novel

Mind of a Spy

/ Stefan Nicholson

Excerpts from my Ruby Spy Novels

It all seems much easier now, to accept that soldiers always have to follow orders, regardless of what they think about them, or who gives them . . . or the consequences of their actions, or the long-term effect on their minds.

Spying is a different ‘game’. It is meant to stop wars and terrorism from happening in the first place . . . especially when diplomacy is in such disarray and lunatics are elected by the naive and apathetic populace. People get who they vote for – but then democracy is only useful for a small population, before imbalance and corruption sets in.

Spies gain information that can be used to counteract and destroy any thoughts of aggression from the perceived enemy, or to eliminate any threat that is likely to prevent a problem from occurring in the first place.

Spying is a game of fake news, propaganda and delusion. No one knows the truth anymore.

There is no “truth”- just the game that a few faceless people play, for their own inadequacies, using gullible and misguided people as their disposable pawns.

The common enemy now hails from those with power and greed, with some people assuming that they have a right to be treated better than others. So, they engage in skimming, side-swapping, terrorism and corruption, media manipulation, destruction . . . and killing.

After note: If we apply Ruby’s thoughts to Ukraine as an example. We know the top players from their latest “game” and what they do. The rest of the world suffers at the hands of just a few people . . . as they always have done.

Ruby Trilogy:

  • Spy Within a Ruby
  • Diamond for a Ruby
  • Ruby’s Covert Mission

All available on Amazon as a book or as a Kindle e-Book.

How to write a SCREENPLAY

/ Stefan Nicholson

The typical structure for summarising a screenplay in three acts, would be:

ACT ONE:

  • Show that the main character has a serious flaw (but not detailed)
  • Show the evidence of the flaw by its effects on others
  • Introduce the Key Flaw (shown to us by dialogue from someone close)
  • Allow the audience to perceive some depth to the main character and wonder how far down will the character sink – while having some good point
  • Introduce a Crisis Point – which needs to be solved before moving on
  • Escalate rapidly into a Climax – exposing raw emotion and inner self

ACT TWO:

  • Change the location or circumstances of their environment – hint at changes
  • Gradually awaken the main character to think about their problems
  • Make the central character aware of their serious flaw (needs, desires, hurdle to overcome)
  • Introduce sub-plot relationships (love works well with audiences)
  • Midpoint – main character is now fully aware of Key Flaw- not in denial to self – but inability to rise above (“I can’t, and I won’t” inner expression and conflict)
  • Make the central character face up to the Key Flaw – possibly as an internal challenge
  • Produce the Catalyst for changing their behaviour – can become proficient in another task – healing of one element by another unrelated event
  • More work on sub-plot relationships – involving the effect of new behaviour on others
  • All indications of change and turmoil and choices – leading to a Dilemma – What to do?  Making the right choice at the expense of other things (needs, desires, love interests, problem solving etc.)
  • Crisis Point occurs when some factor pushes the main character too far – enabling a change in thinking to be made – and a new chance of success
  • Climax point for Act Two (hard to write) – major event releases emotions in other areas – major point is good, but often negative smaller issues suffer – especially relationships

ACT THREE:

  • Give the main character a chance to beat their Key Flaw and associated effects and character traits
  • Catalyst for change in obtaining an expression for breaking their Key Flaw
  • Show main character has resourcefulness – as all heroes exhibit this
  • Establish a proving ground where main character is Confronted by their fears and goes beyond the call of duty to beat their Key Flaw attributes
  • Throw in a final Crisis Point, where it looks as though the main character will eventually lose out, after all they have been through – generally because they are up against an insurmountable choice or have too much to lose on behalf of others
  • Resolution is the end result of overcoming the Key Flaw, and the problems encountered, that were the reason why the problems could not be faced.
  • Send the audience home with a tear in their eye, a sense of having lived the tale themselves, having experienced all the roller-coaster emotional tugs and pushes – and left with a thought that will stay with them for the rest of their lives.

(c) Stefan Nicholson 2009