Welcome Bayard & Holmes to my blog, Bookmarks and Stages as you write your guest post about yourselves and your adventurous espionage books.
As Bayard & Holmes, we are known for accuracy in our espionage tradecraft. This is due to Jay Holmes’s fifty years of military and intelligence experience fighting against the Soviets and the terrorist groups they sponsored during the Cold War, straight through to the current Global War on Terror. As a result of our experience and authenticity, people like to ask us questions about the shadow world.
One of the common questions we receive is, “What are some of the most common mistakes writers make about the CIA?” The answer to that would be vocabulary.
Our espionage professionals at the CIA do not refer to themselves as spies. The word “spy” is considered a bit derogatory. As Holmes says, “Spying is seamy. It’s what the Russians do.” Technically, spies are foreigners who are spying on us, or they are foreigners who are spying on other countries for us.
Also, and this is a big one for the folks at the CIA, the intelligence personnel at the Agency are not “CIA agents.” In the world of the CIA, agents are people, most often foreigners, who are spying for our behalf on their own or other foreign governments.
The exceptions to that rule are the actual guards at the physical facilities. For example, if you were to go to headquarters, the personnel in security who would greet you at the gate are “CIA agents.” An easy rule of thumb is that if the position someone holds regards law enforcement, physical protection, or facilities security, they are agents.
In other words, Jack Ryan is not a CIA agent, but the guard he talks to at the front gate of headquarters is an agent, and the foreign spy who gives him information is an agent.
Instead of being spies or agents, our intelligence personnel are referred to as “officers” and “operatives.” Intelligence personnel at the CIA are technically called officers, which is a label particular to the CIA. CIA officers are actual employees of the CIA rather than contractors, and they get pretty touchy when you call them agents.
The term operative can apply to CIA officers and contractors, as well as to personnel from other civilian and military intelligence organizations. The term is rather vague and has no official definition, but it generally refers to men and women who work in field operations.
So to sum things up, Jack Ryan is not a spy or an agent, he is a CIA officer who must guard against foreign spies, collect intelligence from foreign agents, and sometimes goes into the field with operatives.
This is just one example of the accuracy that is the hallmark of our Bayard & Holmes fiction. To supplement, we have a Truth & Fiction section at the end of The Leopard of Cairo and all our novels, and we are happy to take your questions about the shadow world at the Contact page at our website, BaynardandHolmes.
Today I have a guest post , thanks to Richard Cobourne and Random T. Tours, you now have a chance to find out a little about Red Light and Bell, the second in the showbiz thriller trilogy. A trilogy that sounds so intriguing, even the blurb is mysterious as the cover and title. Discover the blurb and then read what he has to say as well as to how to order his books. It’s certainly fascinating and enlightening guest post. So, please join me, whilst I welcome Richard Cobourne to my blog. Thank you!
ABOUT THE BOOK
Real people, real events, real organisations, and real places are frequently mentioned in this trilogy – there is no suggestion of any wrongdoing, they are there solely to add authenticity and context, nothing more. You may like to think that this is entirely a work of fiction – but that’s up to you…
Richard Cobourne says:
Not many careers begin by taking the advice from a Christmas Cracker: “Write from what you know.”
Who would have thought my next-door neighbour, when I was aged just sixteen, would provide the knowledge to write this showbiz trilogy? Dick Bennet was Head of Sound at HTV — Wales’s independent TV channel. In 1973 he knocked on our door at the start of the school summer holidays where we lived in the Vale of Glamorgan, South Wales. ‘We’re a bit short of people on the studio floor. Do you reckon you can push the Fisher Boom around?’
‘Err, what’s a Fisher Boom?’
‘It’s like a tricycle with a long arm and a microphone on the end.’
‘Okay,’ Said I.
‘We leave in fifteen minutes,’ said Dick.
And so, it began — many years working behind and in front of the cameras and microphones all over the world. I thought I was going to join the army — but those thoughts soon disappeared as I was dazzled by the lure of showbusiness.
That first day was captivating on the studio floor — as I learned to call it. HTV were producing a mini-series entitled, ‘The Inheritors’ starring among others Peter Egan, Robert Urquhart, Charles Dance, Bill Maynard, and Philip Madoc. Great actors, then young, all who went on to carve out illustrious careers.
To see and work with true professionals close-up was a thrill. To be able to speak with them was more than I could have imagined. Before long the smell of the grease paint had well and truly entered my blood.
For the next few years, I continued to freelance at HTV every moment I could — school holidays and weekends were filled with exhilarating experiences. But soon, too soon, I had completed my A-levels in Music, Maths and Physics and had to consider my future. I asked if there was a full-time job at HTV. I was told I would be better off at the BBC because, in those days, they offered proper training.
Naively one Friday afternoon I bounded up the steps of BBC Broadcasting House in Cardiff and asked for a job. Ten minutes later I was in front of Graham Walters, Head of Personnel. An hour later I had completed the application form to be told I had an interview the following Monday for the post of Trainee Audio Assistant. The interview went well for two reasons — firstly I go the job. Secondly, I met my future father-in-law. A month later I was on my way to the BBC’s Training Centre at Wood Norton, near Evesham, for what most considered to be the best broadcast training in the world.
News, current affairs, drama, thrillers, comedy, documentaries, sport, big music shows, huge orchestras, live events on radio and TV all over the UK and abroad followed — Terry and June; Charles’s and Diana’s wedding (Philip Schofield then worked in OB stores!); The Pope’s Visit; Elaine Paige; Val Doonican; more live major sporting events that I could possibly remember; The Old Grey Whistle Test; many years of Radio One Roadshows with Noel Edmonds, DLT, Tony Blackburn, Peter Powell, Simon Bates (who passed out on me upside down on a fairground ride), Mike Reid, Bruno Brooks, Simon Mayo, Steve Wright; the jungles of central Africa (close up with the silver back gorillas); drug cartels in Colombia; and three BAFTA nominations (but never won!).
Life was amazing making many good friends whom I still see today. But by the end of the nineteen eighties the BBC was changing, and I saw the metaphorical writing on the wall. I resigned.
After a short hiatus I formed my own production company. Somehow, we became successful working with some wonderful clients and with some well-known names — many pictures adorn the walls of my sh’office. Including Joanna Lumley; Toyah; Leslie Ash; Nigel Havers; Little and Large; Simon Bates; Tim Spall; Jeremy Northam (now a Hollywood star).
I continued to travel the world, one year racking up 91 flights — not sure that is something of which I should be proud? Some ridiculous travel such as a day trip to Cape Town, a day in Rio de Janeiro, with several to New York. I worked in virtually every European city. I have eaten in top restaurants, been in the swankiest of clubs, stayed at magnificent hotels and suffered in some very dubious locations. Along the way we won dozens and dozens of awards.
So, what you might say?
All the travel, stress and long hours took their toll. I have spent most of my career writing, producing, and directing; enthusing, educating, informing, and motivating various audiences but with a client and a defined purpose. I attempted to start writing a novel several times — but paying work interfered and they were soon shelved. I wanted — needed — to unlock the personal creative juices to do my own thing. So, I sold the business to enable me to write, to fulfil my ambition. Writing a novel is not a part-time job as many have found out.
Using the contacts made over the years, ‘celebrities’ and friends augmented my own knowledge — I have been back-stage with Access All Areas passes to many events including major sporting competitions, massive gigs, festivals, and intimate invitation-only special occasions — all helped me with deep background to ensure the tittle-tattle of real-life show-business, the law, parliament, and other aspects are accurately portrayed. The list of helpers is long, it includes: Spice Girl, Melanie Chisholm; broadcaster and voice-artist, Alan Dedicoat; Professor Kevin Doolan (Harvard); former BBC political correspondent Robert Orchard; a senior judge who specialises in trafficking, smuggling and slavery; former Sky News producer and war reporter Nick Purnell; The Rt Hon David TC Davies, MP for Monmouth, and Secretary of State for Wales; plus others who cannot or do not wish to be named, without whom etc…!
Going back to that Christmas Cracker: “Write from what you know.”
That’s what I have done.
‘Bandwagon’, the first in the trilogy, and now ‘Red Light and Bell’, the second, reflect some of my experiences (the finale of the trilogy, ‘End Turn’ is underway).
Yes, they are works of fiction — but the foundations are firmly entrenched in the real world, or as real as showbiz is or can be? Please enjoy for what they are…
*The title ‘Red Light and Bell’ is a filming term. A red light is illuminated, and a long bell sounded once before ‘going for a take.’ When the scene is completed, the red light is switched off and two short bells sounded. But in this novel it has another meaning…
Richard Cobourne writes with a production background in the broadcast, corporate, music and global eventsand communications industries. He has worked in the business-of–show all over the world for many years – and as a result has a deep understanding of the shenanigans of the industry.
He began his career working for the BBC, initially in the sound department of radio,
TV,and outside broadcasts. After fifteen years he left to co-foundOn Screen Productions Ltd,
which he sold in 2015 to pursue a career as a freelance consultant creative producer, occasional voice artist, and to enable him to write full–time. He is a member of The Ivy Club, BAFTA and the National Liberal Club.
This is the second novel in the showbiz thriller trilogy.The third, maybe final (who knows?),
is in progress.
Richard Cobourne lives with his wife on the Welsh side of the Wye Valley and in Fuerteventura.
PREVIOUS FICTION
•Bandwagon(the first Danny and Daisy showbiz thriller)
Bookmarks and Stages by Lou 