for your next sentence—they’re scrolling through a world of distractions. Every word you write that fails to advance the plot or the argument is a “dead drop” of wasted space. Use the “CIA Filter”: If you can delete a word without changing the meaning, delete it. Your prose will become muscular, cold, and confident.

3. Precision Over Poetry

“The night was dark and menacing.” To a spy, this is a useless sentence. It’s subjective. It tells us nothing.

The CIA demands objective, verifiable language. Instead of “menacing,” they want “the suspect was observed checking his watch every thirty seconds.”

The Writer’s Takeaway: Show, don’t tell—but do it through the lens of a forensic investigator. Instead of using purple prose to describe an emotion, focus on the physical tells. A character who is nervous doesn’t need to be described as “anxious”; have them obsessively clean their glasses or avoid eye contact. Precision creates a psychological atmosphere that “poetic” writing often ruins.

4. Know Your Audience’s “Knowledge Gap”

Spy reports are calibrated specifically to the knowledge base of the recipient. If you’re writing for a President, you don’t explain the history of a region; you explain how a regional event threatens national interests.

The Writer’s Takeaway: Who are you writing for? If you’re writing a technical guide for experts, use the jargon. If you’re writing for a general audience, simplify. The biggest mistake writers make is “The Curse of Knowledge”—assuming the reader knows what you know. A spy anticipates the reader’s ignorance and bridges the gap quickly, without condescension.

5. Differentiate Fact from Inference

This is the cardinal rule of intelligence: never confuse what you saw with what you think.

The Writer’s Takeaway: This is perhaps the best lesson for fiction writers. Writers often conflate a character’s internal thoughts with the objective reality of the scene. By maintaining a sharp line between “The gun went off” (fact) and “He felt like a coward” (inference), you create a much stronger narrative layer. It forces you to rely on external evidence to show internal truth.

The Verdict: Is it useful?

If you want your writing to be flowery, whimsical, or deeply introspective, the CIA’s style guide will feel like a straitjacket. But if you want your writing to be gripping, clear, and impossible to put down, it is the best advice you will ever receive.

Writing like a spy means respecting the reader’s time and intelligence. It means stripping away the ego of the author to focus entirely on the delivery of the mission—the story.

Next time you open a blank document, imagine the stakes are highest. Cut the fluff. Lead with the punch. Identify your objective.

Go dark, write sharp, and don’t get caught in the weeds.

A to Z – April – 2026 – W

W is for – Who is that girl?

…

Have you ever just decided on the spur of the moment to get away?

Anywhere but home, or whatever you think home is, but really it’s just four walls slowly closing in on you because it turns out it had become nothing like what you were hoping for.

A bit like life, really.

I ran away from home, not literally, but practically, because everything back home reminded me of the miserable life I had, no respect, no friends to speak of, and parents who couldn’t see past the aspirations they had for me, my father’s to take over the hardware store, and my mother’s, to marry that nice girl Cindy, just up the road.

Cindy had no aspirations.  The hardware store was a dinosaur from the past and would soon be superseded by the online suppliers who were cheaper and always in stock.

No one was listening, so I left.

Now, the same was happening.  No one was listening, and I was getting stuck in a rut.

Time, I told myself, for a change.

New York Penn Station, the place to go anywhere other than New York.

I fired up my iPad and found the first trip it showed me, from Penn Station on West 34th Street to Kansas City the next morning at 10:45, Via Chicago.  I’d never been to Chicago, but I’d just watched a rather bad musical movie called Calamity Jane, and it was a place in it. 

I think they called that serendipity.

…

I packed my trusty backpack for a two-day travelling experience after booking a business class seat.  I would, at the very least, travel in a little comfort, and was no stranger to sleeping in seats, given the number of red-eye specials I took travelling for the company.

I found the train and my seat, shown to me by a conductor, which was a surprise.

Then it was simply a matter of picking up my book and reading until it was time to sleep.

Except…

Just before the train departed, a girl, about my age, if I were to guess, came up the aisle, looking at seat numbers and then sitting next to me.

First reaction, she smelled of mothballs.  An odd thought, had she been living in a clothes closet?  Nothing would surprise me in New York.

Second revelation, surprise, she travelled with so little.  Perhaps that was why she had so many clothes on: jeans, flannel shirt, jumper, jacket, scarf, gloves, sturdy boots.

She looked me up and down but said nothing.  I tried not to look at her, but there was something about her.  Had I seen her before? Was she ill?  She looked very pale, and her eyes were watery.  Did she have a cold or, worse, a variant of COVID?  I really didn’t want to get sick before I got started on this odyssey.

For a few minutes, before the train started rolling out of the station, I seriously considered getting off the train.

I didn’t and hoped I wouldn’t regret it.

…

Six hours out, she looked like death warmed up.  There was definitely something wrong with her, and I was considering going to the conductor to see if there was a doctor on board.

Then she woke up.

I had to ask, “Are you alright?”

“Why?”

“You look very ill.”

“I just feel out of sorts.  Time of the year, between seasons.  Hot one minute, cold the next.”

I’m surprised she told me, after the instant dagger look she gave me before I asked.

“Why take the train when you can fly?”

“Going to see my parents in Kansas City.”

“You live there?”

“No.”

Didn’t answer the question.  Like everyone else I spoke to, it was impossible to get a straight answer to a clear question.

“But your parents live there?”

“Yes.”

“But you don’t?”

“No.”

“They moved to Kansas City?”

“No.  Lived there all their lives.”

“But you don’t?”

“No.”

“Wouldn’t it be quicker to fly?”

“Not enough time.”

OK.  Another strange answer that begged a hundred questions.

“For what?”

She gave me a seriously dangerous look, and I think if she had either a gun or a knife, I’d be dead now.  “Do you always ask daft questions?”

“Mostly, it seems, but I’ll bite.  Not enough time for what?”

“To think about what I will say to them?”

“About what?”

OK.  That was not a question to ask, but she piqued my interest.

“A guy I knew in Kansas City.”

“But you don’t live there?”

“He followed me to New York.  Thought I was the one.  Seems he thought that about three of us, so he had three ‘the one’s’.  If you know what I mean.”

I seriously considered going back to sleep.  Or reading the Gideon version of the Bible, the one I stole from a hotel room.

“But you didn’t live in Kansas City?”

“Not now.  No.”

“Then I’ll leave you to it.”

“To what?”

“Thinking.”

“About?”

“The not being the ‘one’.”

She looked at me strangely.  “Are you sure you’re not an axe murderer?  I mean, it would be just my luck…”

…

…

©  Charles Heath 2025-2026

365 Days of writing, 2026 – 100

Day 100 – Write like a spy

…

The Art of the Dossier: What Writers Can Learn from the CIA’s Style Guide

In the world of espionage, information is the ultimate currency. But information is useless if it’s buried under a mountain of fluff, jargon, and muddy thinking.

The Central Intelligence Agency (CIA) is arguably the world’s most demanding editor. When an intelligence officer files a report, they aren’t writing for leisure; they are writing for a busy policymaker who needs to make life-or-death decisions in seconds. To ensure clarity, the CIA famously published Psychology of Intelligence Analysis and various internal style guides.

For the fiction writer or the essayist, these rules are more than just bureaucratic mandates—they are a masterclass in narrative tension and reader engagement. Here is how you can write like a spy to make your prose lethal.

1. The Principle of “Bottom-Line Up Front” (BLUF)

In intelligence, the most important information must come first. The CIA mandates that reports lead with the “BLUF”—the core conclusion or the most vital intelligence finding.

The Writer’s Takeaway: Stop burying the lede. If you’re writing a thriller, don’t spend three pages describing the weather before the murder happens. If you’re writing a blog post, don’t make the reader hunt for your thesis. If your reader has to guess what your point is, you’ve already lost them. Lead with the punch, and use the rest of the text to provide the evidence.

2. Radical Brevity

The CIA’s style guide is obsessed with brevity. Intelligence officers are taught to cut every word that doesn’t contribute to the meaning. Adjectives are suspicious; adverbs are practically treasonous.

The Writer’s Takeaway: Your readers aren’t sitting in a bunker waiting for your next sentence—they’re scrolling through a world of distractions. Every word you write that fails to advance the plot or the argument is a “dead drop” of wasted space. Use the “CIA Filter”: If you can delete a word without changing the meaning, delete it. Your prose will become muscular, cold, and confident.

3. Precision Over Poetry

“The night was dark and menacing.” To a spy, this is a useless sentence. It’s subjective. It tells us nothing.

The CIA demands objective, verifiable language. Instead of “menacing,” they want “the suspect was observed checking his watch every thirty seconds.”

The Writer’s Takeaway: Show, don’t tell—but do it through the lens of a forensic investigator. Instead of using purple prose to describe an emotion, focus on the physical tells. A character who is nervous doesn’t need to be described as “anxious”; have them obsessively clean their glasses or avoid eye contact. Precision creates a psychological atmosphere that “poetic” writing often ruins.

4. Know Your Audience’s “Knowledge Gap”

Spy reports are calibrated specifically to the knowledge base of the recipient. If you’re writing for a President, you don’t explain the history of a region; you explain how a regional event threatens national interests.

The Writer’s Takeaway: Who are you writing for? If you’re writing a technical guide for experts, use the jargon. If you’re writing for a general audience, simplify. The biggest mistake writers make is “The Curse of Knowledge”—assuming the reader knows what you know. A spy anticipates the reader’s ignorance and bridges the gap quickly, without condescension.

5. Differentiate Fact from Inference

This is the cardinal rule of intelligence: never confuse what you saw with what you think.

The Writer’s Takeaway: This is perhaps the best lesson for fiction writers. Writers often conflate a character’s internal thoughts with the objective reality of the scene. By maintaining a sharp line between “The gun went off” (fact) and “He felt like a coward” (inference), you create a much stronger narrative layer. It forces you to rely on external evidence to show internal truth.

The Verdict: Is it useful?

If you want your writing to be flowery, whimsical, or deeply introspective, the CIA’s style guide will feel like a straitjacket. But if you want your writing to be gripping, clear, and impossible to put down, it is the best advice you will ever receive.

Writing like a spy means respecting the reader’s time and intelligence. It means stripping away the ego of the author to focus entirely on the delivery of the mission—the story.

Next time you open a blank document, imagine the stakes are highest. Cut the fluff. Lead with the punch. Identify your objective.

Go dark, write sharp, and don’t get caught in the weeds.