An important part of my writing regimen is ... reading. Or, more accurately, rereading.
That is: I reread stories and books that have made deep, lasting impressions, the better to understand why (or if, upon reexamination) those pieces resonate with me. Most recently, I reread classics by two masters of the genre:
The Dragon in the Sea, by Frank Herbert (1955), and
The Puppet Masters, by Robert A. Heinlein (1951). Both are, in quite different ways, Cold War novels. From there, the two diverge.
The Dragon In the Sea is a novel of submarine warfare, set in a future clearly evolved from the early Cold War. The West is in a death struggle with the "Eastern powers," with Russia chief among them.
Dragon is an overt Cold War adventure melded with a psychological thriller, as physical
and mental pressures build on one submarine's crew
The storytelling is in third-person-limited point of view (POV) -- that is, we're in the heads of every member of one sub's crew, never knowing more than they know.
Frank Herbert, of course, is a master. He breaks two cardinal rules of modern SF -- and for him, it works. There's lots of detail about futuristic submarines and the mechanics of sub/sub duels -- as much a military procedural as an SF novel. The amount of detail explicitly conveyed would be disparaged today as an "info dump."
The other surprise to the modern reader: we sometimes jump from one character's head to another within single scenes. That, too, is contrary to modern style. I'll admit that I occasionally found those (non)transitions jarring.
The Puppet Masters involves extraterrestrial parasites who take control of humans (decades before the Go'a'uld of the
Stargate franchise), the takeover being all but undetectable. The novel is often taken as a parable of Cold War paranoia.